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![[OO GAUGE]. A HORNBY NO.R899, NIGHT MAIL EXPRESS TRAIN SET comprising a B.R. Princess Coronation Class 4-6-2 tender locomoti](https://cdn.globalauctionplatform.com/b6664466-43b4-41df-9653-a77900b18063/38acc2ea-7060-49d3-d47e-32ea063c1d1a/468x382.jpg)
Lot 870
[OO GAUGE]. A HORNBY NO.R899, NIGHT MAIL EXPRESS TRAIN SET comprising a B.R. Princess Coronation Class 4-6-2 tender locomotive 'City of Nottingham', 46251, lined maroon livery, two B.R. Coaches, lined maroon livery, a Travelling Post Office mail coach, lined maroon livery, and residual items, boxed as one.
![[OO GAUGE]. A MISCELLANEOUS COLLECTION comprising a Hornby Dublo No.EDL11, B.R. Class A4 4-6-2 tender locomotive 'Silver Kin](https://cdn.globalauctionplatform.com/b6664466-43b4-41df-9653-a77900b18063/eff77f43-58a6-4913-b64e-9ec9a33a7e6d/468x382.jpg)
Lot 887
[OO GAUGE]. A MISCELLANEOUS COLLECTION comprising a Hornby Dublo No.EDL11, B.R. Class A4 4-6-2 tender locomotive 'Silver King', 60016, lined gloss green livery, three-rail, unboxed; Hornby Dublo No.EDL20, B.R. Castle Class 4-6-0 tender locomotive 'Bristol Castle', 7013, lined green livery, three-rail, unboxed; Exley L.M.S. Travelling Post Office, lined maroon livery, unboxed; and five assorted kit-built wagons, each unboxed, (8).
Lot 1409
HULL -LINCOLN 46 Hull City home programme v Lincoln, 31/8/46, not only was it the first post-war Hull programme but it is also a special issue to commemorate the opening of the Boothferry Park ground for Hull. Slight creasing and back cover has suffered at bottom from water damage with minor paper erosion. Fair
Lot 208
FOOTBALL POST 1905-06 Football Post Cartoon Book 1905-06 including the comic history of the game. The 32 page booklet comprises cartoons relating to football from the Nottingham Football Post , many drawn by the famous cartoonist R.I.P , and many relate to East Midlands area teams including Forest, County and Derby plus Leicester Fosse. Generally good
Lot 805
PICTURE POST - PORTSMOUTH Issue of Picture Post magazine dated December 11th 1948 with headline "A City celebrates its Football Jubilee". Inside , four pages are devoted to Portsmouth celebrating their Golden Jubilee with a 4-1 victory over Arsenal, numerous pictures and editorial relating to the game and the Pompey Jubilee. Generally good
Lot 1508
MANCHESTER UTD All 21 Manchester Utd League programmes from the 1961/62 season (all vary , the last 4 lack tokens) plus 5 x FA Cup Ties v Bolton, Arsenal (post) Sheffield Wed and Preston (all lacking tokens) plus Friendly v Real Madrid (no token). All programmes have writing. Fair-generally good
Lot 23
A rare early and important pewter porringer, circa 1655, by Edward Ward of London (fl.1641-1674) PS 9865, with owner's house mark and initials of H over RF struck on the ear and touch mark dated 1642 under the boss, overall diamter 7 1/2 inch, 192mm, with leather repair patch in the bowlProvenance & Literature: Ex Sutherland Graeme and Bradshaw Collections. Illustrated in Michaelis 1949 Apollo article 'English Pewter Porringers Part III', and is porringer P5 in Hayward and Marsden's Autumn 2015 Pewter Society Journal article 'English Porringers Post 1650 Part I'
Lot 205
Eight Window Boxed Diecast Vehicles, of varying scales and manufacturers including Solido Double Decker Bus modified by Louaine Motorbus Models (code three), #91848 Corgi Metrobus 'Yorkshire Evening Post', #96960 Corgi VW Van Bosch, exclusive first editions 1:76th scale #16104 Leyland PD2 Highbridge 'Leeds Transport Yorkshire Post.
