Lot 429: Zofia Stryjenska Painting, Gusla Slowian/Slavic Magic, Wianki

Zofia Stryjenska (Polish, 1894-1976) watercolor, gouache, pencil, and ink on paper painting, “La Fete des Guirlandes – Wianki” (The Festival of Garlands – Wreaths), c. 1930. Numerous figural and architectural vignettes surround a central image of a woman who holds a candlelit wreath while a second wreath with extinguished candles lies beside her. Signed lower left of central panel. Sheet: 19 1/4″ H x 19 1/4″ W. Biographical note: “Zofia Stryjenska was a prominent Polish artist active during the interwar period. Known as the ‘Lady of Polish Art,’ she gained recognition for her distinctive Art Deco style infused with Slavic folklore…She took part in designing the Polish pavilion at the International Exhibition of Modern Decorative and Industrial Arts in Paris in 1925. At this prestigious event, she garnered four Grand Prix awards for architectural decoration, fabric design, book illustration, and poster design. The recognition she received at one of the most significant art events of the time ensured her inevitable ascent to fame…[Her] art was deeply influenced by Slavic folklore, traditions, and rituals. Her distinctive style and choice of subjects played a pivotal role in elevating Poland’s cultural reputation on the international stage…Stryjenska was a multitalented artist and one of the key representatives of the Art Deco style in Poland. Her art combined beauty and functionality. In her artworks, she often depicted figures in traditional folk costumes, enchanted with ornaments and expressive colors. Through her unique style and folk themes, Stryjenska emphasized the essence of Polish and Slavic culture and traditions.” (Source: Katarzyna Waszak, “Discover Slavic Art Deco – The Story of Zofia Stryjenska,” Daily Art Magazine, September 2024) Note: This painting was reproduced in rotogravure for the artist’s 1934 portfolio “Gusla Slowian” (Slavic Magic / Rituals). The portfolio consists of eight images surrounded by illustrated borders and was published in Polish and French editions by Jakob Mortkowicz, Warsaw, 1934. The portfolio depicts Slavic rituals, traditions, and folkloric or religious figures of pagan origin that continued to play an important role in Polish culture during the 20th century. “Wianki (or, in English, Wreaths) is a Polish holiday event that takes its roots in the pre-Christian tradition of celebrating summer solstice as a day of fire, water, fertility, love, and joy. Wianki is celebrated each year in June and is a Midsummer festival marking the summer solstice. While it has analogs throughout Europe, in ancient Slavic culture, the holiday was one of the most important and thus it stands out particularly in Ukraine, Russia, and Poland. Wianki is one of the few festivals that happen inside a major city. Krakow City Hall officially started supporting the celebrations in 1992. Today, folk festivities as well as rock concerts and pop-up markets all mark the day there. The festival was originally known as “Noc Kupaly” or “Bathing Night.” After the adoption of Christianity by Poland, pagan traditions continued, but the context changed and the celebration became known as ‘Sobotka,’ or ‘Noc Swietojanska’ (St. John’s Night), after John the Baptizer. In Russia and Ukraine, where a similar process occurred, the celebration is still known as Ivan Kupala. The holiday is heavily associated with flower wreathes and crowns, telling fortunes, water, burning herbs, and jumping over bonfires.” (Source: Folkways)

PROVENANCE: By descent through the family of Thaddeus Michael Machrowicz, United States Congressional Representative from Michigan and Judge of the United States District Court for the eastern district of Michigan. Machrowicz also served during the First World War as a lieutenant in the Polish Army of American Volunteers in Canada, France, and Poland; served with the American Advisory Commission to the Polish Government in 1920 and 1921; and acted as war correspondent with Floyd Gibbons in Poland, 1919-1921.

CONDITION: Thicker passages of gouache with minor flaking and losses, especially to areas surrounding wreaths in central panel and orange leaves in side panels. Tide rings visible in figure’s green dress, tree, and sky in central panel, possibly inherent and resulting from aging or mixing of paints, or from exposure to moisture. Sheet with even toning. Paper fibers from previous mounting adhered to recto margins and en verso.