I. Paintings

I.1

Still Life - a Plate,

[1918] (ill.I ) (Natjurmort - tarelka)

oil, enamel, canvas on wood, 29,3 x 40,3 not signed

coll. Ivanovskij Oblastnyj Chudoz estvennyj Muzej, Ivanovo, inv. no. IS 775

Transferred to Ivanovo in 1929 from the collection of the MChK (Museum of Artistic

Culture in Moscow)

Bibl.: P. Percov, Chudozestvennyje ..., Moskva 1925; S. Djafarova, Les musees de la Culture

artistique...., in: L'Avant-Garde Russe 1905- 1925..., (exh. cat.) Nantes 1993, pp. 51 -61 .

Exh.: Nantes 1993 (cat. no. ill. 84 p. 243); Edinburgh (cat no. 96 p.87).

I.2.

Meter,

1919 (ill. 2) (Scetcik)

oil, electric wire, ceramic isolators, canvas on wood, 81 ,5 x 58,5 not signed on the reverse:

among other things a hand-written note in black paint "N 523 l13 1l4 x 18".

coll. Samarskij Chudozestvennyj Muzej, Samara, inv. no. 836

Transferred in August 1919 from the Museum Section of the Department of IZO Narkompros

Russia, no. 523 to the collection of WCHUTEMAS in Samara.

Bibl.: G. Smirnov, Avant-garde..., TVORCESTWO, 1988 no. 12, p. 15 (ill. cover); A.D.

Sarab'janov, Neizvestnyj russkij avangard..., Moskva 1992, p. 258, ill. 262.

Exh.: Frankfurt 1992 (cat. p. 773, ill. 89); Amsterdam 1992 (cat. p. 860, ill. 89); New York

1992/1993 (cat. no. 83 p. 727, ill. 83); Nantes 1993 (cat. no. 85, ill. p. 245); Edinburgh (cat. no. 97

p. 87, ill. 43).

I.3.

Still Life,

c. 1919 (ill. p. 23) (Natjurmort)

oil. combined techniques, Plywood, 38,2 x 26 not signed

coll. Gosudarstvennyj Russkij Muzej, St. Petersburg, inv. no. B 1389

Transferred from the Museum Section of the Department of lZO Narkompros

Bibl.: J. Zagrodzki, Katarzyna Kobro i Wladyslaw Strzeminski... , in: Grupa ,a.r.': Materialy sesji

naukowej..., Lodz 1971 , p. 70 and 74, footnote 8; J. Zagrodzki, Katarzyna Kobro..., Warszawa 1984, pp. 33-34.

Exh.: Smolensk 1920 (cat. no. 76?)?

I.4

Tools and Products of Industry - Counter-relief,

1919-1920 (ill. 3) (Orudija i produkly proizvodstva)

oil, cork, tinplate, metal, plaster, canvas on wood, 44,5 x 33 signed: on the reverse "Strzeminskij"

coll. Gosudarstvennyj Russkij Muzej, St. Petersburg, inv. no. B 1665

Transferred in 1926 from Museum of Artistic Culture in Leningrad; originally purchased by the Museum Section of the Department of IZO Narkompros.

Bibl.: KRASNAJA PANORAMA, 1927 no. 29; J. Zagrodzki, U poczatkow..., PROJEKT, 1974 no. 2, p. 36; J. Zagrodzki, Katarzyna Kobro... , Warszawa 1984, p. 34; 1920- 1930. Zivopis". Gosudarstvennyj Russkij Muzej, Moskva 1989, p. 254, 271, ill. 31 p. 42.

Exh.: Rjazan'1919 (cat. no. 34)?; Berlin 1922 (cat. no. 568)?; Leningrad 1927; Tokyo-Kamakura 1988/1989 (cat. IV. 22 no.. 94, ill. p. 131); Madrid 1989 (cat. IV, ill. p. 137); Frankfurt 1992 (cat. p. 773, ill. 88); Amsterdam 1992 (cat. p. 860, ill. 88); New York 1992l1993 (cat. no. 82 p. 727, ill. 82); Moskva 1993.

I.5

Cubism - Tensions of the Material Structure,

1919-1921 (ill. 4)

oil, crumbled cork, canvas, 22,5 x 17,5 not signed on the reverse: in the middle an isosceles triangle with a vertical line on top in black paint, top left "No IT", bottom left "X1121 "; on the stretcher - inscriptions: "Od Mieczystawa Szczuki, 1923", "STAN. HELSZTYNSKI / WARSAW / GROTTGERA 19-13", "MECHANOFAK / TURA", "WLADYSLAW STRZEMINSKI", on label glued to the back - hand-written words "Umarl / w nedzy / 1952 (Died in poverty)" and a clipping with a photograph of the artist and the caption "Wladyslaw Strzeminski/Nagroda artystyczna m. Lodzi". (The City of Lodz Award for the Best Artist)

coll. Muzeum Narodowe, Warszawa, inv. no. MPW 1124

Purchased from Stanislaw Helsztynski, 1960

Bibl.: S. Helsztynski, Dobranoc mily ksiaze. ..., Warszawa 1971 , p. 144; J. Zagrodzki, U poczatkow..., PROJEKT, 1974 no. 2, pp. 36-37, ill.; A. Turowski, Konstruklywizm polski... , Wroclaw 1981 , p. 36, 55, foot-note 92; J. Zagrodzki, Katarzyna Kobro..., Warszawa 1984, pp. 48-49.

Exh.: Wilno 1923 (cat. no. 36); Warszawa 1979; Paris 1983 (cat. no. 610, ill. p. 214); Odense-Hovikodden 1985/1986 (cat. no. I , ill. p. 73); Warszawa 1987/1991 ; Warszawa 1992; Vilnius 1993 (cat. no. 22); Lodz 1993 (cat. no. 39, ill. p. n.n.).

Note: This painting constitutes a fragment of a larger composition, painted probably around 1919. According to J. Zagrodzki, the artist "cut out the part which was the most valuable for him", dating it on the reverse "XI / 21 ". Stanistaw Helsztynski received this painting from Mieczystaw Szczuka, as he says, for translating some articles from German for BLOK magazine.

I.6

Synthetic Composition 1,

1923 (ill. 5) (Unistic Composition)

oil, canvas, 62 x 52 signed: on label on the stretcher "Wladyslaw / Strzeminski / 1923 / haut / bas". on the reverse: among the others - a sealing-wax seal with a crowned eagle and a fragment of an inscription "...KOMISARJAT..." and label with a hand-written note (by the artist?) "Komp. unist. 1923".

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 60

Donated by the Artist, 1945

Bibl.: BLOK. KURJER BLOKU, 1924 flO. 5, p. 8, ill.; A. Turowski, Konstruktywizm polski..., Wroclaw 1981 , p. 48, footnote 74.

Exh.: Wilno 1923 (cat. no. 42 or 43?); Warszawa 1924?; Riga 1924 (cat. no. 26-29?); Bruxelles 1924?; Lodz-Warszawa 1956/1957 (cat. no. 33); Bruxelles 1959 (cat. no. 96); Essen-Otterlo 1973 (cat. no. 31 , ill. p. 189); Stockholm 1975/1976 (cat. no. 31 , ill.); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 29); Lodz 1977/1978; Bydgoszcz 1978 (cat. no. 35, ill.); Roma-Venezia 1979 (cat. no. 179); Beograd-Zagreb 1979 (cat. no. 58); Dusseldorf 1980 (Cat. no. I , ill. p. 66); Paris 1983 (cat. no. 612, ill. p. 214); Cambridge-Oxford 1984 (cat. no. I , ill. p. 68); Odense-Hovikodden (cat. no. 3, ill. p. 73); Lodz 1988; Budapest 1989/1990 (cat. no. 60, ill. p. 88); Wien 1993 (cat. p. 289); Vilnius 1993 (cat. no. 25, ill. p. 34); Lodz 1993 (cat. no. 42, ill. p. n.n.); Washington (cat.).

Note: In 1923 in Vilnius the artist presented - among the others - two paintings entitled: "Synthetism: flat paintings, objective: organic unity of forms and the plane of the painting". When this composition was reproduced in BLOK magazine in 1924, it was accompanied by the following commentary: "I . a dynamic composition: interaction of shapes enclosed within the plane of the painting (by W Strzeminski)". An analysis of these notes permits us to assume that this painting was shown in the Vilnius exhibition. This composition, as well as the next two, belongs to the earliest phase of unistic experiments, and it opens the series of unistic compositions from the collection of the Muzeum Sztuki (Museum of Art) in Lodz. In the years 1972 - 1973, following thorough research of the sources and analytical studies, chronological numbering (1 - 14) was added to the titles of those paintings.

I.7

Postsuprematist Composition 2,

1923 (ill. 6) (Synthetic Composition)

Unistic Composition oil, canvas, 65 x 66 signed: on the reverse on label "Wladyslaw / Strzeminski / 1923l haut / bas"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/MII 57

Donated by the Artist, 1945

Bibl.: BLOK. KURJER BLOKU, 1924 no. 8-9 ill., p. 4; A. Turowski, Konstruktywizm polski..., Wroclaw 1981 , pp. 48-49, footnote 74, pp. 56-58, pp. 140-142, footnote 75.

Exh.: Wilno 1923 (cat. no. 42 lub 43?); Warszawa 1924?; Riga 1924 (cat. no. 26-29?)?;Bruxelles 1924?; Lodz-Warszawa 1956/1957 (cat. no. 32); Essen-Otterlo 1973 (cat. no. 32, ill. p. 190); Stockholm 1975/1976 (cat. no. 32); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 30(; Bydgoszcz 1978 (cat. no. 36); Roma-Venezia 1979 (cat. no. 180); Beograd-Zagreb (cat. no. 59); Dusseldorf 1980 (cat. no. 2, ill. p. 58); Paris 1983 (cat. no. 613); Cambridge-Oxford (cat. no. 2); Odense-Hovikodden 1985/1986 (cat. no. 4, ill. p. 74); Apeldoorn 1989 (cat. no. I ); Budapest 1989/1990 (cat. no. 62); Wien 1993 (cat. p. 290); Vilnius 1993 (cat. no. 26); Lodz 1993 (cat. no. 43, ill. p. n.n.); Washington 1993 (cat.).

Note: In 1924 in a double issue of BLOK magazine four of the artist's paintings were reproduced, including this one. The three remaining paintings are believed to be lost (pp. VIII.4-6). The title is a modified version of the term which the author introduced in an article Post-suprematyzm (Post-suprematism, BLOK, 1924, no. I , p. n.n.), in which he wrote: "... the present union of the background and of the shapes into one original whole creates a post-suprematic painting." Later, in 1929 in an article Bilans modernizmu (The Summing-up of Modernism)published in the first issue of Europa maga zine, the artist made some critical observations on the lack of understanding of those pain tings, displayed by his contemporaries, and explained why he had given up that concept: "...8) When in 1923, during the period when the governing trend in art was the excessively precise geometrism, I painted from shapes which were not geometrical, not connected (reproduced in BLOK), one of the most intelligent Warsaw critics (...) wrote that I was painting suprematist paintings (whereas in reality the distinguishing feature of suprematism is an absolute geometrism of form), apparently in order to write later (...), when those shapes were used in Pa ris, about the significant changes which had occurred in French painting. Incidentally, I have given up composing from disconnected shapes, because such compositions do not produce cohesion of the painting and break it up into the shapes and the background (...)"

I.8

Still Life 3,

[1923] (ill. 7) (Flat postcubist construction)

oil, canvas, 50 x 61 not signed on the reverse: among the others - label, with a hand-written note (by the artist?) "Martwa natura 1925"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/MII 75

Donated by the Artist, 1945

Bibl.: A. Turowski, Konstruktywizm polski..., Wroclaw 1981 , p. 48, footnote 74.

Exh.: Wilno 1923 (cat. no. 41 ?)?; Warszawa 1924?; Lodz-Warszawa 1956/1957 (cat. no. 10); Venezia 1959 (cat. no. 65); Geneve 1959 (cat. no. 108, ill.); Essen-Otterlo 1973 (cat. no. 33, ill. p. 190); Zurich 1974 (cat. no. 233); Warszawa 1974 (cat. no. I ); Stockholm 1975/1976 (cat. no 33); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 110); Lodz 1977/1978; Bydgoszcz 1978 (cat. no. 37, ill.); Roma-Beograd-Zagreb Venezia 1979 (cat. no. 181 ); 1979 (cat. no. 60); Dusseldorf 1980 (cat. no. 3, ill. p. 68); Paris 1983 (cat. no. 614); Cambridge-Oxford 1984 (cat. no. 4); Lodz 1988; Budapest 1989/1990 (cat. no. 61 ); Wien 1993 (cat. p. 290, ill. p. 108); Vilnius 1993 (cat. no. 27); Lodz 1993 (cat. no. 44).

Note: As A. Turowski observed (d. bibliography), "owing to the foregrounding of its plane" this painting may have belonged to the cubist studies exhibited by the artist in Vilnius in 1923.

I.9

Flat Construction (Breakage of a black rectangle),

1923 (ill. 8) (Broken Rectangle - an analytical work)

relief, oil, wood, 52,5 x 63 not signed on the reverse: on the stretcher - a sealing-wax seal with a crowned eagle and a fragment of an inscription "...KOMISARJAT...".

coll. Muzeum Narodowe, Warszawa, inv. no. Dep. 1412 (on loan from private person)

Bibl.: BLOK, 1924 no. 6-7, p. n.n. ill. (reproduction of a graphic version); A. Turowski, Konstruktywizm polskie..., Wroclaw 1981 , pp. 48-49, footnote 74, ill. 182 (reproduction of a graphic version).