Lot 1085
An oak postal box, octagonal. Height 35 cm. (see illustration). CONDITION REPORT: This post box is in generally very good condition. There is one small dent and loss to the oak to the right hand side of the door hinge at the next angle. This is visible on our image. Other than this there are no issues at all. The post box has no significant age and may only be a few years old.
Lot 1530
A 20th century Chinese Chippendale style upholstered mahogany library chair (see illustration). CONDITION REPORT: The chair is structurally sound. There is no evidence of any repairs, loose joints or woodworm. There are some minor scratches and scuffs to the woodwork but no significant issues. The chair is modern and post 1988. The upholstery is serviceable but is showing some signs of wear particularly to the top of the backs and arms. There is also some deterioration of the braiding to both the left and right hand rear sides. The upholstery appears to have some cat scratching.
Lot 1483
A giltwood Gainsborough style armchair, with pink and beige patterned upholstery, raised on legs of square section. Width across arms 66 cm, height to top of back 95 cm (see illustration). CONDITION REPORT: This chair is in extremely good condition. It is however a modern reproduction, manufactured post 1988. There is some discolouration to the arms and seat fabric. The arms are a little dirty. Other than this the chair is in very good order and could be used in its current state.
Lot 38
Jack Butler Yeats RHA (1871-1957)The Fern (1943)Oil on panel, 23 x 35.5cm (9 x 14)SignedProvenance: Sold through Leo Smith, The Dawson Gallery to Senator Joseph Brennan and thence by descent.Literature: Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, by Hilary Pyle, Andre Deutsch 1992, Volume I, Catalogue No.565This still-life painting centres on the vivid form of a fern, its leaves conveyed through thick impasto paint. The plant sits in a large lustre jug whose shiny handle is constructed out of strong reds and yellows. The shadowy outline of a window frame on the left reflects blue light onto the plant. Touches of bright blue and yellow convey the impact of light and shade on the delicate fronds. Beyond the edge of the brown wooden board on which the fern is sitting, an area of greys and greens indicate moving water. Yeats returned to the same motif in a later painting, The Fern in the Area, (1950, Private Collection). The work is a complicated exercise in paint and illusion. It brings together two distinct types of painting - the visceral surface of the jug and plant, and the flat surface of their surroundings. The latter by contrast appear obscure as if in motion. Their subtle gradations of colour and shape are reminiscent of the work of the French post-impressionist painter, Pierre Bonnard. Yeats’s work was compared to that of Bonnard by several contemporary commentators, including his close friend, Thomas MacGreevy. The Dublin based artist May Guinness owned an important example of Bonnard’s work, A Boy Eating Cherries, which is now in the collection of the National Gallery of Ireland. A work by Bonnard was included in a group exhibition at the Contemporary Picture Galleries in Dublin in 1939, directly before Yeats held a solo show at this venue. Bonnard, like Yeats, enjoyed the physical quality of paint and used it to create perplexing and highly decorative compositions that provoke the viewer’s curiosity, encouraging them to make sense of the intriguing perspective and arrangement of form within the work. Yeats uses a similar strategy in his painting, although in The Fern, the three-dimensional quality of the central motif disrupts the otherwise tranquil nature of the work. The Fern was bought from the artist by the dealer Leo Smith, a prominent admirer and supporter of his work during the Second World War when this work was painted. The collector Senator Joseph Brennan acquired the painting from Smith and it has since remained in the family’s possession. Dr Roisin Kennedy
Lot 74
JAN CYBIS (POLISH 1897-1972) Basket and Apples, oil on canvas 54.3 x 73.3 cm (21 3/8 x 28 7/8 in.) signed lower right; signed and inscribed on verso PROVENANCE Collection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 EXHIBITED Jan Cybis Retrospective, National Museum, Warsaw, 1965 LOT NOTES Bart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.
