Bidders who cannot participate in the auction in person can place their bids (specifying their maximum bid) on the days directly preceding the auction. The organiser’s staff will bid on their behalf (the maximum declared bid being confidential). Bids can be submitted at the following phone numbers: +48 506 122 445, +48 22 818 94 68.
Bidders can bid for individual lots by phone, provided they contact the organiser prior to the auction.
An extra commission fee of 18% is charged by the organiser on the hammer price. The fee is also charged on any post-auction sale.
1. ANDRYSZKIEWICZ Krystyna (ur. 1955, Gdańsk)
gelatin silver print, 39.5 × 54.2 cm,
signed "Krystyna Andryszkiewicz", dated and titled on the reverse
The Interior with an Imprisoned One series was made in 1979-1983. Andryszkiewicz produced a collection of extraordinary handmade photomontages, where she mixes various worlds, trying to reconstruct the surroundings in which her protagonists could have existed.
Exhibitions: Gdańsk Gallery of Photography; B&B Gallery, Bielsko Biała; FF Gallery, Łódź; PS Gallery of Photography, Wrocław; Karolinenhof Gallery, Germany; Zwingenberg Gallery, Germany; Janusz Korczak Cultural Association Gallery in Bremen, Germany; Godollo Gallery, Budapest, Hungary.
2. ARCZYŃSKI Stefan (ur. 1916)
gelatin silver print, RC paper, 40.3 × 28.3 cm,
signed "Stefan Arczyński", dated (1953), titled "Tatry" and artist’s ZAIKS stamp on the reverse, signed "Arczyński" and dated (1963) on the front of the mount, signed "Stefan Arczyński", dated (1963), titled "Morskie Oko i Czarny Staw" and artist’s label on the reverse of the mount
Even though Arczyński travelled for the most part to the Karkonosze mountain range, the Tatra Mountains are also present in his art. He made several visit to the mountains in the early 1950s. Being an extremely versatile photographer, he was very skilful in capturing the beauty of nature and landscapes.
Świstowa Peak. Above the White Water Valley (1900), X. Kmietowicz and Andrusikiewicz Peaks in the Chochołowska Valley (1901), View over Miedziane from the New Road to Morskie Oko Lake (1900), View of the Chochołowska Valley from the Kominy Dudowe Pastures (1902), The Granite Bridge over Adam Mickiewicz Falls (1901), Stream Outflowing from Black Lake off Morskie Oko Lake (1901)
six heliogravures, 13.4 x 20.3 cm (26 x 33.8 cm), 19.5 x 12.8 cm (34 x 25.8 cm), 12.8 x 20.2 cm (25.8 x 34 cm), 13 x 20.2 cm (25.8 x 33.8 cm), 12.8 x 18.2 cm (26 x 34 cm), 12.6 x 19.6 cm (28.8 x 33.9 cm),
printed inscriptions reading "A. Szubert fot. z nat." (first three works), "W. Bizański fot. z nat." (another two), "S. Bizański fot. z nat." (the last one) and "Naśladownictwo wzbronione / Nakładem Tow. Tatrzańskiego / Heliograwiura R. Paulussena w Wiedniu.", dated and titled on the front of each heliogravure
The featured works are an extraordinary record of the scenery of the Tatras at the turn of the 20th century. The landscape was photographed by three artists with ties to the region. Heliogravure also referred to as photogravure, is a type of intaglio, in which the image is transferred photochemically onto a metal, usually copper, plate, and etched using photosensitive emulsion so that the brightest spots form the shallowest hollows. The copies presented here were made in Vienna by an esteemed specialist in the process, the graphic artist Richard Paulussen (1854-1906). They were published under the imprint of the Tatra Mountains Society.
cena sprzedaży: 1 200 zł
estymacja: 2 000 - 3000.00
4. BRANDEL Konrad (1838 Warszawa -1920 Toruń)
albumin paper 9.4 × 5.9 cm, mounted on cardboard 10.4 × 6.2 cm,
printed inscription "Brandel / Warszawa" on the front, inscription "Brandel / Warszawa / Nowy Świat / 59" printed on the reverse
The portrait shows Konrad Seweryn, the photographer’s son, who was seven years old at the time. The featured photograph comes from a famous session. Brandel hand-retouched another, nearly identical, print made during the session, widening the boy’s smile. The thus "reworked" Portrait of a Smiling Boy, together with another portrait by Konrad Seweryn titled Portrait of a Crying Boy, make up an original diptych, which was awarded at an exhibition of the Royal Photographic Society in London in 1879. He was the first Polish photographer to receive a medal at an RPS exhibition. The photographs are among his most famous works. They are owned by the Public Library of the Capital City of Warsaw and were reproduced in Danuta Jackiewicz’s book Konrad Brandel 1838-1920 (History Meeting House, National Museum in Warsaw, 2015).