Exh.: Wilno 1923 (cat. no.)?; Warszawa 1924?; Riga 1924 (cat. no. 30-32?); Warszawa 1992 (cat. ill. n.n.); Vilnius 1993 (cat. no. 23); Lodz 1993 (cat. no. 40, ill.).

Note: As can be seen from a comparison with other works, the sealing-wax seal with the inscription "Komisarjaf sug-gests that this painting was sent to an exhibition of BLOK in Riga in 1924. The dating is confirmed by the graphic reproduction published in 1924, a practice quite frequent in contemporary periodicals and books. The artist used this method of reproducing his paintings many times.

I.10

Composition or Construction

[1923] (ill. 9)

relief, oil, wood, 76 x 45,8 not signed

coll. Galerie Stolz, Koln

Bibl.: BLOK, 1924 no. 3-4, ill. (reproduction of a graphic version, without the borders of the composition).

Exh.: Berlin 1991 (cat. no. 35, ill. p. 79); Berlin 1991/1992 (cat. pp. 158-159, ill. p. 159); Dusseldorf-Halle 1992 (cat. no. 127, ill. p.279).

I.11

Still Life,

1924 (ill. 76)

oil, canvas, 46 x 36,5 signed: bottom left 'W. Strzeminski" on the reverse: among the others - label with a hand-written note (by the Artist?) "Martwa natura 1924"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/MII 79

Donated by the Artist, 1945

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 3).

I.12

Unistic Composition 4,

c. 1924-1927 (ill. 10)

oil, canvas, 64 x 64 signed: on the stretcher in pencil "W. Strzeminski unizm" on the reverse: on the stretcher on all 4 sides the stamp "Iskra Karmanski, Krakow" and label with a hand-written note (by the artist?) "Komp. unist. 1932"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/MII 56

Donated by the Artist, 1945

Bibl.: A.TUROWSKI, KONSTRUKTYWISM polski..., Wroclaw 1981 , pp. 48-49. footnote 74, pp. 140-142, footnote 75.

Exh.: Warszawa 1927?; Warszawa 1933 (cat. no. 85-87?)?; Lodz 193312 (cat. no. 61 -63?)?; Lodz-Warszawa 1956/1957 (cat. no. 35); Paris 195712 (cat. no. 4); Essen-Otterlo 1973 (cat. no. 34, ill. p. 191); Zurich 1974 (cat. no. 243); Stockholm 1975/1976 (cat. no. 34); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 31 ); Bydgoszcz 1978 (cat. no. 38); Roma-Venezia 1979 (cat. no. 182); Beograd-Zagreb 1979 (cat. no'61 ); Dusseldorf 1980 (cat. no. 4); Paris 1983 (cat. no. 678); Apeldoorn 1989 (cat. no. 2 p. 299); Budapest 1989/1990 (cat. no. 63); Wien 1993 (cat. p. 290); Vilnius 1993 (cat. no. 28); Lodz 1993 (cat. no. 45).

Note: In 1945 the artist gave more than 80 of his works as a donation to the Muzeum Sztuki in Lodz. A label was then glued to the back of each of those paintings, with a hand-written note containing the title and the date when the work was created. The notes were probably written by the artist himself. He was dating the paintings ex post, which can probably explain the numerous errors discovered later. On the basis of these dates, two paintings (this one and the next one) were originally dated to 1932. In 1972-1973 those dates were corrected. It was assumed that the first composition was created around 1925, and the second around 1927. The present state of knowledge of the artist's works permits us to date those compositions to the years 1924-1927.

I.13

Unistic Composition 5,

C. 1924-1927 (ill. /1 )

oil, canvas, 64 x 40 signed: on the stretcher in pencil W. Strzeminski unizm" on the reverse: on the stretcher on all 4 sides the stamp "Iskra Karmanski, Krakow' and among the others label with a hand-written note (by the artist?) "Komp. unisty. 1932"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/MII 53

Donated by the Artist, 1945

Bibl.: A.Turowski, Konstruktywizm polski..., Wroclaw 1981, pp. 48-49, footnote 74, pp. 140-142, footnote 75.

Exh.: Warszawa 1927?; Warszawa 1933 (cat. no. 85-87?)?; Lodz 193312 (cat. no. 61 -63?)?; Lodz-Warszawa 1956/1957 (cat. no. 36); Essen-Otterlo 1973 (cat. no. 35, ill. p. 191 ); STOCKHOLM 1975/1976 (cat. no. 35); New York-Chicago 1976/1977; Montreal 1977 (cat. no' II1 ); Roma-Venezia 1979 (cat. no. 183); Beograd-Zagreb 1979 (cat. no. 62); Dusseldorf 1980 (cat. no. 5); Paris 1983 (cat. no. 679); Apeldoorn 1989 (cat. no. 3 p. 299); Budapest 1989/1990 (cat. no. 64); Vilnius 1993 (Cat. no. 29); Lodz 1993 (cat. no. 46); Washington 1993 (cat.).

Note: cf. - Note, cat. I. 12.

I.14

Architectural Composition 1

, 1926 (ill. 14)

oil, canvas, 90 x 64 not signed on the reverse: among the others label with a hand-written note (by the artist?) 'Komp. architekt. 1926"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/MII 61

Donated by the Artist, 1945

Bibl.: P. Restany, Le Musee d'Art..., DOMUS, 1968 no. 461 , ill.; A. TUROWSKI, KONSTRUKTYWIZM polski..., Wroclaw 1981 , pp. 156-158, footnote 126.

Exh.: Warszawa 1933 (cat. no. 74-84?)?; Lodz 193312 (cat. no. 50-60?)?; Lodz-Warszawa 1956/1957 (cat. no. 17, ill. 10); Paris 195712 (cat. no. I ); Bruxelles 1959 (cat. no. 98); Stockholm 1959 (cat. no. 97); New York 1960 (cat. no. 96, ill.); Warszawa 1962 (cat. no. 83, ill.); New York 1964 (cat. no. 84, ill.); Paris 1969 (cat. no. 26); Essen-Otterlo 1973 (cat. no. 45, ill. p. 199); Zurich 1974 (cat. no. 234); Warszawa 1974 (cat. no. 2); Stockholm 1975/1976 (cat. no. 45, ill.); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 39); Bydgoszcz 1978 (cat. no. 44, ill.); Roma-Venezia 1979 (cat. no. 193, ill.); Beograd-Zagreb 1979 (cat. no. 72, ill.); Dusseldorf 1980 (cat. no. 15, ill. p. 70); Paris 1983 (cat. no. 689); Cambridge-Oxford 1984 (cat. no. 5, ill. p. 69); Odense-Hovikodden 1985/1986 (cat. no. 6, ill. p. 74); Apeldoorn 1989 (cat. no. 10, ill. p. 81 ); Budapest 1989/1990 (cat. no. 74, ill. p. 89(; Valencia 1990 (cat. no. 158, ill. p. 189(; Warszawa 199/12 (cat. no. 215(; Dusseldorf-Halle 1992 (cat. no. 129, ill. p. 278).

Note: Around 1926, soon after the foundation of the Praesens gro-up, this painting was temporarily incorporated in the arrangement of the of the studio of Helena and Szymon Syrkus in Warsaw (d. ill. p.67). In the second half of that decade the artist entrusted many of his works to his friends in Warsaw. He wrote about it in his letters to Julian Przybos. This painting is the earliest architectural composition known to us, hence the number "I " in its title, introduced in 1972-1973 by a group of art scholars studying the collection of the Muzeum Sztuki in Lodz. The titles of the remaining works of this series are marked not only chronologically (2 - 15), but also with letters (a, b, c, d) as a result of detailed analyses of the composition of the each paintings.

I.15

Still Life,

1926 (ill. 80)

tempera, cardboard, 28,5 x 29 not signed on the reverse: label of a book-binder "Lepold Nikel, Lodz" and among the others label with a hand-written note (by the artist?) "Martwa natura 1926"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/MII 78

Donated by the Artist, 1945

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 12); Odense-Hovikodden 1985/1986 (cat. no. 26, ill. p. 79).

I.16

Still Life VI,

1926 (ill. 78)

oil, canvas, 50 x 59 signed: bottom right "W.Strzeminski" On the reverse: label with an inscription "Cech Artystow Plastykow" I Jednorog 1 Wladyslaw Strzeminski I martwa natura VI 1360 zt I IV i V /1926".

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/MII 82

Donated by the Artist, 1945

Exh.: Krakow 1926 (cat. no. 136); Lodz 1926 (cat. no. 134(; Warszawa 1984/1 ; Warszawa 1987/1991 .

I.17

Still Life,

c. 1926 (ill. 79)

oil, canvas, 47 x 56,5 not signed on the reverse: on the stretcher On all 4 sides - the stamp" Sktad Karmanski, Krakow"

coll. Nika Strzeminski, Warszawa

Exh.: Warszawa 1989 (cat. without a list of works).

I.18

Still Life,

c. 1926-1927 (ill. 81 )

oil, canvas, 57 x 38 signed: bottom right "W. Strzeminski" on the reverse: on the canvas, top left, a label with the words 'TOSSPO-WARSZAWA" printed, and with the following words typed: "Wladyslaw Strzeminski I address: Koluszki-Gimnazjum"; on it, there is a round stamp with a boat in the middle and a hardly legible inscription (ZBIORY ...); on the stretcher. a hand-written note in navy-blue pencil "Koluszki Gimnazjum" and "Polonaise", a round stamp with a partially effaced inscription "GR... I HAAG. 1104"; a label with the number "128", and the letter "E" in red paint.

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/MI 83

Donated by the Artist, 1930?

Bibl.: M.Minich, 0 nowa organizaqe muzeow..., in: Sztuka Wspofczesna..., Krakow 1966, ill. 15.

Exh.: Bruxelles 1928/1929 (cat. no. 258); Gravenhage-Amsterdam 1929 (cat. no. ?); Lodz-Warszawa 1956/1957 (cat. no. 4); Odense-Hovikodden 1985/1986 (cat. no. 27, ill. p'79); Lodz 1988.

Note: This painting was in the collection of the Museum in Lodz before the World War II. During the Nazi occupation it was included in the list Entartete und judische Kunst prepared by the Nazis. This is confirmed by the number "128" and the letter "E" on the stretcher. Since the museum inventories from before the war are incomplete, it is impossible to establish precisely how and when this painting was obtained.

I.19

Architectural Composition 2 a

, 1927 (ill. 16)

oil, canvas, 73 x 78 signed: On the reverse in black paint "W.Strzeminski"; top "HAUT', bottom "BAS' on the reverse: among the others card with a hand-written note (by the artist?) "Komp. architekt. 1927" and another card with the date "1928"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 62

Donated by the Artist, 1945

Bibl.: A.Turowski, Konstruktywizm polski..., Wroclaw 1981 , pp. 156-158, footnote 126.

Exh.: Paris 1928 (cat. no. 2560-2562?); Lodz-Warszawa 1956/1957 (cat. no. 18); Essen-Otterlo 1973 (cat. no. 46, ill. p. 200); Stockholm 1975/1976 (cat. no. 46); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 40); Bydgoszcz 1978 (cat. no. 45); Roma-Venezia 1979 (cat. no. 194); Beograd-Zagreb 1979 (cat. no. 73); Dusseldorf 1980 (cat. no. 16, ill. p. 71); Paris 1983 (cat. no. 690, ill. p. 221 ); Lodz 1988; Lyon 1992 (cat. p. 277).

I.20

Architectural Composition 3 a

, 1927 (ill. 17)

oil, canvas, 62 x 62 not signed on the reverse: among the others label with hand-written note (by the artist?) "Kompoz. architekt. 1927"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 55

Donated by the Artist, 1945

Bibl.: A.Turowski, Konstruktywizm polski..., Wroclaw 1981 , pp. 156-158, footnote 126.

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 20); Essen-Otterlo 1973 (cat. no. 47, ill. p. 200); Stockholm 1975/1976 (cat. no. 47); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 41 ); Bydgoszcz 1978 (cat. no. 46); Roma-Venezia 1979 (cat. no. 195); Beograd-Zagreb 1979 (cat. no. 74); D,sseldorf 1980 (cat. no. 17, i/l. p. 72); Paris 1983 (cat. no. 691 (; Lyon 1992 (cat. p. 277).

I.21

Architectural Composition 4 a

, 1927 (ill. 18)

oil, canvas, 72 x 78 signed: on the reverse in black paint "W.Strzeminski"; top "HAUT", bottom "BAS" on the reverse: among the others card with a hand-written note (by the artist?) "Komp, architekt. 1927" and another card with date "1928"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/163 Donated by the Artist, 1945

Bibl.: A. Turowski, Konstruktywizm polski. .., Wroclaw 1981 , p. 156-158, footnote 126.

Exh.: Paris 1928 (cat. no. 2560-2562?); Lodz-Warszawa 1956/1957 (cat. no. 19); Essen-Otterlo 1973 (cat. no. 48, ill. p. 200 ); Stockholm 1975/1976 (cat. no. 48); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 42); Roma-Venezia 1979 (cat. no. 196); Beograd-Zagreb 1979 (cat. no. 75); Dusseldorf 1980 (cat. no. 18); Paris 1983 (cat. no. 692, ill. p. 220); Cambridge-Oxford 1984 (cat. no. 6); Odense-Hovikodden 1985/1986 (cat. no. 7, ill. p. 74(; Lodz 1988; Lyon 1992 (cat. p. 277).