Lot 81
ZBIGNIEW GOSTOMSKI (POLISH B. 1932)Gora, 1961mixed media20 x 29 cm (7 7/8 x 11 3/8 in.)signed and titled on verso; with a dated label from Desa affixed to verso; a gifting inscription on the stretcher A small memento of the wonderous journey through the art land of Poland -- Jane Akstoz / Warsaw, June 31, 1964PROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.
Lot 292
LEOKADIA PLONKOWA (POLISH 20TH CENTURY)St. Joseph with the Christ Child, 1963mixed media on glass41 x 32.5 cm (16 1/8 x 12 3/4 in.)initialed lower rightPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965Acquired by the above from the Desa Foreign Trade Company, October 16, 1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.
Lot 298
JOZEF WILKON (POLISH B. 1930)Peacock, 1964mixed media on paper31.2 x 42.6 cm (12 1/4 x 16 3/4 in.)signed and dated lower rightPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965Acquired by the above from the Desa Foreign Trade Company, December 10, 1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.
Lot 295
ADAM NIEMCZYC (POLISH 1914-?)Portrait of Mrs. B. Stephens, 1964mixed media on wood panel50.4 x 30 cm (19 3/4 x 11 3/4 in.)signed, titled, dated and inscribed on versoPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.
Lot 448
A PAIR OF ANTIQUE INDIAN CHANDELIER EARRINGS WITH SEED PEARLS AND GEMSTONES the post with a large six-petaled flower set with seven rose-cut diamonds, with a suspended a cascade of two more bell-flower shaped diamond-set tiers, the total approximate weight of diamonds 1.04 carats, further ornamented with clusters of emerald beads and seed pearls in gold wire mounts, studs, length: 6 cm (2 3/8 in.); overall weight: 11.6 g.
Lot 427
A PAIR OF GOLD AND LAPIS LAZULI CUFFLINKS, FRANCE, 20TH CENTURY forming a loop when closed, the segmented post hinged in the middle, the textured posts with rope details, the cups mounted with lapis lazuli cabochons, length when closed: 2.7 cm (1 in.), length when opened: 4 cm (1 1/2 in.), marked for 18K gold; overall weight: 12.0 g.
![ADAM NIEMCZYC (POLISH 1914-?)Narzeczona Malarza [The Painter`s Fiancee], 1973mixed media on wood panel70 x 29.5 cm (27 1/2 x](https://cdn.globalauctionplatform.com/1f190a61-2d64-4063-b62e-a773017b81eb/e019ed19-b7a1-465d-acd9-76ae114bb85a/468x382.jpg)
Lot 288
ADAM NIEMCZYC (POLISH 1914-?)Narzeczona Malarza [The Painter`s Fiancee], 1973mixed media on wood panel70 x 29.5 cm (27 1/2 x 11 5/8 in.)signed, dated, titled and inscribed on versoPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.
Lot 73
JAN CYBIS (POLISH 1897-1972)Landscape, oil on canvas89.3 x 116 cm (35 1/8 x 45 3/4 in.)signed lower leftPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965Acquired by the above from the Desa Foreign Trade Company, March 4, 1964 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.
Lot 78
ANNA GUNTNER (POLISH 1933-2013)Mongolfiere Brother`s Dream, oil on canvas60.5 x 50.5 cm (23 3/4 x 19 7/8 in.)signed on verso, titled on label affixed to versoPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.
Lot 70
ZBIGNEW MAKOWSKI (POLISH B. 1930) Nucleus, 1963 oil on canvas 165 x 124.5 cm (65 x 49 in.) signed, titled and dated on verso PROVENANCE Collection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 Acquired by the above from the Desa Foreign Trade Company, August 26, 1963EXHIBITED Exhibition of Z. Makowski`s works at the Kunstverein fuer die Rheinlande und Westfalen, Grabbenplatz Kunsthalle, Dusseldorf, 1973LOT NOTES Bart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.