cena sprzedaży: 1 700 zł
estymacja: 4 000 - 6000.00
5. BRANDEL Konrad (1838 Warszawa -1920 Toruń)
albumin paper 5.6 × 8.6 cm, mounted on cardboard 6.2 × 10.4 cm,
printed inscription "Brandel / Warszawa" on the front, atelier’s printed inscription "Brandel / Fotograf / Cesarskiego Warszawskiego Uniwersytetu / Warszawa / Nowy Świat Nr 1248(59)" and medals and distinctions received by the photographer on the reverse
Archduke of Austria, Rudolf of the House Habsburg-Lorraine, and his wife Archduchess Stéphanie, visited Cracow in 1887. The work comes from a series of news photographs Brandel made during their visit to Cracow’s Błonia Common. Brandel was able to take shots thanks to his own technical improvements, e.g. reducing the negative size to 6 x 9 cm.
Other photographs from the set are owned by the Public Library of the City of Warsaw.
6. BUCZKOWSKI Janusz (ur. 1932)
gelatin silver print, 28 × 36.8 cm,
three signatures and dated on the front, signed, dated, titled, list of exhibitions, publications, awards, edition, artist’s stamp and label reading "VIGEX, Geelong, Victoria, Australia / Salon 1984" on the reverse
As Buczkowski says, "photography combines realism and sorcery." Consequently, his landscapes feature an element of magic, which makes the photographs go beyond pure documentation and become a powerful means of expression.
Award: 3rd prize at the International ORWO Exhibition, Berlin (1965).
Publications: Janusz Buczkowski. Art Photography (PANZET, 2008), Photography - Art of the Kielce Land (Kieleckie Centrum Kultury, 1997).
Major exhibitions: VIGEX Salon, Geelong, Victoria, Australia (1984); 2nd Polish Landscape Biennial, Kielce (1975); Fir Forest, Sofia, Bulgaria (1977); Końskie (1978); Budapest, Hungary (1978).
Other prints of this photograph are owned by the National Museum in Kielce, and the Forestry Museum in Gołuchów.
7. BUŁHAK Jan (1876-1950)
two toned gelatin silver prints,
painting detail: 28.3 x 21.9 cm, pasted on cardboard sized 32.2 x 24.1 cm, artist’s dry stamp reading "Jan Bułhak / Wilno" on the front of the print and cardboard, stamp reading "Obraz Matki Boskiej / Ostrobramskiej / po konserwacji w r. 1927" on the reverse of the cardboard,
whole painting: 22 x 16.3 cm, pasted on cardboard sized 32 x 23.8 cm, artist’s dry stamp reading "Jan Bułhak / Wilno" on the front of the print and cardboard, stamps reading "Obraz Matki Boskiej / Ostrobramskiej / po konserwacji w r. 1927", "Wszelkie prawa / zastrzeżone" and artist’s stamp on the reverse of the print, stamps reading "Polska / w obrazach fot. J. Bułhaka", "Obraz Matki Boskiej / Ostrobramskiej / po konserwacji w r. 1927" and "Wszelkie prawa / zastrzeżone" on the reverse of cardboard
The featured works are reproductions of the painting of the Lady of the Gate of Dawn displayed in the Chapel of the Gate of Dawn in Vilnius. Considered to be miraculous by Roman Catholics, it is one of the most powerful symbols of Christianity in Poland and Lithuania.
Exhibitions and reproduction in exhibition catalogues (painting detail): Jan Bułhak (1876-1950). A Photographer, National Museum in Warsaw (2007); PhotoSensitive. Photographic Collections in the National Museum in Warsaw, National Museum in Warsaw (2009).
cena sprzedaży: 4 000 zł
estymacja: 4 000 - 6000.00
8. BUŁHAK Jan (1876-1950)
gelatin silver print, 12.5 x 17 cm,
dated, titled and artist’s stamp reading "J. Bułhak i Syn / Fotograficy / Warszawa - Żolibórz / ul. Święcickiego 18" and number "N422" on the reverse
Bułhak’s photographs of the post-war ruins of Warsaw taken in 1945 are among the best-known ones of their kind. His photographic record is characterised by a romantic gaze, rich in symbols and picturesqueness.
9. CAŁA Michał (ur. 1948)
gelatin silver print, 59.3 × 40.7 cm,
signed "Michał Cała", dated, titled, artist stamp and inscription "Michał Cała / «Wałbrzych» / silver gelatine vintage" on the reverse
This photograph comes from one of Cała’s best-known series, which he worked on for nearly two decades during the final phase of communism in Poland. He documented the changing industrial landscape, workers’ housing developments, and their residents in the region of Upper Silesia and Wałbrzych.