I.22

Still life with a Tea-pot,

1927-1928 (ill. 77)

oil, canvas, 39 x 46,5 not signed on the reverse: in the middle - an isoceles triangle with vertical line on top in black paint

coll. Muzeum Narodowe, Poznan, inv. no. Mp 2027

Purchased from Adam Tarn, 1968 (Adam Tarn had bought this painting from the artist before 1939)

Bibl. : Wien xx, 1928 no. 3, ill. p. 4; Wiedza o Polsce, T. 11, Warszawa 1932, plate XXXIX.

Exh.: Warszawa 1928/1 (cat. no. 105-107?); Wilno 1928?.

I.23

Unistic Composition 6,

1928 (ill. 12)

oil, canvas, 64 x 64 not signed on the reverse: among the others label with a hand-written note (by the artist?) "Komp. unist. 1928"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 58

Donated by the Artist, 1945

Bibl.: A.Turowski, Konstruktywizm polski..., Wroclaw 1981 , pp. 140-142, footnote 75.

Exh.: Warszawa 1933 (cat. no. 85-87?); Lodz 1933/2 (cat. no. 61-63?); Essen-Otterlo 1973 (cat. no. 36, ill. p. 191); Stockholm 1975/1976 (cat. no. 36); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 112); Lodz 1977/1978; Roma-Venezia 1979 (cat. no. 184); Beograd-Zagreb 1979 (cat. no. 63); Dusseldorf 1980 (cat. no. 6); Paris 1983 (cat. no. 680); Apeldoorn 1989 (cat. no. 4 p. 299); Budapest 1989/1990 (cat. no. 65); Vilnius 1993 (cat. no. 30); Lodz 1993 (cat. no. 47).

Note: This painting was shown at the Exhibition of Grupa Plastykow Nowoczesnych in Warsaw and in Lodz in 1933. It has been identified after a photograph which shows a room with works by Henryk Staiewski, Katarzyna Kobro, and Wladyslaw Strzeminski in the Warsaw Instytut Propagandy Sztuki (cf. il. p. 78). On the right we can see 8 paintings by the artist, the first of which is this composition. It is difficult to identify positively the remaining ones, owing to the poo or quality of the photograph.

I.24

Architectural Composition 5 b,

[1928] (ill. 19) oil, canvas, 96 x 60 not signed on the reverse: among the others label with hand-written note (by the artist?) "Komp. architekt. 1929" coll, Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 67

Donated by the Artist, 1945

Bibl.: A.Turowski, konstruktywizm polski... , Wroclaw 1981 , pp. 156-158, footnote 126.

Exh.: Warszawa 1933 (cat. no. 74-78?)?; Lodz 1933/2 (cat. no. 50-60?)?; Lodz-Warszawa 1956/1957 (cat. p. 25); Essen-Otterlo 1973 (cat. no. 49, ill. p. 201 ); Zurich 1974 (cat. no. 235); Warszawa 1974 (cat. no. 3); Stockholm 1975/1976 (cat. no. 49); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 43); Bydgoszcz 1978 (cat. no. 47); RomaVenezia 1979 (cat. no. 197); Beograd-Zagreb 1979 (cat. no. 76); Dusseldorf 1980 (cat. no. 19, ill. p. 73); Paris 1983 (cat. no. 693, ill. p. 221 ); Cambridge-Oxford 1984 (cat. no. 7); Odense-Hovikodden 1985/1986 (cat. no. 8, ill. p. 75); Lodz 1988; Apeldoorn 1989 (cat. no. 11 , p. 300); Budapest 1989/1990 (cat. no. 75); Lyon 1992 (cat. p. 277); Washington 1993 (cat.).

I.25

Architectural Composition 6 b

, 1928 (ill. 20)

oil, canvas, 96 x 60 not signed on the reverse: on the stretcher on all 4 sides the stamp "Iskra Karmanski, Krakow" and among the others label with a hand-written note (by the artist?) "Komp. architekt. 1929".

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 72

Donated by the Artist, 1945

Bibl.: ABSTRACTION-CREATION, 1932 no. I , p. 35 (repr. signed "Strzeminski W. 1928"); A. TUROWSKI, KONSTRUKTYWIZM polski. . ., Wroclaw 1981 , pp. 156-158, footnote 126.

Exh.: Warszawa 1933 (cat. no. 74-84?)?; Lodz 1933/2 (cat. no. 50-60?)?; Lodz-Warszawa 1956/1957 (cat. p. 25); Paris 1957/2 (cat. no. 2); Amsterdam 1959 (cat. no. n.n.); Kobenhavn 1959 (cat. no. 55); Zurich 1960 (cat. no. 40, ill.); London 1970 (cat. no. 393); Essen-Otterlo 1973 (cat. no. 50, ill. p. 201 ); Zurich 1974 (cat. no. 236); Warszawa 1974 (cat. no. 4); Stockholm 1975/1976 (cat. no. 50); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 44); Munster-Paris 1978 (cat. no. 3, ill.); Roma-Venezia 1979 (cat. no. 198); Beograd-Zagreb 1979 (cat. no. 77); Dusseldorf 1980 (cat. no. 20, ill. p. 74); Paris 1983 (cat. no. 694); Cambridge-Oxford 1984 (cat. no. 8(; Odense-Hovikodden 1985/1986 (cat. no. 9, ill. p. 75); Lodz 1988; Apeldoorn 1989 (cat. no. 12 p. 300); Budapest 1989/1990 (cat. no. 76, ill. p. 71 ); Lyon 1992 (cat. p. 277); Wien 1993 (cat. p. 290, ill. p. 109); Washington 1993 (cat.).

I.26

Architectural Composition 7 b,

1928 (ill. 21 )

oil, canvas, 96 x 60 not signed on the reverse: on the stretcher on all 4 sides the stamp "Iskra Karmanski, Krakow" and among the others label with a hand-written note (by the artist?) "Komp. architekt. 1929"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 68

Donated by the Artist, 1945

Bibl.: ABSTRACTION-CREATION, 1932 no. I , p. 35 (repr.sign. "Strzeminski W. 1928"); A.TUROWSKI, Konstruktywizm polski.. ., Wroclaw 1981 , pp. 156-158, footnote 126.

Exh.: Warszawa 1933 (cat. no. 74-84?)?; Lodz 1933/2 (cat. no. 50-60?)?; Lodz-Warszawa 1956/1957 (cat. p. 25); Essen-Otterlo 1973 (cat. no. 51 , ill. p. 201 ); Stockholm 1975/1976 (cat. no. 51 ); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 45); Roma-Venezia 1979 (cat. no. 199, ill.); Beograd-Zagreb 1979 (cat. no. 78, ill.); Dusseldorf 1980 (cat. no. 21 , ill. p. 59); Paris 1983 (cat. no. 695, ill. p. 221 ); Cambridge-Oxford 1984 (cat. no. 9); Odense-Hovikodden 1985/1986 (cat. no. 10, ill. p. 75); Lodz 1988; Apeldoorn 1989 (cat. no. 13, p. 300); Budapest 1989/1990 (cat. no. 77); Lyon 1992 (cat. p. 277); Berlin 1992/1993 (cat. p. 148, ill. p. 49); Washington 1993 (cat.).

I.27

Still life, 1928

(ill. 83)

oil, canvas, 38 x 46 signed: bottom left "W.Strzeminski" on the reverse: on the stretcher on all 4 sides the stamp "Iskra Karmanski, Krakow" and, among the others, label with a hand-written note (by the artist?) "Martwa natura 1929".

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 77

Donated by the Artist, 1945

Bibl.: Sztuni Pienne, 1929, ill. p. 108 (signed "Kazimierz Strzeminski"); W. Strzeminski, Nasza Zawatfosc Wzrokowa.. . , FORMA, 1934 no. 2, p. 17-18, ill. p. 17; A.Turowski, konstruktywizm polski. . ., Wroclaw 1981 , pp. 206-207, footnote II1 .

Exh.: Krakow 1929 (cat. no. 138-148?); Lodz-Warszawa 1956/1957 (cat. no. 13, ill. 8); Venezia 1959 (cat. no. 66); Geneve 1959 (cat. no. 109); Opole-Bydgoszcz 1979 (cat. no. 51 ); Odense-Hovikodden 1985/1986 (cat. no. 30, ill. p. 80); Lodz 1988.

Note: In the artist's published statements only a few of his works get commented on directly. This painting is one of them. In 1934 in FORMA Magazine the artist wrote: ". . . For the painting reproduced here, the starting-point was nature: a woolen glove, a box of cigarette tubes, and a pack of tobacco, lying on a table in the room. For the purpose of connecting these objects with the general plane of the painting, I reduced their form to elements which could be expressed as flat elements: lines, the plane of colour, and the plane of texture (the glove). The interaction of form of these objects manifests itself in the disappearance of similar elements and in the emergence of contrasting elements (for instance, the textural, blurred patch of the glove is juxtaposed with the almost geometrical linearity of the box of cigarette tubes). The more contrasting elements one gets out of nature, the greater the general tension of the form of the painting becomes. However, what attracted me the most in this painting was the rhythmicity of the beating of the patches resulting from the strength of their colour."

I.28

Landscape from Koluszki,

1928 (ill. 84)

oil, canvas, 56 x 84 not signed on the reverse: among the others label with a handwritten note (by the artist?) "Pejzai w Koluszkach 1928"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 80

Donated by the artist, 1945

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 2).

I.29

landscape from Koluszki,

C. 1928 (ill. 87)

oil, canvas, 62 x 62 not signed

coll. Nika Strzeminska, Warszawa (given by Konstancja Bulinska)

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 9); Warszawa 1989 (cat. without a list of works).

I.30

Still life with a Wine Glass,

c. 1928 (ill. 82)

oil, canvas, 38 x 57,5 not signed

coll. Muzeum Narodowe, Poznan, inv. no. Mp. 2026

Purchased from Adam Tarn, 1968 (Adam Tarn had received this painting from the artist before 1939)

Bibl.: A.Turowski, KONSTRUKTYWIZM polski..., Wroclaw 1981 , p. 84, 207 ill. 84.

I.31

Self-portrait, c. 1928

(ill. 87)

oil, canvas, 54 x 43 signed: on the stretcher in pencil "Strzeminski / Autoportret" on the reverse: on the stretcher on all 4 sides the stamp "Iskra Karmanski, Krakow'

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 81

Donated by the Artist, 1945

Exh.: Lodz 1932/1 (cat. no. 160); Lodz-Warszawa 1956/1957 (cat. no. 8, ill. 7); Lodz 1977/1978; Opole-Bydgoszcz 1979 (cat. no. 49, ill.); Odense-Hovikodden 1985/1986 (cat. no. 28, ill. p. 80); Lodz 1988.

I.32

Architectural Composition 8 b,

1928-1929 (ill. 22)

oil, canvas, 96 x 60 not signed on the reverse: on the stretcher on all 4 sides the stamp "Iskra Karmanski, Krakow" and among the others label with hand-written note (by the artist?) "Komp. architekt. 1929"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 71

Donated by the Artist, 1945

Bibl.: A.Turowski, konstruktywizm polski. .., Wroclaw 1981 , p. 156-158, footnote 126.

Exh.: Poznan 1929 (cat. no. 1143, ill. p. 104); Warszawa 1933 (cat. no. 74-84?)?; Lodz 1933/2 (cat. no. 50-60?)?; Lodz-Warszawa 1956/1957 (cat. p. 25); New York 1960 (cat. no. 97); Essen-Otterlo 1973 (cat. no. 52, ill. p. 201 ); Zurich 1974 (cat. no. 237); Warszawa 1974 (cat. no. 5); Stockholm 1975/1976 (cat. no. 52); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 46); Lodz 1977/1978; Roma-Venezia 1979 (cat. no. 200); Beograd-Zagreb 1979 (cat. no. 79); Dusseldorf 1980 (cat. no. 22, ill. p. 75); Paris 1983 (cat. no. 696, ill. p. 220); Cambridge-Oxford (cat. no. 10); Odense-Hovikodden 1985/1986 (cat. no. II , ill. p. 75); Tokyo-Kamakura 1988/1989 (cat. III. 35 no. 95, ill. p. 106); Madrid 1989 (cat. III, ill. p. 107); Apeldoorn 1989 (cat. no. 14, p. 300, ill. p. 69); Budapest 1989/1990 (cat. no. 78, ill. p. 89); Las Palmas 1990 (cat. 119A, ill. p. 175); Warszawa 1991/2 (cat. p. 215); Lyon 1992 (cat. p. 277); Washington 1993 (cat.).

I.33

Houses in Garden,

c. 1928-1929 (ill. 85)

oil, canvas, 50 x 73 signed: bottom right "W. Strzeminski" on the reverse: on the stretcher bottom left, in red paint "E", on the right an almost illegible stamp ".. .VER.. ./JOHAN. ../Litzmanstadt".

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/46

Donated by the "a.t" group, 1930

Bibl.: H.Anders, Wladyslaw Sfrzeminski..., in: Szfuka Wspolczesna. . .., Krakow 1966, ill. p. 264; Kafalog Migdzynarodowej Kolekcji Szfuki Nowoczesnej, in: Grupa "a.t'. 40-lecie kolekcji..., Lodz 1971 , no. ill. 83; A.Turowski, Konstruktywizm polski..., Wroclaw 1981 , p. 206-207, footnote II1 .

