Autolithographs of Legionary Artists 1935 - Stanislaw Dabrowski "Besslerczyk".

Stanislaw Dabrowski "Besslerczyk" Stanislaw Dabrowski (1882 - 1973), Beselerczyk, 1934
original autolithography, signed in pencil by the author "Dąbrowski" (obliterated)31 x 23 cm in light passe - partout;
"Portfolio of autolithographs by legionary artists on the twentieth anniversary of the armed deed of the legions 1919-1934". The portfolio was created in 1934 in Cracow by the Section of Legionary Artists and controlled by the Historical Exhibition of the Polish Legions at the National Museum in Cracow. The exhibition was later also shown in other cities, including Lviv. Also on display were Ignacy Pinkas' Legion-themed works, the main victims of which were unfortunately during World War II. Some are known from photographs, and those that survived, such as the portrait of artilleryman Tadeusz Muller, which is in the National Museum in Cracow. The portfolio contains 15 lithographs by 10 artists, including Ignacy Pinkas. There are to works by Stanisław Dąbrowski, Kazimierz Dzieliński, Stanisław Janowski, Franciszek Jaźwiecki, Stanisław Kamocki, Tadeusz Korpal, Tadeusz Seweryn, Wincenty Wodzinowski and Leon Wyczółkowski. The works portray portraits of the soldier, the soldier and life in the trenches, war cemeteries and symbolic scenes. The application is signed in pencil by the edition.All works specially designed for the exhibition in question.Autolithography - lithography, created by the author - graphic artist directly on the lithographic stone. In the nineteenth century, a number of lithographs appeared, whose marks are used by artists, which were transferred by craftsmen-lithographers (in mirror reflection) to lithographic stones. Such lithographs lost a feature of the artistic work - the fingerprint of the creator. created at the end of the 19th century, artist-engravers (in Poland, among others, Witold Wojtkiewicz, Leon Wyczółkowski and Kazimierz Sichulski) created autolithographs, applying the image with lithographic ink or greasy crayon directly on the stone. In doing so, they had to make it a habit that - as in the case of, for example, woodcuts - the image on the stone, including any inscriptions, would appear on the print in a mirror image.