Awards: Photo Confrontations Jarosław ‘79; Photo Confrontations Świdnica ’80; Ifo-scanbaltic, XIV. Internationale Fotoschau der Ostseelander, Norwegens und Islands (1980); Pilsner International Photography Awards, Los Angeles (2007).
Monographs: Silesia (Baturo, 1995), Silesia (Zderzak Gallery, 2006), Silesia and Galicia (Museum of the History of Photography, Cracow 2015).
Major exhibitions: Silesia, Katowice Gallery, Katowice (1984), Stara Galeria ZPAF, Warsaw (1986), ZPAF Gallery, Cracow (1986); Silesia, Fotogalerie Objektief, The Netherlands (2012); Silesia and Galicia, Museum of the History of Photography, Cracow (2016).
cena sprzedaży: 1 800 zł
estymacja: 3 000 - 4000.00
10. CHOMĘTOWSKA Zofia (1902-1991)
gelatin silver print, 15.7 × 10.8 cm (16.9 × 11.1 cm),
inscription "Zakopane, zdjęcie odznaczone / wielokrotnie" and artist’s stamp on the reverse
In her art, Chomętowska focuses on many topics, notably nature, which she was clearly fond of. She liked photographing in winter, just like Antoni Wieczorek - her close acquaintance and specialist in winter pictures. A snowy and sunny landscape, like this one, enabled the artist to play with chiaroscuro effects, and thus give the scene a graphic-like look.
Publication: A Look Back to the Past of Polish Photography (Państwowy Instytut Wydawczniczy, 1982).
cena sprzedaży: 2 400 zł
estymacja: 3 000 - 4000.00
11. CHOMĘTOWSKA Zofia (1902-1991)
gelatin silver print, 16.8 × 11 cm (17.2 × 11.4 cm),
dated (1938), titled, inscription "FiS / b. dobre = negatyw zgubiony / negat. nie mam" on the reverse
This photograph is likely to have been taken in the years 1937–1938 in Zakopane, during preparation to a skiing competition organised by the International Ski Federation (FIS). The picture was taken from inside the restaurant on the top of the Gubałówka peak, where the construction of the Gubałówka Hill Funicular had just been completed.
cena sprzedaży: 2 200 zł
estymacja: 3 000 - 4000.00
12. CHRZĄSZCZOWA Maria (1913-1979, Warszawa)
gelatin silver print, 17.7 × 23 cm (18.3 × 23.9 cm),
In 1945, the ruins of Warsaw became an obvious area of interest for a large group of photographers, both professional ones, and amateurs. The documentation of the destroyed capital city is among Chrząszczowa’s most outstanding accomplishments. The strong symbolic and emotional charge of the pictures makes them stand out from among the other documentary series made at the time. A dozen or so works from the collection were shown at the famous Warsaw Accuses exhibition. They were also published by the Archaeology of Photography Foundation in 2011 in the book Chroniclers. Zofia Chomętowska - Maria Chrząszczowa. Photographs of Warsaw 1945-1946.
13. CHRZĄSZCZOWA Maria (1913-1979, Warszawa)
gelatin silver print, 39 × 28 cm,
titled, artist’s stamp and "Prawa autorskie przy reprodukcji / zastrzeżone" stamp on the reverse
Even though Chrząszczowa dedicated herself to photographing her family life in the countryside near Cracow, or later Warsaw and its architecture, she did not part with her camera during her travels, either. This photograph, taken in Sandomierz, reveals the photographer’s fondness for gentle landscapes showing the beauty of nature.
Publication: album Sandomierz (Budownictwo i Architektura, 1956).
14. CZARNECKI Janusz (1928 - 2011)
gelatin silver print, 29.5 × 39.2 cm,
titled nad artist’s stamp on the reverse
From the late 1950s, Czarnecki lived in Warsaw. He collaborated with a number of publishing houses, for which he took photographs. While completing his assignments, he would also take snapshots of everyday life in Warsaw. This photograph shows the interior of the legendary Nowy Świat cafe, in which the famous Dudek Cabaret, founded by Edward Dziewoński, performed in the years 1965-1975. In addition to Dziewoński, the greatest stars of the cabaret were such distinguished Polish actors as Irena Kwiatkowska, Jan Kobuszewski, Wiesław Michnikowski, and Wiesław Gołas.