Exh.: Lodz-Warszawa 1956/1957 (cat. no. I , ill. 6); Lodz 1977/1978; Radom 1978; Opole-Bydgoszcz 1979 (cat. no. 50); Odense-Hovikodden 1985/1986 (cat. no. 29, ill. p. 80); Lodz 1988; Rolandseck 1989 (cat. p. 56).

Note: During the World War II this painting was included by the Nazis in the special collection Entartete und judische Kunst, selected from the collection of the Museum in Lodz. This is confirmed - among the others - by the letter "E" painted on the stretcher.

I.34

Unistic Composition 7,

1929 (ill. 13)

oil, canvas, 77 x 63 not signed on the reverse: among the others label with a hand-written note (by the artist?) "Komp. unistyczna 1929"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 59

Donated by the Artist, 1945

Bibl.: A.Turowski, Konstruktywizm polski.. . , Wroclaw 1981 , p. 140-142, footnote 75.

Exh.: Warszawa 1933 (cat. no. 85-87?)?; Lodz 1933/2 (cat. no. 61 -63?)?; Essen-Otterlo 1973 (cat. no. 37, ill. p. 191); Stockholm 1975/1976 (cat. no. 37); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 113); Roma-Venezia 1979 (cat. no. 185); Beograd-Zagreb 1979 (cat. no. 64); Dusseldorf 1980 (cat. no. 7); Paris 1983 (cat. no. 681 ); Apeldoorn 1989 (cat. no. 5, p. 299); Budapest 1989/1990 (cat. no. 66); Vilnius 1993 (cat. no. 31 p. 35); Lodz 1993 (cat. no. 48); Washington 1993 (cat.).

I.35

Architectural Composition,

1929 (ill. 30)

oil, canvas, 95 x 60 not signed

Private coll. , Lodz

Bibl.: L'ART CONTEMPORAINS ZTUNA WSPOTCZESNA, 1930 no. 3, ill. p. 89; W.Strzeminski, K.Kobro, Kompozycja Przestrzeni. .., Lodz [1931 ], ill. 42 i 43 (signed "W.Strzeminski /1929"); J.Brzgkowski, Ki/ometrage de..., Paris 1931 , ill. p. n.n.; TYGODNIK ARTYSTOW, 1935 no. 15, ill. p. 3 (reversed).

Exh.: Warszawa 1933 (cat. no. 74-84?)? ; Lodz 1933/2 (cat. no. 50-60?)?; Krakow 1935?.

Note: This painting, known from numerous pre-war reproductions, was found in 1989 in a private collection. Owing to the bad conditions in which it was kept, it was severely damaged, and in 1991 it underwent restoration work. In Kompozycja Przestrzeni... (Space Compositon), using this painting as a model, the artist presented "a diagram for calculating the ratios", which he had used while forming the organization of spatial rhythms (cf. ill. p. 18)

I.36

Architectural Composition 9 c,

1929 (ill. 23)

oil, canvas, 96 x 60 not signed on the reverse: on the stretcher on all 4 sides the stamp "Iskra Karmanski, Krakow" and, among the others, label with a hand-written note (by the artist?) "Komp. architekt. 1929".

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/1 70

Donated by the Artist, 1945

Bibl.: A.Turowski, Konstruklywizm polski..., Wroclaw 1981 , pp. 156-158, footnote 126.

Exh.: Warszawa 1933 (cat. no. 74-84?)?; Lodz 1933/2 (cat. no. 50-60?)?; Lodz-Warszawa 1956/1957 (cat. p. 25); Paris 1969 (cat. no. 28); Essen-Otterlo 1973 (cat. no. 53, ill. p. 99); Zurich 1974 (cat. no. 238); Warszawa 1974 (cat. no. 6); Stockholm 1975/1976 (cat. no. 53, ill.); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 47); Paris 1977/1978; Bydgoszcz 1978 (cat. no. 48); Roma-Venezia 1979 (cat. no. 201 ); Beograd-Zagreb 1979 (cat. no. 80); Dusseldorf 1980 (cat. no. 23, ill. p. 76); Paris 1983 (cat. no. 697, ill. p. 169); Cambridge-Oxford 1984 (cat. no. 11 ); Odense-Hovikodden 1985/1986 (cat. no. 12, ill. p. 76); Lodz 1988; Apeldoorn 1989 (cat. no. 15 p. 300, ill. p. 70); Budapest 1989/1990 (cat. no. 79, ill. p. 72); Valencia 1990 (cat. no. 153, ill. p. 188); Warszawa 1991 /2 (cat. p. 215, ill. p. 76); Lyon 1992 (cat. p. 277, ill. 35 p. 57); Washington 1993 (cat.).

I.37

Architectural Composition 10 c,

1929 (ill. 24)

oil, canvas, 96 x 60 not signed on the reverse: on the stretcher on all 4 sides the stamp "Iskra Karmanski, Krakow" and, among the others label with a hand-written note (by the artist?) "Komp. architekt. 1929"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/1 74

Donated by the Artist, 1945

Bibl.: M.Seuphor, L'Art abstrait... , Paris 1972, ill. 148; A.Turowski, Konstruktywizm polski .. . , Wroclaw 1981 , pp. 156-158, footnote 126.

Exh.: Warszawa 1933 (cat. no. 74-84?)?; Lodz 1933/2 (cat. no. 50-60?)?; Lodz-Warszawa 1956/1957 (cat. p. 25); New York 1964 (cat. no. 85); Paris 1969 (cat. no. 27); Essen-Otterlo 1973 (cat. no. 54, ill. p. 202); Stockholm 1975/1976 (cat. no. 54); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 48); Lodz 1977/1978; Bydgoszcz 1978 (cat. no. 49); Roma-Venezia 1979 (cat. no. 202); Beograd-Zagreb 1979 (cat. no. 81 ); Dusseldorf 1980 (cat. no. 24, ill. p. 69); Paris 1983 (cat. no. 698); Cambridge-Oxford 1984 (cat. no. 12, ill. p. 58); Odense-Hovikodden 1985/1986 (cat. no. 13, ill. p. 76); Apeldoorn 1989 (cat. no. 16 p. 300, ill. p. 71 ); Budapest 1989/1990 (cat. no. 80, ill. p. 89); Las Palmas 1990 (cat. II 10 A, ill. p. 176); Valencia 1990 (cat. no. 154, ill. p. 188); Lyon 1992 (cat. p. 277); Washington 1993 (cat.).

1.38.

Architectural Composition 11 c,

1929 (ill. 25)

oil, canvas, 96 x 60 not signed on the reverse: on the stretcher on all 4 sides the stamp "Iskra Karmanski, Krakow" and, among the others, label with a hand-written note (by the artist?) "Komp. architekt. 1929"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/1 65

Donated by the Artist, 1945

Bibl.: A.Turowski, Konstruktywizm polski... , Wroclaw 1981 , pp. 156-158, footnote 126.

Exh.: Warszawa 1933 (cat. no. 74-84?)?; Lodz 1933/2 (cat. no. 50-60?)?; Lodz-Warszawa 1956/1957 (cat. p. 25); EssenOtterlo 1973 (cat. no. 55, ill. p. 202); Stockholm 1975/1976 (cat. no. 55); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 49); Bydgoszcz 1978 (cat. no. 50); Roma-Venezia 1979 (cat. no. 203); Beograd-Zagreb 1979 (cat. no. 82); Dusseldorf 1980 (cat. no. 25, ill. p. 77); Paris 1983 (cat. no. 699, ill. p. 220); Cambridge-Oxford 1984 (cat. no. 13); Odense-Hovikodden 1985/1986 (cat. no. 14, ill. p. 76); Lodz 1988; Apeldoorn 1989 (cat. no. 17 p. 300); Budapest 1989/1990 (cat. no. 81); Lyon 1992 (cat. p. 277); Washington 1993 (cat.).

I.39

Architectural Composition 12 c,

1929 (ill. 26)

oil, canvas, 96 x 60 not signed on the reverse: on the stretcher on all 4 sides the stamp "Iskra Karmanski, Krakow" and, among the others, a partly damaged label with a hand-written note (by the artist?) "Komp. architekt. 19.."

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/1 66

Donated by the Artist, 1945

Bibl.: A.Turowski, Konstruktywizm polski... , Wroclaw 1981 , pp. 156-158, footnote 126.

Exh.: Warszawa 1933 (cat. no. 74-84?)?; Lodz 1933/2 (cat. no. 50-60?(?; Lodz-Warszawa 1956/1957 (cat. p. 25, ill. 11 ); Venezia 1959 (cat. no. 67); Geneve 1959 (cat. no. 110); Essen-Otterlo 1973 (cat. no. 56, ill. p. 202); Zurich 1974 (cat. no. 239); Warszawa 1974 (cat. no. 7); Stockholm 1975/1976 (cat. no. 56); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 56); Roma-Venezia 1979 (cat. no. 204); Beograd-Zagreb 1979 (cat. no. 83); Dusseldorf 1980 (cat. no. 26, ill. p. 59); Paris 1983 (cat. no. 700); Cambridge-Oxford 1984 (cat. no. 14); Odense-Hovikodden 1985/1986 (cat. no. 15, ill. p. 76); Lodz 1988; Apeldoorn 1989 (cat. no. 18 p. 300); Budapest 1989/1990 (cat. no. 82); Las Palmas 1990 (cat. 1 I 11 A, ill. p. 177); Lyon 1992 (cat. p. 277); Wien 1993 (cat. p. 290, ill. p. 110); Washington 1993 (cat.).

I.40

Architectural Composition 13 c,

1929 (ill. 27)

oil, canvas, 96 x 60 not signed on the reverse: on the stretcher on all 4 sides the stamp "Iskra Karmanski, Krakow" and, among the others, label with a hand-written note (by the artist?) "Komp. architekt. 1929"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 69

Donated by the Artist, 1945

Bibl.: A.Turowski, konstruktywizm polski..., Wroclaw 1981 , pp. 156-158, footnote 126.

Exh.: Warszawa 1933 (cat. no. 74-84?)?; Lodz 1933/2 (cat. no. 50-60?)?; Lodz-Warszawa 1956/1957 (cat. p. 25); Essen-Otterlo 1973 (cat. no. 57, ill. p. 204(; Zgierz 1975; Stockholm 1975/1976 (cat. no. 57); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 51 (; Roma-Venezia 1979 (cat. no. 205); Beograd-Zagreb 1979 (cat. no. 84); Dusseldorf 1980 (cat. no. 27, ill. p. 78); Paris 1983 (cat. no. 701 , ill. p. 182); Cambridge-Oxford 1984 (cat. no. 15, ill. p. 12); Odense-Hovikodden 1985/1986 (cat. no. 16, ill. p. 77); Apeldoorn 1989 (cat. no. 19 p. 300, ill. p. 72); Budapest 1989/1990 cat. no. 83, ill. p. 73 i 89(; Valencia 1990 (cat. no. 155, ill . p. 188); Lyon 1992 (cat. p. 277); Berlin 1992/1993 (cat. p. 148, ill. p. 31); Washington 1993 (cat.).

I.41

architectural Composition 14 d,

1929 (ill. 15)

oil, canvas, 96 x 60 not signed on the reverse: on the stretcher on all 4 sides the stamp "Iskra Karmanski, Krakow" and label with a hand-written note (by the artist?) "Komp. architekt. 1929"

coll. Muzeum Sztuki, Lodz. inv. no. MS/SN/M/I 64

Donated by the Artist, 1945

Bibl.: A.Turowski, konstruktywizm polski. .., Wroclaw 1981 , pp. 156-158, footnote 126.

Exh.: Warszawa 1933 (cat. no. 74-84?)?; Lodz 1933/2 (cat. no. 50-60?)?; Lodz-Warszawa 1956/1957 (cat. p. 25); Amsterdam 1959 (cat. no. n.n.); Kobenhavn 1959 (cat. no. 54); Paris 1969 (cat. no. 30); Essen-Otterlo 1973 (cat. no. 58, ill. p. 203); Zurich 1974 (cat. no. 240 ill.); Warszawa 1974 (cat. no. 8); Stockholm 1975/1976 (cat. no. 58); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 52); Bydgoszcz 1978 (cat. no. 51 ill.); Roma-Venezia 1979 (cat. no. 206); Beograd-Zagreb 1979 (cat. no. 85); Dusseldorf 1980 (cat. no. 28, ill. p. 79); Paris 1983 (cat. no. 702(; Cambridge-Oxford 1984 (cat. no. 16); Odense-Hovikodden 1985/1986 (cat. no. 17, ill. p. 77); Hannover 1987/1988 (cat. no. 226, ill. p. 126); Lodz 1988; Como 1989 (cat. no. n.n., ill. 218); Budapest 1989/1990 (cat. no. 84, ill. p. 74); Valencia 1990 (cat. no. 157, ill. p. 189); Lyon 1992 (cat. p. 277); Berlin 1992/1993 (cat. p. 148, ill. p. 37); Washington 1993 (cat.).

I.42

Architectural Composition 15 d,

1929 (ill. 28)

oil, canvas, 96 x 60 not signed on the reverse: on the stretcher on all 4 sides the stamp "Iskra Karmanski, Krakow" and, among the others, label with a handwritten note (by the artist?) "Komp. architekt. 1929"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 73

Donated by the Artist, 1945

Bibl.: A. Turowski, Konstruktywizm polski... , Wroclaw 1981 , pp. 156-158, footnote 126.

