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ZOFIA STRYJENSKA (POLISH 1891-1976) Wianki/Throwing Garlands of Flowers on a Midsummer Night tempera on paper 44 x 36 cm (17 3/8 x 14 1/8 in.) framed dimensions: 56 x 63 cm (22 x 24 3/4 in.) signed lower right PROVENANCE Collection of Stanislaw Jordanowski, New York Lipert Gallery [Zbigniew Legutko], Brooklyn, NY, Auction of Polish Art - Paintings from the Jordanowski Collection, October 10, 1998, Lot 41 The Stanisław and Alicja Jonas Collection (acquired at the above sale) thence by descent in the family LITERATURE Stanislaw Jordanowski, Vademecum malarstwa polskiego w USA, Wroclaw: Towarzystwo Przyjaciół Ossolineum, 1996 [original publication date: 1988], page 73 (illustrated, plate 53) Czeslaw Czaplinski, Kolekcje Sztuki Polskiej w Ameryce, Warsaw/New York: Fundacja Dobrej Ksiazki, page 188 (illustrated) LOT NOTES A lyrical and vibrant scene unfolds at the riverbank, where three women in traditional Polish dress release candle-lit wreaths into the water beneath the setting sun. Rendered in Stryjeńska’s unmistakable modernist style, the composition captures the ritual of Noc Świętojańska (St. John’s Eve), a midsummer celebration in Slavic culture symbolizing renewal, love, and fortune. The artist’s dynamic linework, rhythmic drapery, and luminous palette - dominated by soft pastels and bold earth tones - imbue the scene with a sense of ritual harmony and movement. Each element, from the women’s intricate braids to the gentle undulations of the river, reflects Stryjeńska’s fascination with Polish folklore and her ability to merge tradition with modern design sensibilities Zofia Stryjeńska was born in Kraków in 1891 and became one of the foremost figures of interwar Polish art, often celebrated as the “Princess of Polish Art.” She studied at the School of Fine Arts for Women in Kraków and, determined to pursue advanced training despite gender barriers, disguised herself as a man to attend the Munich Academy of Fine Arts under the alias “Tadeusz Grzymała.” Though discovered and expelled, the episode epitomized her bold spirit and lifelong independence. Returning to Poland, Stryjeńska rose to prominence as a leading member of the Polish Art Deco movement. Her paintings, illustrations, and designs - deeply inspired by Slavic mythology, folklore, and peasant traditions - combined the stylization of modernism with the vitality of folk art. She gained international recognition at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris, where her monumental panels for the Polish Pavilion earned widespread acclaim and solidified her reputation on the European stage. Her most notable series include The Months, The Slavic Gods, and The Seasons, in which she reinterpreted mythological and cultural motifs through a vibrant decorative idiom. Beyond painting, she designed posters, book illustrations, and stage sets, exemplifying the multidisciplinary nature of early 20th-century Polish modernism. In Wianki, Stryjeńska distills her characteristic themes - folk ritual, femininity, and nature - into a cohesive visual hymn. The flat, decorative planes of color and strong contour lines reveal her mastery of composition and her training in both fine and applied arts. The painting’s folkloric subject matter transcends ethnographic illustration to become a modern allegory of Polish identity, renewal, and the continuity of tradition. The scene likely references the ancient Slavic midsummer festival, during which young women floated wreaths on rivers to divine the course of love and destiny. Through this theme, Stryjeńska celebrates both womanhood and cultural heritage, embodying the national revival spirit that defined Polish art in the interwar period. PROVENANCE NOTES Stanisław and Alicja Jonas, two remarkable individuals whose lives were defined by resilience, intellect, and a profound dedication to the arts. Stanisław Jonas, a survivor of the Warsaw Ghetto, built a life of purpose and compassion in New York as a respected psychiatrist and counselor. His deep appreciation for the arts was more than a personal passion; it was an extension of his worldview and a form of cultural preservation. Alicja Jonas, a gifted pianist, composer, and teacher, brought her own artistic brilliance to their shared life. Having endured the hardships of wartime Poland, she immigrated to the United States in the late 1960s to reunite with Stanisław and dedicated her career to music education and composition. Together, the Jonas’s created a home filled with creativity, conversation, and artistic exploration. Their art collection reflects not only a refined aesthetic sensibility but also a lifetime of personal connections with artists and gallerists. Many of the works were acquired directly from artists whose work they admired and whose friendships they cultivated. Their relationships with key figures in the Polish and New York art scenes were essential to the development of their collection. Among the artists represented are Barbara Falender, known for her intimate sculptural forms; Rafał Olbiński, celebrated for his dreamlike surrealism; Stanisław Młodożeniec, whose expressive color and form shaped postwar Polish painting; and Krystyna Brzechwa, whose delicate compositions reflect a poetic sensibility. Over the years, the Jonas’s cultivated meaningful relationships with several galleries that supported emerging and established Polish artists, including the Zabriskie Gallery, and Z. Michael Legutko Gallery. Their collecting was never speculative; it was personal, intentional, and grounded in dialogue, friendship, and shared cultural history. CONDITION Observed out of frame, the work is in good condition, some very small tears and creases along the upper edge edge, laid and hinged on board, in mat. UV light showed no signs of retouching. N.B. Condition reports are available upon request. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission. Keywords: Polish Modernism, Art Deco, Slavic Folk Art, 20th Century Polish Art, Slavic Folklore, Women Artists, Polish Design