15. DEDERKO Witold (1906-1988)
gum bichromate, paper, 22.2 × 16.9 cm, mounted on cardboard 29.5 × 20.7 cm,
signed, titled and indication of colours on the reverse of the print, signed on the reverse of the cardboard
This work was made using the gum process, which is characteristic of the artist. The process involves reducing the solubility of gum arabic under the influence of light. A sheet of paper is coated with suspension of gum arabic with the addition of ammonium or potassium dichromate, or possibly ammonia. After drying, the paper is exposed by contact printing using slide or negative film. The print is then floated face down in a bath of room-temperature water; after several minutes the non-exposed gum and the pigment wash away, revealing the paper.
cena sprzedaży: 1 000 zł
estymacja: 1 000 - 1500.00
16. DŁUBAK Zbigniew (1921 Radomsko -2005 Warszawa)
gelatin silver print, 23.9 × 18 cm,
In her review of the exhibition Gesticulations. Szymon Rogiński and Zbigniew Dłubak (Fundacja Archeologia Fotografii, Warsaw, 2012) for dwutygodnik.com, Lidia Pańków suggests that in Gesticulations the act of photographing ceases to serve the purpose of creating an artistic fiction. She explains her theory as follows: "In line with the postulates of the philosophy of language, the artist investigates the relations between the sign and reality. The abstract series of formally uniform photographs of the body are not narrative in nature. Their purpose is to force viewers to revise their rules of perception. A closer examination of the gesture sequences is intended to reveal the mechanisms of perception, expose the assumptions that underlie our insight."
The work has been widely printed and exhibited.
17. DŁUBAK Zbigniew (1921 Radomsko -2005 Warszawa)
gelatin silver print, 26.3 × 26.8 cm,
signed, signed "Zbigniew Dłubak", dated and titled on the reverse
Asymmetry is one of the most important achievements in Dłubak’s work. The portfolio consists both of photographs and paintings, which the artist perceived from a philosophical perspective. Dłubak worked on it from 1983 until his death, invoking, in an innovative way, the constructivist tradition, furthering the issues discussed in Władysław Strzemiński’s treatise A Theory of Vision (Wydawnictwo Literackie, 1958). In his comment about Asymmetry Dłubak wrote: "I blur the usual perception of objects to get closer to the essence of what is concealed deep in views of things. In views, and thus in us."
Exhibition: Photographs from the Years 1947-1950, 1983-2000, Zachęta National Gallery of Art, Warsaw (2003).
18. DORYS Benedykt Jerzy (1901-1990)
gelatin silver print, 24 × 17.6 cm,
signed "Dorys" on the front, titled and artist’s stamp dated 1974 on the reverse
Lena or Helena Żelichowska (1910-1958), whom Dorys portrayed here, was a Polish film, revue, and theatre actress of the pre-war period. She performed in the Grand Theatre (1926-1929), and then in Warsaw’s small revue theatres, including Morskie Oko, Wesoły Wieczór, Rex, Hollywood. She acted in the Grand Theatre in 1934, and between 1935 and the outbreak of WWII - in the Letni and Cyrulik Warszawski theatres. She debuted in the cinema in 1933, starring together with Hanka Ordonówna (Ordonka) in The Spy in the Mask. She quickly gained popularity and came to be ranked among the greatest film and theatre stars. This work is one of many proofs of the refined photographic style of the portraitist, who excelled in capturing the facial features of his sitters.
19. DORYS Benedykt Jerzy (1901-1990)
gelatin silver print, 39.8 × 30 cm,
signed "Dorys" on the front, titled and artist’s stamp dated 1959 on the reverse
This portrait of Jan Bułhak is one of his best known images. Bułhak is considered to be one of the leading figures in the history of Polish photography, and is even referred to as the Father of Polish Photography. In addition to being a great artist, he was also a theoretician, and an active animator of the photographic community. Dorys was under the influence of pictorial style, as propagated by Bułhak. Both photographers were among the eighteen founders of the Polish Association of Art Photographers (1947), later ZPAF (since 1952).
Another print of this photograph is in the collection of the National Library in Warsaw.
20. GARDULSKI Marek (ur. 1952)
gum bichromate, paper, 52 × 44.2 cm (70 × 49 cm),
signed "Gardulski", dated and incritpion "W. III" on the front, inscription "9000" on the reverse
This photograph dates back to the period when Gardulski was fascinated with the work of the graphic artist Adam Hoffmann from Cracow. In the early 1970s, he was making - as his first commercial assignment - photographic reproductions of Hoffmann’s s works, thus taking a closer look at his art. Hoffmann would obsessively assemble a world of human heads as an expression of his longing for a surrealist landscape. Gardulski used as the starting point for this gum bichromate, photographs he had taken during a football match. As he recollects, it was the only time he photographed such an event.
cena sprzedaży: 3 000 zł
estymacja: 4 500 - 5500.00