Exh.: Warszawa i 933 (cat.no.74-84?)?; Lodz 1933/2(cat.no.50-60?)?; Lodz-Warszawa 1956/1957 (cat. p. 25); Paris 1969 (cat. no. 31 , ill.); London 1970 (cat. no. 394); Strasbourg 1970 (cat. no. 200); Essen-Otterlo 1973 (cat. no. 59, ill. p. 204); Zurich 1974 (cat. no. 241 ); Warszawa 1974 (cat. no. 9); Stockholm 1975/1976 (cat. no. 59, ill.); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 53); Lodz 1977/1978; Bydgoszcz 1978 (cat. no. 52); Roma-Venezia 1979 (cat. no. 207); Beograd-Zagreb 1979 (cat. no. 86); Dusseldorf 1980 (cat. no. 29, ill. p. 80); Paris 1983 (cat. no. 703, ill. p. 183); Cambridge-Oxford 1984 (cat. no. 17, ill. p. 69); Odense-Hovikodden 1985/1986 (cat. no. 18, ill. p. 77); Apeldoorn 1989 (cat. no. 20 p. 300, ill. p. 73); Budapest 1989/1990 (cat. no. 85); Valencia 1990 (cat. no. 156, ill. p. 188); Lyon 1992 (cat. p. 277); Wien 1993 (cat. p. 290, ill. p. II1 ); Washington 1993 (cat.).

I.43

Architectural Composition,

C. 1929 (ill. 29)

oil, canvas, 63,5 x 39,5 not signed r on the reverse: label with a hand-written note "Wladyslaw Strzeminski Composition".

coll. Fondazione Marguerite Arp, Locarno, Schweiz

(Donated by the Artist to Hans Arp)

Bibl.: J. Przybos, U Denise Rene . .. , PRZEGI>)D KULTURAINY, 1958 no. 4, p. 7.

Exh.: Basel 1937 (cat. no. 107(; Essen-Otterlo 1973 (cat. no. 41 a); Dusseldorf 1980 (cat. no. 12 b); Paris 1983 (cat. no. 686); Bellinzona-Kaiserlautern 1991/1992 cat. no. 179, ill. p. 197).

Note: Strzeminski gave Hans Arp two paintings, probably in the early 1930's. The second one is in the collection of the Museum in Otterlo (cf. cat. 1. 55). In 1958 Julian Przybos stated that Arp possessed three of the Artist's compositions, one of which he had lent to the Museum in Basle, but Przybos was mistaken, because the painting sent to Basle was by Henryk Staiewski.

I.44

Still life,

c. 1930 (ill. 88)

tempera, cardboard, 21 ,5 x 24 not signed

coll. Nika Strzeminska, Warszawa

Exh.: Warszawa 1989 (cat. without a list of works).

I.45

Still life,

c. 1930 (ill. 89)

oil, canvas, 50 x 62 not signed on the reverse: among the others a label with the number "102"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/42

Donated by the "a.r."group, 1931

Bibl.: Migdzynarodowa Kolekcja Szfuki Nowoczesnej.. . , (exh. cat.) Lodz 1932, no. 62 lub 64, ill. on the cover, Katalog Migdzynarodowej Kolekcji Szfuki Nowoczesnej daru grupy "a.r.", in: Grupa "a.r.". 40lecie Kolekcji.. ., Lodz 1971 , no. 82 ill.

Exh.: Lodz 1932/5 (cat. no. 62, 64?); Lodz-Warszawa 1956/1957 (cat. no. 16); Lodz 1977/1978; Rolandseck 1989 (cat. p. 56).

Note: The label with the number "102" means that during the Second World War the painting was included in the collection Entartete und judische Kunst, prepared by the Nazis.

I.46

Unistic Composition 8,

1931 (ill. 31 )

oil, canvas, 60 x 36 not signed on the reverse: on the stretcher on all 4 sides the stamp "Iskra Karmanski, Krakow" and labels, among the others, of the Instytut Propagandy Sztuki, signed by the artist "W. Strzem" and of the Towarzystwo Przyjaciot Sztuk Pigknych in Lvov, dated 1932, signed as "Kompozycja unistyczna 1".

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/Mf12

Donated by "a.r."group, 1936

Bibl.: Kafalog Migdzynarodowej Kolekcji Szfuki Nowoczesnej daru grupy"a.r. ", in: Grupa "a.r.". 40-lecie Kolekcji..., Lodz 1971 , no. 84; A.Turowski, konstruktywizm polski. . ., Wroclaw 1981 , pp. 140-142, footnote 76.

Exh.: Warszawa 1931 /1932 (cat. no. 215-217?); Lwow 1932 (cat. no. 110); Warszawa 1933 (cat. no. 89-94?)?; Lodz 1933/2 (cat. no. 65-70?)?; Lodz-Warszawa 1956/1957 (cat. no. 41 ); Paris 1957/2 (cat. no. 6); Bruxelles 1959 (cat. no. 96); Stockholm 1959 (cat. no. 95) ; Venezia 1959 (cat. no. 68); Geneve 1959 (cat. no. II1 ); Paris 1969 (cat. no. 32); London 1970 (cat. no. 395); Essen-Otterlo 1973 (cat. no. 38, ill. p. 193); Zurich 1974 (cat. no. 242); Warszawa 1974 (cat. no. 10); Stockholm 1975/1976 (cat. no. 38); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 32); Bydgoszcz 1978 (cat. no. 39); Roma-Venezia 1979 (cat. no. 186); Beograd-Zagreb 1979 (cat. no. 65); Dusseldorf 1980 (cat. no. 8, ill. p. 82); Paris 1983 (cat. no. 682, ill. p. 174); Cambridge-Oxford 1984 (cat. no. 18, ill . p. 74); Odense-Hovikodden (cat. no. 19, ill. p. 77); Venezia 1986 (cat. p. 166); Lodz 1988; Lyon 1988 (cat. p. 116, ill. p. 116); Rolandseck 1989 (cat. p. 56); Como 1989 (cat. n.n., ill. 219); Budapest 1989/1990 (cat. no. 67, ill. p. 87); Lyon 1992 (cat. p. 277); Berlin 1992/1993 (cat. p. 148, ill. p. 40).

I.47

Unistic Composition 9,

1931 (ill. 32)

oil, canvas, 48 x 32 not signed on the reverse: on the stretcher on all 4 sides the stamp "Iskra Karmanski, Krakow" and, among the others, the label of the Instytut Propagandy Sztuki, signed by the artist "W Strzem"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/43

Donated by the "a.r."group, 1931

Bibl.: Migdzynarodowa Kolekcja Szfuki Nowoczesnej... , (exh. cat.) Lodz 1932, no. ill. 63; komunmat Grupy "a.r. " no. 2, Lodz [1932], ill.; Lodz w Ilustracji, 1932 no. 26, ill. p. 5; A.Turowski, Konstruktywizm polski... , Wroclaw 1981 , p. 140-142, footnote 76.

Exh.: Warszawa 1931 /1932 (cat. no. 215-217?); Lodz 1932/5 (cat. no. 63, ill.); Lodz Warszawa 1956/1957 (cat. no. 40); Paris 1957/2 (cat. no. 7); Amsterdam 1959 (cat. no. n.n. ill.); Kobenhavn 1959 (cat. no. 58 ill.); Zurich 1960 (cat. no. 40, ill.); Paris 1969 (cat. no. 31 , ill.); Essen-Otterlo 1973 (cat. no. 39, ill. p. 87); Zurich 1974 (cat. no. 243); Warszawa 1974 (cat. no. 11 ); Stockholm 1975/1976 (cat. no. 39, ill.); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 33); Lodz 1977/1978; Bydgoszcz 1978 (poza cat.); Munster-Paris 1978 (cat. no. I ill.); Roma-Venezia 1979 (cat. no. 187(; Beograd-Zagreb 1979 (cat. no. 66); Dusseldorf 1980 (cat. no. 9, ill. p. 81 ); Paris 1983 (cat. no. 683, ill. p. 174); Cambridge-Oxford 1984 (cat. no. 19, ill. p. 58); Odense-Hovikodden 1985/1986 (cat. no. 20, ill. p. 78); Lodz 1988; Lyon 1988 (cat. p. 117, ill. p. 117); Rolandseck 1989 (cat. p. 56); Apeldoorn 1989 (cat. no. 6, ill. p. 74); Budapest 1989/1990 (cat. no. 68, ill. p. 75); Las Palmas 1990 (cat. II.12 A, ill. p. 178); Valencia 1990 (cat. no. 159, ill. p. 190); Warszawa 1991/1 (cat. p. 215); Lyon 1992 (cat. p. 277); Washington 1993 (cat.).

I.48

Unistic Composition 10,

1931 (ill. 34)

oil, canvas, 74 x 50 not signed on the reverse: among the others labels of the Instytut Propagandy Sztuki, signed by the artist "W. Strzem" and of the Towarzystwo ztuk Pigknych in Lwow, dated 1932, signed as "Kompozycja unistyczna II; moreover, label with a hand-written note (by the artist?) "Komp. unistyczna 1931 "

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 54

Donated by the Artist, 1945

Bibl.: P. Restany, le Musee d'Art ..., DOMUS, 1968 no. 461 , p. 52; A.Turowski, Konstruktywizm polski... , Wroclaw 1981 , pp. 140-142, footnote 76

Exh.: Warszawa 1931 /1932 (cat. no. 215-217 ?); Lwow 1932 (cat. no. II1 ); Warszawa 1933 (cat. no. 89-94 ?) ?; Lodz 1933/2 (cat. no. 65-70 ?) ?; Lodz-Warszawa 1956/1957 (cat. no. 39); Paris 1969 (cat. no. 34); Essen-Otterlo 1973 (cat. no. 40, ill. p. 192); Zurich 1974 (cat. no. 244); Warszawa 1974 (cat. no. 12); Stockholm 1975/1976 (cat. no. 40); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 34); Bydgoszcz 1978 (cat. no. 40); Roma-Venezia 1979 (cat. no. 188, ill.); Beograd 1979 (cat. no. 67); Dusseldorf 1980 (cat. no. 10, ill. p. 65); Paris 1983 (cat. no. 684); Cambridge-Oxford 1984 (cat. no. 20); Odense-Hovikodden 1985/1986 (cat. no. 21 , ill. p. 78); Lodz 1988; Lyon 1988 (cat. p. 118, ill. p. 118); Apeldoorn 1989 (cat. no. 7, ill. p. 75); Budapest 1989/1990 (cat. no. 69, ill. p. 76); Valencia 1990 (cat. no. 160, ill. p. 191 ); Warszawa 1991/2 (cat. p. 215); Lyon 1992 (cat. p. 277); Washington 1993 (cat.).

I.49

Unistic Composition II,

1931 (ill. 33)

oil, canvas, 50 x 38 signed: on the stretcher in pencil "W. Strzeminski unism" on the reverse: on the stretcher on all 4 sides the stamp "Iskra Karmanski, Krakow" and, among the others, a label with the inscription "Nowa Generacja Lwow 932" and the label of the Towarzystwo Przyja-ciot Sztuk Pigknych in Lwow, dated 1932), signed as "Kompozycja Unistyczna 111".

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 52

Donated by the Artist, 1945

Bibl.: PRZEGLAD ARTYSTYCZNY, 1958 no. I , ill. p. 21 (reversed); A.Turowski, Konstruktywizm polski. .., Wroclaw 1981 , pp. 140-142, footnote 76.

Exh.: Lwow 1932 (cat. no. 112); Warszawa 1933 (cat. no. 89-94 ?)?; Lodz 1933/2 (cat. no. 65-70?)?; Lodz-Warszawa 1956/1957 (cat. no. 34); Paris 1957/2 (cat. no. 5, ill.); Amsterdam 1959 (cat. n.n.); Kobenhavn 1959 (cat. no. 56); Bruxelles 1959 (cat. no. 97); Stockholm 1965/1966 (cat. no. 275); Paris 1969 (cat. no. 33); Essen-Otterlo 1973 (cat. no. 41 , ill. p. 192); Zurich 1974 (cat. no. 245, ill.); Warszawa 1974 (cat. no. 13); Stockholm 1975/1976 (cat. no. 41 ); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 35); Paris 1977/1978; Bydgoszcz 1978 (cat. no. 41 ); Roma-Venezia 1979 (cat. no. 189); Beograd-Zagreb 1979 (cat. no. 68); Dusseldorf 1980 (cat. no. 11 , ill. p. 62); Paris 1983 (cat. no. 685, ill. p. 174); Cambridge-Oxford 1984 (cat. no. 21 , ill. p. 12); Odense-Hovikodden 1985/1986 (cat. no. 12, ill. p. 78); Lodz 1988; Lyon 1988 (cat. p. 119, il); Apeldoorn 1989 (cat. no. 8, ill. p. 76); Budapest 1989/1990 (cat. no. 70, ill. p. 77); Valencia 1990 (cat. no. 163, ill. p. 193); Warszawa 1991 /2 (cat. p. 215, ill. p. 75); Bonn 1992 (cat. no. 170, ill. p. 333); Lodz 1992.

I.50

still life,

[1931] (ill. 90)

oil, canvas, 62 x 50 not signed

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 76

Donated by the Artist, 1945

Bibl.: A.Turowski, konstruktywizm polski. .., Wroclaw 1981 , pp. 206-207, footnote II1 .

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 15, ill. 9); Radom 1978; Opole-Bydgoszcz 1979 (cat. no. 52, ill.); Odense-Hovikodden 1985/1986 (cat. no. 31 , ill. p. 80); Lodz 1988.

I.51

City-scape of Lodz,

1931 (ill. 44)

tempera, cardboard, 24,5 x 20 signed: bottom right "W.Strzem/1931 r."

coll. Helena Zaorska, Gdynia (previously owned by Przedaw smolik)

Exh.: Lodz 1932/1 (cat. no. 166-167?)?.