![NIKOFOR [KRYNICA] (POLISH 1895-1968)Spa Village, gouache on paper18 x 25 cm (7 x 9 7/8 in.)signed and titled along lower edge](https://cdn.globalauctionplatform.com/1f190a61-2d64-4063-b62e-a773017b81eb/11d94c8e-7aa6-4933-d43e-7d9e553dbb10/468x382.jpg)
Lot 289
NIKOFOR [KRYNICA] (POLISH 1895-1968)Spa Village, gouache on paper18 x 25 cm (7 x 9 7/8 in.)signed and titled along lower edgePROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.
Lot 297
JOZEF WILKON (POLISH B. 1930)Incursion, 1963gouache on paper28.5 x 34 cm (11 3/4 x 13 3/8 in.)signed and dated lower rightPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965Acquired by the above from the Desa Foreign Trade Company, December 10, 1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.
Lot 299
ANDRZEJ PIETSCH (POLISH 1932-2010)View of Krakow, 1965etching on papersize of plate: 36.5 x 104 cm (14 3/8 x 41 in.)signed, dated, titled and inscribed in pencil along the lower marginPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965Gift from the artist to the above LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.
Lot 76
ALEKSANDER KOBZDEJ (POLISH 1920-1973)Urodziny II, 1963oil on canvas100 x 80 cm (39 3/8 x 31 1/2 in.)signed and dated lower right; further signed, dated and titled on versoPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.
Lot 69
KAJETAN SOSNOWSKI (POLISH 1913-1987)Untitled No. 1515, 1965oil on canvas95.5 x 125.5 cm (37 5/8 x 49 3/8 in.)signed and dated lower right; signed, dated and inscribed on versoPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965Acquired by the above from the Desa Foreign Trade Company, June 15, 1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.
Lot 294
ADAM NIEMCZYC (POLISH 1914-?)Ucella`s Wife, 1962mixed media on wood panel29 x 13.2 cm (11 3/8 x 15 1/4 in.)signed, dated and titled on versoPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.
Lot 290
LEOKADIA PLONKOWA (POLISH 20TH CENTURY)St. Peter, 1963mixed media on glass41.5 x 33.5 cm (16 3/8 x 13 1/4 in.)PROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965Acquired by the above from the Desa Foreign Trade Company, October 16, 1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.
Lot 80
FRANCISZKA THEMERSON (POLISH 1907-1988)I Looked Homeward I Saw No Angel, 1958oil on canvas56 x 46 cm (22 x 18 1/8 in.)signed lower right; artist`s label on versoPROVENANCECollection of Bart N. Stephens, Cultural Attache of the American Embassy in Warsaw, Poland, 1963-1965 LOT NOTESBart N. Stephens spent several decades as a cultural affairs officer in Europe and Asia, during which time he was stationed in post-War Warsaw as a Cultural Attache for some years during the 60s. As Stephens writes in his essay Where Shall We Hang It? Notes on Collecting Polish Art, it was in Warsaw which had arisen Phoenix-like from the war`s inferno, [that he and his wife, an artist herself,] first became involved in the art scene and began collecting original art. [Discovering] an alive, talented, and varied community of artists in Poland. Coming into contact with the works by, and often with the artists themselves, Jan Cybis, Aleksander Kobzdej, and many other leading figures of the 1960s and 70s, Stephens at times found himself bidding on the same works as the Museum of Modern Art (as in the case of Nucleus by Zbignew Makowski). Polish painting was then seen as the ``new frontier`` of European art, with many foreign dealers waking up to its allure, and at times buying the contents of an artist`s studio outright. The Stephens collection thus presents a mid-century capsule of some of PolandÍs greatest modernists, with many of the works being eventually exhibited or included in European and American publications and exhibitions.
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