I.52

City-scape of Lodz,

1931 (ill. 45)

tempera, cardboard, 24,2 x 20 not signed on the reverse: among the others label with a hand-written note (by the artist?) "Pejzai Lodzki / 1931 "

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 41

Donated by the Artist, 1945

Bibl.: PRZEGLAD ARTYSTYCZNY, 1957 no.1,ill.p.12.

Exh.: Lodz 1932/1 (cat. no. 166-167?)?; Lodz- Warszawa 1956/1957 (cat. no. 45); Lodz 1975/1 (cat. no. 3); Radom 1978; Opole-Bydgoszcz 1979 (cat. no. 53 ill.); Lodz 1988; Lodz 1992.

I.53

landscape,

[1931] (ill. 46)

tempera, cardboard, 30 x 25 not signed

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 485

Purchased from Helena Zaorska, 1969 (previously owned by Przedaw Smolik)

I.54

Mountain landscape (The Tatras - Zakopane?),

[6 VIII 1931] (ill. 47)

tempera, cardboard, 20 x 25 signed and dated: on the reverse in pencil bottom right "W. Strzem.", bottom left "6 VIII 1931"

Private coll.

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 70).

I.55

Unistic Composition,

1932 (ill. 35)

oil, canvas, 51 x 30 not signed

coll. Kroller-Muller Museum, Otterlo, The Netherlands A bequest from Marguerite Arp-Hagenbach (previously a gift from the Artist to Hans Arp)

Bibl.: ABSTRACTION-CREATION, 1933 no. 2, ill. p. 44 (signed "Strzeminski 1932").

Exh.: Basel 1937 (cat. no. 108); Essen-Otterlo 1973 (cat. no. 37a, ill. p. 194); Berlin 1977 (cat. 1 /479, ill. 300) ; Dusseldorf 1980 (cat. no. 12a); Paris 1983 (cat. no. 685a).

I.56

Unistic Composition 12,

1932 (ill. 36)

oil, canvas, 50 x 38 signed: on the stretcher, in pencil "Strzeminski unizm" on the reverse: on the stretcher on 4 sides the stamp "Iskra Karmanski, Krakow"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 51

Donated by the Artist, 1945

Bibl.: W.Strzeminski, Z powodu. .. , Glos Plastynow, 1934 no. 9-12, pp. 136-137, ill. p. 137 (signed "Wt. Strzeminski: Kompozyqa Unistyczna/l 934t'); ABSTRACTION-CREATION, 1935 no. 4, ill. p. 29 (signed "Strzeminski 1932"); A.Turowski, Konstruktywizm polski... , Wroclaw 1981 , pp. 140-142, footnote 76.

Exh.: Warszawa 1933 (cat. no. 89-94?)?; Lodz 1933/2 (cat. no. 65-70?)?; Lodz 1934 (cat. no. 31 )?; Lodz-Warszawa 1956/1957 (cat. no. 37); Paris 1957/2 (cat. no. 5); Bruxelles 1959 (cat. no. 97); Stockholm 1959 (cat. no. 97); Essen-Otterlo 1973 (cat. no. 42, ill. p. 195); Zurich 1974 (cat. no. 246); Warszawa 1974 (cat. no. 14, ill.); Stockholm 1975/1976 (cat. no. 42, ill.); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 36); Lodz 1977/1978; Bydgoszcz 1978 (cat. no. 42, ill.); Roma-Venezia 1979 (cat. no. 190); Beograd-Zagreb 1979 (cat. no. 69); Dusseldorf 1980 (cat. no. 12, ill. p. 83); Cambridge-Oxford 1984 (cat. no. 22); Odense-Hovikodden 1985/1986 (cat. no. 23, ill. p. 78); Lodz 1988; Budapest 1989/1990 (cat. no. 71 ); Lyon 1992 (cat. p. 277); Wien 1993 (cat. p. 290).

Note: In connection with an exhibition held jointly with H. Staiewski in the cafe of the Instytut Propagandy Sztuki in March 1934, the artist published an article in Glos Plastynow. The article, written in June that year, contained two reproductions, including a fragment of this composition, which served to illustrate the following statement by the artist: ". . . 2. What I consider my major artistic work is u n i s m: the uniform composition of painting with optical unity. /. ../ Organic and real unity can be obtained only through a u n i s t i c system of coordinate interdependent elements which create rhythm characterized by infinite continuity, based not on contrasts but on the principle of equivalence (...)".

I.57

Seascape from Chafupy,

1932 (ill. 48)

tempera, cardboard, 24 x 20 not signed on the reverse: Przectaw Smolik certificate "Pejzai z Chtopow koto Pucka mal. Wladyslaw Strzeminski 1932"

coll. Helena Zaorska, Gdynia (previously owned by Przeclaw Smolik)

I.58

Seascape,

[1932] (ill. 49)

tempera, cardboard, 24,5 x 26 not signed

coll. Tomasz Antkowiak, Lodz (previously owned by Janusz Tusinski)

I.59

Landscape. Houses on the He/ Peninsula,

26 VII 1932 (ill. 50)

tempera, cardboard, 20 x 24 dated: on the reverse in pencil "25 VII 193."(the figure 5 corrected in white paint to 6, that is "26")

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/616

Purchased from Kamila Zeberowa, 1968

I.60

City-scape of Lodz,

16 IX 1932 (ill. 51)

tempera, cardboard, 25 x 20 dated: on the reverse in gray-blue paint "16 IX 1932" on the reverse: a label of a bookbinder "Leopold Nikel, Lodz" and of the Instytut Propagandy Sztuki signed by the artist "W. Strzem."

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 42

Donated by the Artist, 1945 Exh: Lodz 1932/1933 (cat. no. 92-96?); Lodz 1933/1934 (cat. no. 81 -82?)?; Lodz-Warszawa 1956/1957 (cat. no. 50); Lodz 1975/1 (cat. no. 2); Lodz 1978; Lodz 1988; Lodz 1992.

I.61

Still Life (with Apple),

13 XII 1932 (ill. 52)

tempera, cardboard, 25 x 20 dated: on the reverse gray-blue paint "13 XII 1932" on the reverse: a label with a hand-written note (by the art-ist?) "Martwa natura (z jabtkiem), 1933"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 23

Donated by the artist, 1945

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 54); Odense-Hovikodden 1985/1986 (cat. no. 38, ill. p. 82); Lodz 1988; Lodz 1992.

I.62

City-scape of Lodz,

1932 (ill. 53)

tempera, cardboard, 24,4 x 20 not signed on the reverse: label of a book-binder "Leopold Nikel, Lodz" and of the Instytut Propagandy Sztuki signed by the artist "W. Strzem"; label with a hand-written note (by the artist?) "Pejzai Lodzki 1932"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 22

Donated by the Artist, 1945

Exh.: Lodz 1932/1933 (cat. no. 92-96?); Lodz 1933/1934 (cat. no. 81 -82?)?; Lodz-Warszawa 1956/1957 (cat. no. 44); Radom 1978; Opole-Bydgoszcz 1979 (cat. no. 54); Odense-Hovikodden 1985/1986 (cat. no. 34, ill. p. 81 ); Lodz 1988.

I.63

Flowers,

1932 (ill. p. 77)

tempera, cardboard, 19,5 x 19,5 signed: bottom right "W. Strzem" on the reverse: Stefania Podgorska certificate "Pamiatka od prof. rysunkow, Wladyslaw Strzeminskiego. Lodz w czerwcu 1932" ("A souvenir from the teacher of drawing Wladyslaw Strzeminski Lodz in June 1932"

coll. Stefania Podgorska, Lodz

I.64

Abstract Composition,

1933 (ill. 40)

oil, canvas, 64 x 64 not signed on the reverse: on the stretcher on all 4 sides the stamp: "Iskra Karmanski, Krakow" and a piece of paper with a hand-written note (by the artist?) "Kompozyqa abstrak. 1933"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 48

Donated by the Artist, 1945

Bibl.: PRZEGLAD ARTYSTYCZNY, 1957 no. I , ill. p. 6.

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 72); Essen-Otterlo 1973 (cat. no. 60, ill. p. 204); Stockholm 1975/1976 (cat. no. 60); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 114); Roma-Venezia 1979 (cat. no. 208); Beograd-Zagreb 1979 (cat. no. 87); Dusseldorf 1980 (cat. no. 30, ill. p. 84); Odense-Hovikodden 1985/1986 (cat. no. 32, ill. p. 81 ); Lodz 1988; Budapest 1989/1990 (cat. no. 93); Lodz 1992.

I.65

Abstract Composition,

21 IV 1933 (ill. 41 )

tempera, cardboard, 20 x 24,5 signed and dated: on the reverse in orange paint "WS" (partly effaced) "21 . IV/1933" on the reverse: a coloured sketch for another composition

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 47

Donated by the Artist, 1945

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 57); Lodz 1977/1978; Opole-Bydgoszcz 1979 (cat. no. 58); Odense-Hovikodden 1985/1986 (cat. no. 33, ill. p. 81 ); Apeldoorn 1989 (cat. no. 20f, p. 301 ); Budapest 1989/1990 (cat. no. 92).

I.66

Abstract Composition,

22 IV 1933 (ill. 42)

tempera, cardboard, 20 x 25 dated: on the reverse in light-green paint "22. IV/I 933"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 45

Donated by the Artist, 1945

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 49); Budapest 1989/1990 (cat. no. 91 ).

I.67

City-scape of Lodz,

31 V 1933 (ill. 54)

tempera, cardboard, 26 x 19 dated: on the reverse in blue paint "31 . V 1933" on the reverse: label with hand-written note (by the artist?) "Pejzai Lodzki 1933"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 40

Donated by the Artist, 1945 Exh. Poznan 1933?; Lodz 1933/1934 (cat. no. 81 -82?)?; Warszawa 1934/2?; Lodz 1934/1935 (cat. no. 147-159?)?; Warszawa 1960/2; Warszawa 1965; Zielona Gora 1967; Kielce 1972 (cat. exh. no. 49); Warszawa 1973.

I.68

Seascape in Rain,

23 VI 1933 (ill. 55)

tempera, cardboard, 20 x 25 dated: on the reverse: in black paint " 23. VI 1933" on the reverse the label of the bookbinder "Leopold Nikiel, Lodz" and label with a hand-written note (by the artist?) "Pejzai morski (deszcz) 1934"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 35

Donated by the Artist, 1945

Exh.: Poznan 1933?; Lodz 1933/1934 (cat. no. 71-80?)?; Warszawa 1934/2? ; Lwow 1934/1 ?; Warszawa 1960/2 (cat. ill.); Essen 1962 (cat. no. 124, ill.); Warszawa 1965; Zielona Gora 1967; Warszawa 1973.

I.69

Seascape,

12 VII 1933 (ill. 56)

tempera, cardboard, 20 x 25 dated: on the reverse in grey-blue paint "12 VII 1933" on the reverse: the label of a bookbinder "Leopold Nikel, Lodz"

coll. Janusz Tusinski, Lodz

Donated by the Artist to Janusz Tusinski, 1945

Bibl.: PRZEGLAD ARTYSTYCZNY, 1957 no. 1, ill. p. 15.

Exh.: Poznan 1933?; Lodz 1933/1934 (cat. no. 71 -80?)?; Warszawa 1934/2?; Lwow 1934/1 ?; Lodz-Warszawa 1956/1957 (cat. no. 134).

I.70

Seascape,

24 VII 1933 (ill. 57)

tempera, cardboard, 20 x 26 dated: on the reverse in yellow-green paint "24 VII 1933" on the reverse: the label of a bookbinder "Leopold Nikel, Lodz" and label with hand-written note (by the artist?) "Pejzai morski 1933"

coll. Muzeum Sztuki, Lodz, inv. nm. MS/SN/M/I 37

Donated by the Artist, 1945

Bibl.: KRONMA, 1957 no. I , ill. p. 4.

Exh.: Poznan 1933?; Lodz 1933/1934 (cat. no. 71-80?)?; Warszawa 1934/2?; Lwow 1934/1 ?; Lodz-Warszawa 1956/1957 (cat. no. 46); Warszawa-Katowice 1975/1976 (cat. no. 369, ill. 99); Lodz 1988; Apeldoorn 1989 (cat. no. 20d p. 301 ); Budapest 1989/1990 (cat. no. 86); Lodz 1992.

I.71

Seascape,

VII 1933 (ill. 58)

tempera, cardboard, 20 x 25 dated: on the reverse in black paint "... VII. 19..." on the reverse: a sketch for another landscape; label hand-written note (by the artist?) "Pejzai nadmorski (1933)"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 29

Donated by the Artist, 1945

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 51 ); Wieluri 1979 (cat.); Lodz 1988.

I.72

Seascape,

9 VIII 1933 (ill. 59)

tempera, cardboard, 21 x 27,5 dated: on the reverse in grey paint "9 VIII 1933" on the reverse: the label of a bookbinder "Leopold Nikel, Lodz" and label withhand-written note (by the artist?) "Pejzai morski 1934"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 33

Donated by the Artist, 1945

Bibl.: PomoRzE, 1957 no. 4, ill. p. 4

Exh.: Poznan 1933?; Lodz 1933/1934 (cat. no. 71 -80?)?; Warszawa 1934/2?; Lwow 1934/1 ?; Lodz-Warszawa 1956/1957 (cat. no. 5, ill. 15); Radom 1978; Opole-Bydgoszcz 1979 (cat. no. 61 , ill.); Odense-Hovikodden 1985/1986 (cat. no. 41 , ill. p. 83); Lodz 1988; Apeldoorn 1989 (cat. no. 20 c p. 301 ); Budapest 1989/1990 (cat. no. 89).

I.73

Seascape,

12 VIII 1933 (ill. 60)

tempera, cardboard, 20 x 24,5 dated: on the reverse in white paint "12 VIII 1933" on the reverse: the label of a bookbinder "Leopold Nikel, Lodz" and label with hand-written note (by the artist?) "Pejzai morski 1934"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 38

Donated by the Artist, 1945

Exh.: Poznan 1933?; Lodz 1933/1934 (cat. no. 71 -80?)?; Warszawa 1934/2?; Lodz 1934/1 ?; Lodz-Warszawa 1956/1957 (cat. p. 37); Lodz 1988; Apeldoorn 1989 (cat. no. 20 e p. 301 , ill. p. 79); Budapest 1989/1990 (cat. no. 90); Washington 1993 (cat.).

I.74

Seascape,

15 VIII 1933 (ill. 61 )

tempera, cardboard, 20 x 27 dated: on the reverse in orange paint "15. VIII. 1933" on the reverse: the label of a bookbinder "Leopold Nikel , Lodz" and label with hand-written note (by the artist?) "Pejzai morski 1933"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 34

Donated by the Artist, 1945

Exh.: Poznan 1933?; Lodz 1933/1934 (cat. no. 71 -80?)?; Warszawa 1934/2?; Lwow 1934/1 ?; Lodz-Warszawa 1956/1957 (cat. no. 53); Gdansk 1978 (cat. no. 225).

I.75

Maritime Composition. Venus,

[1933] (ill. 62)

Yenus coming out of the sea) tempera, cardboard, 25 x 20 not signed on the reverse: the label of a bookbinder "Leopold Nikel, Lodz" and label with hand-written note (by the artist?), partly damaged ". . . morska . .. 19. ."

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 28

Donated by the Artist, 1945

Bibl.: PRZEGLAD KULTURALNY, 1956 nm. 46, ill. p. 9; PRZEGLAD ARTYSTYCZNY, 1957 no. I , ill. p. 13; 1.Witz, Polscy malarze -polskie obrazy, Warszawa 1970, p. 473.

Exh.: Poznan 1933?; Lodz 1933/1934 (cat. no. 71 -80?)?; Warszawa 1934/2?; Lwow 1934/1 ?; Lodz-Warszawa 1956/1957 (cat. p. 37, ill. 14); Gdansk 1978 (cat. no. 226); Odense-Hovikodden 1985/1986 (cat. no. 40, ill . p. 83).

I.76

City-scape of Lodz,

12 IX 1933 (ill. 63)

tempera, cardboard, 20 x 25 dated: on the reverse in orange paint "12 IX 1933" on the reverse: the label of a bookbinder "Leopold Nikel, Lodz" and label with hand-written note (by the artist?) "Pejzai Lodzki 193."

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 39

Donated by the Artist, 1945

Exh.: Lodz 1933/1934 (cat. no. 81 -82?)?; Warszawa 1934/2?; Lodz 1934/1935 (cat. no. 147-159?)?; Lodz-Warszawa 1956/1957 (cat. p. 37); Lodz 1975/1 (cat. no. I ); Lodz 1977/1978; Radom 1978; Opole-Bydgoszcz 1979 (cat. no. 55); Odense-Hovikodden 1985/1986 (cat. no. 35, ill. p. 81); Lodz 1988.

I.77

Portrait of the Father,

13 XI 1933 (ill. 64)

tempera, cardboard, 24,5 x 20 dated: on the reverse in black paint "13. XI . 1933" on the reverse: a sketch for a city landscape

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 25

Donated by the Artist, 1945

Bibl.: PRZEGLAD ARTYSTYCZNY, 1957 no. 1 , ill. p. 13.

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 66); Odense-Hovikodden 1985/1986 (cat. no. 39, ill. p. 82); Lodz 1988.

I.78

Mother and Child,

24 XI 1933 (ill. 65)

tempera, cardboard, 34,5 x 24 dated: on the reverse in orange paint "24 XI 1933" on the reverse: label with hand-written note (by the artist?) "Matka z dzieckiem/l 933"

coll. Muzeum Sztuki, Lodz no. MS/SN/M/I 24

Donated by the Artist, 1945

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 67); Lodz 1975/1 (cat. no. 6); Radom 1978; Opole-Bydgoszcz 1979 (cat. no. 56); Lodz 1988; Washington 1993 (cat.).

I.79

Houses of the Polesie District The Montwiff-Mirecki Housing Estate 1,

31 XII 1933 (ill. 66)

tempera, cardboard, 24 x21 dated: on the reverse in pencil "31 XII 1933"

coll. Muzeum Sztuki, Lodz inv. no. MS/SN/M/I 44

Donated by the Artist, 1945

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 55); Lodz 1975/1 (cat. no. 4); Odense Hovikodden 1985/1986 (cat. no. 36 ill. p. 82); Lodz 1988.

I.80

Abstract Composition,

c. 1933 (ill. 43)

tempera, cardboard, 25 x 20 not signed

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 46

Donated by the Artist, 1945

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 47); Paris 1957/2 (cat. no. 9); Opole-Bydgoszcz 1979 (cat. no. 57).

I.81

Unistic Composition 13,

1934 (ill. 38)

oil, canvas, 50 x 50 not signed on the reverse: on the stretcher on all 4 sides the stamp "Iskra Karmanski, Krakow" and, among the others, label with a hand-written note (by the artist?) "Komp. unistyczna 1934"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 50

Donated by the Artist, 1945

Bibl.: ABSTRACTION-CREATION, 1935 no. 4, ill. p. 29 (reversed o 90∫; signed "1934 Strzeminski"); A. Turowski, Konstruktywizm polski. . ., Wroclaw 1981 , pp. 140-142, footnote 76.

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 38, ill. 12); Amsterdam 1959 (kat, no. n.n.); Kobenhavn 1959 (cat. no. 57); Zurich 1960 (cat. no. 52, ill.); Paris 1969 (cat. no. 36, ill.); Essen-Otterlo 1973 (cat. no. 43, ill. p. 196); Zurich 1974 (cat. no. 247); Warszawa 1974 (cat. no. 15); Warszawa-Katowice 1975/1976 (cat.); Stockholm 1975/1976 (cat. no. 43, ill.); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 37); Bydgoszcz 1978 (cat. no. 43); Roma-Venezia 1979 (cat. no. 191 ); Beograd-Zagreb 1979 (cat. no. 70); Dusseldorf 1980 (cat. no. 13, ill. p. 196); Paris 1983 (cat. no. 687, ill. p. 174); Cambridge-Oxford 1984 (cat. no. 23, ill. p. 75); Odense-Hovikodden 1985/1986 (cat. no. 24, ill. p. 79); Venezia 1986 (cat. p. 166); Lodz 1988; Tokyo-Kamakura 1988/1989 (cat. V.11 no. 96, ill. p. 141); Madrid 1989 (cat. V, ill. p. 170); Budapest 1989/1990 (cat. no. 72, ill . p. 87); Las Palmas 1990 (cat. II 13 A, ill. p. 179); Valencia 1990 (cat. no. 161 , ill. p. 192); Lyon 1992 (cat. p. 277, ill. 39 p. 59); Wien 1993 (cat. p. 290, ill. 113); Washington 1993 (cat.).

I.82

Unistic Composition 14,

1934 (ill. 37)

oil, canvas, 50 x 50 not signed on the reverse: on the stretcher on all 4 sides the stamps "Iskra Karmanski, Krakow" and "R 25/46" and, among the others, label with a hand-written note (by the artist?) "Komp. unistycz. 1934.

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 49

Donated by the Artist, 1945

Bibl.: A.Turowski, Konstruktywizm polski... , Wroclaw 1981 , pp. 40-142, footnote 76.

Exh.: Lodz-Warszawa 1956/1957 (cat. p. 33); Paris 1957/2 (cat. no. 8); Paris 1969 (cat. no. 35); Essen-Otterlo 1973 (cat. no. 44, ill. p. 197); Zurich 1974 (cat. no. 248); Warszawa 1974 (cat. no. 16); Stockholm 1975/1976 (cat. no. 44, ill.); New York-Chicago 1976/1977; Montreal 1977 (cat. no. 38); Munster-Paris 1978 (cat. no. 2, ill.); Roma-Venezia 1979 (cat. no. 192, ill.); Beograd-Zagreb 1979 (cat. no. 71 , ill.); Dusseldorf 1980 (cat. no. 14, ill. p. 86); Paris 1983 (cat. no. 688, ill. p. 174); Cambridge-Oxford 1984 (cat. no. 24); Odense-Hovikodden 1985/1986 (cat. no. 25, ill. p. 79); Lodz 1988; Apeldoorn 1989 (cat. no. 9 p. 300, ill. p. 77); Budapest 1989/1990 (cat. no. 73, ill. p. 78); Valencia 1990 (cat. no. 162, ill. p. 192); Lyon 1992 (cat. p. 277); Berlin 1992/1993 (cat. p. 148, ill. p. 50); Washington 1993 (cat.).

I.83

Figures,

10 III 1934 (ill. 67)

(Figures - A Conversation) tempera, cardboard, 20 x 24,5 dated: on the reverse in black paint "10 III 1934" on the reverse: the label of a bookbinder "Leopold Nikel, Lodz" and label with a hand-written note (by the artist?) "Postacie 1934"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 27

Donated by the Artist, 1945

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 64); Lodz 1977/1978, Odense-Hovikodden 1985/1986 (cat. no. 43, ill. p. 84); Lodz 1988; Washington 1993 (cat.).

I.84

Seascape,

2 VII 1934 (ill. 68)

tempera, cardboard, 21 x 27 signed and dated: on the reverse in pencil "W.Strzem. Pejzai morski" and in blue paint "2 VII 1934"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 32

Donated by the Artist, 1945

Bibl.: W. Strzeminski, Rozwojjednostki... , FORMA, 1935 no. 3, p. 17 ill.; L-L. Blom, Wladyslaw Strzeminski i e o zwi zki z kubizmem i surrealizmem, in: Wladyslaw Strzeminski. In Memoriam . .., Lodz 1988, pp. 143-150.

Exh.: Lwow 1934/1 ?; Lwow 1934/2?; Lodz 1934/1935 (cat. no. 147-159?)?; Lodz 1936/1 (cat. no. 77-86?)?; Lodz-Warszawa 1956/1957 (cat. pp. 37-38, ill. 16); Radom 1978; Gdansk 1978 (cat. no. 228); Opole-Bydgoszcz 1979 (cat. no. 60); Odense-Hovikodden 1985/1986 (cat. no. 42, ill. p. 83); Lodz 1988; Apeldoorn 1989 (cat. no. 20 b, p. 301 ); Budapest 1989/1990 (cat. no. 88); Lodz 1992.

Note: In 1935 the artist published a reproduction of this seascape in FORMA magazine (cf. bibliography above) with the following commentary which closes his reflections on the impressionists and the cubists' theories of seeing: ". . . In the reproduction enclosed here (seascape), form results from the elements of nature accumulating and deforming one another. The course of the waves and the wavy shoreline are united by our moving our eyes from the one to the other, and thus they create a line whose rhythm is common for the whole painting. Rhythm resulting from the interaction of all the ingredients of the seascape, occurring through the bringing out of the interdependencies and influences which each element of nature exerts on all the other ones, rhythm of the whole as a flowing continuity of irregular symmetry - was my objective."

I.85

Raining Seascape,

25 VII 1934 (ill. 69)

tempera, cardboard, 20 x 25 dated: on the reverse paint "25. VII 1934" on the reverse: an inscription in pencil "Pejzai morski (deszczowy) 1934"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 30

Donated by the Artist, 1945

Bibl.: L-L. Blom, Wladyslaw Strzeminski i jego zwiazki z kubizmem i surrealizmem, in: Wladyslaw Strzeminski. In Memoriam. . . , Lodz 1988, pp. 143-150. Exh . : Lwow 1934/1 ?; Lwow 1934/2? ; Lodz 1934/1935 (cat . no. 147-159?)?; Lodz 1936/1 (cat. no. 77-86?)?; Lodz-Warszawa 1956/1957 (cat. no. 59) ; Warszawa-Katowice 1975 (cat. no. 370, ill . 99); Radom 1978; Opole-Bydgoszcz 1979 (cat. no . 59( ; Wieluri 1979 (cat.); Odense-Hovikodden 1985/1986 (cat. no. 42a, ill. p. 83) ; Lodz 1988; Ape/doorn 1989 (cat. no. 20a, p. 300(; Budapest 1989/1990 (cat. no . 87, ill. p. 90( ; Washington 1993 (cat . ) .

I.86

Seascape, 5 VIII 1934 (ill . 70) tempera, cardboard , 20 x 25 signed and dated: on the reverse "5. VIII 1934 (Strzeminski) Pejzai morski"

coll. Muzeum Sztuki , Lodz, inv. no. MS/SN/M/I 36

Donated by the Artist, 1945 Bibl . : W. Strzeminski , Z powodu. . . , Gros Plastynow, 1934 no . 9-12, pp. 136-137, ill. p. 137. fxh . : Lwow 1934/1 ? ; Lwow 1934/2? ; Lodz 1934/1935 (cat. no . 147- 159? ) ? ; Lodz 1936/1 (cat. no . 77-86?)?; Lodz-Warszawa 1956/1957 (cat. p. 37-38, il/ . 17) ; Gdansk 1978 (cat. no. 362) ; Wieluri 1979 (cat. ) ; Odense-Hovikodden 1985/1986 (cat. no. 42b, il/ . p. 84); Lodz 1988. Note : A reproduction of this painting was p/aced by the artist next to his Unistic Composition 72 in an article in Gros Plastynow, written "because of the exhibition at the Instytut Propagandy Sztuki", which opened in Warsaw on March 23, 1934. What he showed at that exhibition were compositions "based on definite objects". This composition was defi nitely not among them , because it was not painted until August that year. However, it belongs to the series , which the artist characterized in the following way:'the paintings exhibited in Warsaw give a painter's equivalent of feature. Through the breaking of the object inte a line and a blurred patch , I tried to produce rhythms of irregular symmetry. . ." Another point which deserves attention in this article is the author's comment on the reception of his works among his contemporaries. "4. The attitude of the viewers towards my works depends on the town and on the milieu . While access to abstract pai nti ngs and thei r understanding can be difficult, in Lodz, for instance, I did not notice any special complications with understanding and experiencing my works from the cycle I had recently exh ibited i n Warsaw. . ."

I.87

Seascape,

13 VIII 1934 (ill. 71)

tempera, cardboard, 20 x 25 signed and dated : on the reverse in pencil "W.Strzem / Pejzai morski" and in paint "13 VIII 1934"

coll. Muzeum Sztuki , Lodz, inv. no. MS/SN/M/I 31

Donated by the Artist, 1945

Bibl.: M. Minich, Szalona. . . , Lodz 1963, ill. p. 33. fxh . : Lwow 1934/1 ?; Lwow 1934/2? ; Lodz 1934/1935 (cat. no . 147- 159? ) ? ; Lodz 1936/1 (cat. no. 77-86?)?; Lodz-Warszawa 1956/1957 (cat . pp. 37-38) ; Gdansk 1978 (cat. no . 227) .

I.88

The Oak,

30 VIII 1934 (ill. 72)

tempera, oi/ , cardboard , 25,5 x 20,3 dated: on the reverse in paint "30 V II1 1934" on the reverse: written by another hand "Dab (Wladyslaw Strzeminski/ 30 V/ I / 1934", in different ink "Wlasnosc Ob. Waltratus (Lodz Kilinskiego, 119)" 20,5 x 25

coll. Muzeum Narodowe, Warszawa, inv. no. MPW 3690

Purchased from Ewa Uhma, 3 991 fxh . : Lodz-Warszawa 1956/1957 (cat. no . 68) .

I.89

Seascape,

c. 1934 (ill . 73)

tempera, cardboard , 20 x 26 , 5 net signed

coll. Muzeum Narodowe, Krakow, inv. ne. 31 7 T24

Purchased in P. P . Desa, Krakow

I.90

Unemployed,

28 X 1934 (ill. 74)

(Figures) tempera, cardboard, 19,5 x 25,5 signed and dated: on the reverse in pencil "W . Strzem / Bez robotni" in black paint "28 X 1934"

coll. Muzeum Sztuki , Lodz, inv. no. MS/SN/M/I 26

Donated by the Artist, 1945 fxh . : Lodz 1938 (cat. no . 93-97?)?; Lodz-Warszawa 1956/1957 (cat. no. 61 ); Radom 1978; Opole-Bydgoszcz 1979 (cat. no . 62) Odense-Hovikodden 1985/1986 (cat. no. 44, ill . p . 84) ; Lodz 1988 ; Lodz 1992

I.91

The Montwill Mirecki Housing Estate II,

31 X 1934 (ill . 75)

(City Landscape - a Park) tempera, cardboard , 20 x 26 dated: on the reverse in paint "31 . X . 1934"

coll. Muzeu m Sztu ki , Lodz, inv. no. MS/SN/M/I 43

Donated by the Artist, 1945 Bib/ . : L-L. Blom, Wladyslaw Strzeminski i jego zwiazki z kubizmem i surrealizmem, in : Wladyslaw Strzeminski. In Memoriam. . . , Lodz 1988, pp. 143-150. Exh . : Lodz 1934/1935 (cat. no . 147- 159?)? ; Warszawa 1936 (cat. no. 148-151 ?)?; Lodz 1936/2?; Lwow 1936?; Lublin 1936? ; Lodz-Warszawa l 956/1957 (cat. no. 62); Lodz 1977; Odense-Hovikodden 3 985/1986 (cat. no. 37 ill. p. 82); Lodz 1988.

I.92

Composition,

c. 1934 (ill. 39)

oil, canvas, 60,5 x 44 signed : on the stretcher "Strzeminski Wladyslaw. Kompozyqa/ Cena - 900 zl'

coll. Staatsgalerie Stuttgart, inv. no. LNA 1072 Pu rchased from Galerie Gmunyriska, K^ln, 1972 (previously owned by Samuel Szczekacz/Zur( Bibl . : 1. Jakirnowicz, Die Werke uon Wladysla w Strzeminski. . . , i n : JAHRUCH. . . , Bd. 1 2 , 1975 , p . 261 -2T2, ill . 4; Katalog der Staatsgalerie 5tuttgart. . . , Stuttgart 1982, p. i/l. 31 7.

Exh.: Koln 1972 (cat. no. 339, ill.); Stuttgart 1974 (cat. no. 56, ill .) ; Dusseldorf 1980 (cat. no. 2a, ill . p. 67) ; Garmisch-Partenkirchen 1980 (cat. no. ill . 1 234) .

I.93

Window,

1948 (ill . 93)

oil, canvas, 71 x 58,5 not signed

coll. Hanna Orzechowska-Siecinska, Warszawa fxh . : Lodz 1988 .

I.94

Woman in the Window,

1948 (ill. 94)

oil, canvas, 77 x 57 not signed

coll. Nora and Jan Szczepanski , Warszawa Bibl . : PRZEGLAD ARTYSTYCZNY, 1957 no. I , ill . p. 1 7. fxh . : Lodz-Warszawa 1956/1957 (cat. no . 139) ; Paris 1957/1 ; Paris 1957/2 (cat. no. 15) .

I.95

Composition,

1948 ( ill. 91 )

(Space) oil, canvas, 50 x 60,5 not signed on the reverse : on the stretcher on all 4 sides written in pencil "50 x 61 Szkola"

coll. Nika Strzeminska, Warszawa Exh . : Lodz-Warszawa 1956/1957 (cat. no. 138) .

I.96

The Sun - The Heart of the Day,

VII-VIII 1948 (ill. 92)

(Composition, The Sun) oil, canvas, 50,5 x 60 not signed on the reverse: written in ballpen "Wlasnosc Jana i Nory Szczepanskich"

coll. Muzeum Narodowe, Warszawa, inv. no. MPW 1 1 56

Purchased from Nika Strzeminska, 1963

Bibl.: PRZEGLAD ARTYSTYCZNY, 1957 no. I , ill . p. 1 6. Exh . : Lodz-Warszawa 1956/1957 (cat. no. l4O, ill. 18); Paris 1957/2 (cat;ino.. 16, ill.) Warszawa .l9?0 (cat . no . 303 , ill .) ; Warszawa 1975; Poznan Warszawa 1979/1980 (cat. no . 273) ; Paris 1983 (cat. no. 940) ; Warszawa 1984/2 ; Warszawa 1987 ; Wa rszawa 1991 /1 . N ote : This painting is one of Strzeminski's first solaristic compositions, which he experimented with in 1948 and 1949 in an attempt at solving the problem of the "after-image" of the sun or sunlight. It was painted at the plein-air workshop at Nowa Ruda and was soon after presented by the artist te Jan and Nora Szczepanski. I n the letter accompanying this gift, which Strzeminski sent to his friends from Nowa Ruda on I Oth August, 1948, he wrote: "I have a painting (messed up) - the sun seen up close (The Sun - the Heart of the Day) . Would you accept it from me? For all its faults, it is still better than those other pictures." The last sentence refers to the two compositions that the artist had given to Szczepanski some ti me before that (cat. 1 .94 and 1 .95) . Strzeminski must have regarded ded the subsequent versions of the subjects elaborated in these pai nti ngs as satisfactory, because he donated th ree such compositions to the Muzeum Sztuki in Lodz (cf. cat. I.97, I.99, I.100) .

I.97

After-image of Light. A Woman in the Window,

c. 1948 (ill. 97)

(An After-image of the Sun. A Woman in the Window - Second version, A Composition, A Solarist Composition) oil, canvas, 73 x 61 not signed

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/231

Donated by the artist, 1949

Bibl.: T. Dobrowolski, Malarstwo polskie..., Wroclaw 1968, tabl.20.

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 136); Paris 1957/2 (cat. no. 15); Lodz 1975/1 (cat. no. 5); Warszawa 1975; Warszawa-Katowice 1975/1976 (cat. no. 371 ) ; Lodz 1977; Radom 1979 (cat . no .23) ; Poznan-Warszawa 1979/1980 (cat. no. 276); Lodz 1981 (cat. no. p. n.n.); Paris 1983 (cat. no. 942); Odense-Hovikodden 1985/1986 (cat. no . 90, ill. p. 96) ; Lodz 1988; Apeldoorn 1989 (cat. no. 21 , p. 301); Lyon 1992 (cat. p. 277, ill. 90, p. 106).

I.98

After-image of the Sun. Solaristic Composition,

1948-1949 (ill. 98)

oil, canvas, 73 x 61 not signed

coll. Muzeum Narodowe, Warszawa, inv. ne. MPW 112

Purchased from Wlodzimierz Koblewski , 1958

Bibl.: PRZEGLAD ARTYSTYCZNY, 1959 no. 3, ill. p. 6 (reversed) . fxh . : Warszawa 1970 (cat. no . 304) ; Wa rszawa 1975 ; Poznan-Warszawa 1979/198C (cat. no. 275, ill.); Paris 1983 (cat. ne . 941 ) ; Warszawa 1984/2; Warszawa 1987; Warszawa 1991/1 .

I.99

After-image of Light. Redhead,

[1949] (ill . 95)

(Composition, Redhead) oil, canvas, 82 x 65 not signed

coll. Muzeum Sztuki , Lodz, inv. no. MS/SN/M/232

Donated by the Artist, 1949 fxh . : Lodz-Warszawa 1956/1957 (cat. no . 137) ; Warszawa 1975; Radom 1979 (cat. no.24); Lodz 1981 (cat. no. p. n.n.); Paris 1983 (cat. no. 944) ; Odense-H ovikodden 1985/1986 (cat. no. 91 , ill. p. 96) ; Lodz 1988; Apeldoorn 1989 (cat. no. 22 p. 301 , ill. p . 80) ; Lyon 1992 (cat . p . 277 , ill. 91 p. 107).

I.100

After-image of Light. Landscape,

[1949] (ill. 96)

(Composition, An After-image, Space 3) oil, canvas, 65 x 82 not signed on the reverse : on the stretcher written in pencil "wlasnosc pr. Strzeminskiego - proszg nie ruszac (owned by Strzeminski - do not touch")

coll. Muzeum Sztuki , Lodz, inv. no. MS/SN/M/233

Donated by the Artist, 1949 Bibl . : PRZEGLAD ARTYSTYCZNY, 1957 no. I , ill . p. 1 6. Exh . : Lodz-Warszawa 1956/1957 (cat. no. 135); Paris 1957/2 (cat. no. 17); Warszawa 1975; Warszawa-Katowice 1975/1976 (cat.); Lodz 1977/1978; Radom 1979 (cat. no. 25.); Poznan-Warszawa 1979/1980 (cat. no. 274); Paris 1983 (cat. no. 943); Odense-Hovikodden 1985/1986 (cat. no. 92, ill. p. 96); Lodz 1988; Apeldoorn 1989 (cat. no. 23 p. 301 ); Lyon 1992 (cat. p. 277, ill. 89 p. 105).

I.101

Negro's Head (a sketch for a relief Colonial Exploitation in the Egzotyczna cafe in Lodz),

[1949] (ill. p. 92)

tempera, canvas, 70 x 100 signed: on the reverse in pencil "W.Strzeminski"

coll. Muzeum Sztuki, Lodz, inv. no. MS/SN/M/I 480

Purchased from Jerzy Mackiewicz, Lodz, 1978

Bibl.: GLOS ROBOTNICZY, 15-16.XI I 1956, ill.

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 153, ill. 20); Lodz 1988.

I.102

Women Harvesting,

1950 (ill. 99)

tempera, canvas, 200 x 100 not signed

coll. Danuta Przybos, Warszawa

Bibl.: J. Przybos, Zapiski bez daty, Warszawa 1970, pp. 328-331

Exh.: Lodz-Warszawa 1956/1957 (cat. no. 156).

I.103

Women Harvesting,

1950 (ill. 101)

tempera, canvas, 140 x 70 not signed

coll. Hanna Orzechowska-Siecinska, Warszawa

Bibl.: J. Przybos, Zapiski bez daty, Warszawa 1970, pp. 328-331 .

Exh.: Lodz 1988.

I.104

Cornsears,

1950 (ill. 100)

oil, canvas, 25 x 34,5 signed: bottom right, with a drawing-pen "w. Strzem"

coll. Muzeum Narodowe, Szczecin, inv.no. MNS Sp 943

Purchased in, 1971

Bibl.: Wspolczesne polskie malarstwo i rzezba. Katalog zbiorow. Museum Narodowe. Galeria Sztuki Wspolczesnej; Szczecin. (typescript prepared for publication 1990).

Compiled by Zenobia Karnicka

Strzeminski's Table of Contents - Catalogue of Works