"Meeting Unicorn in the Rocky Mountains", 1920 22/XI, pastel on paper, 47.5 x 64.2 cm, private collection
"Aldebaran and Hyades", 1920, pastel on paper, 101 x 72 cm, private collection
"Portrait of Irena Fedorowicz", 1929 III, pastel on paper, 69.5 x 49.5 cm, private collection

"Portrait of Irena Fedorowicz", 1930 23/IV, pastel on paper, 61.3 x 45.5 cm, private collection
"Composition", 1906, charcoal on paper, 29 x 41.5 cm, private collection
"Irena Wiedyskiewicz-Polniakowa", 1926, pastel on paper, 119 x 98 cm, private collection

"Portrait of Charles Forbes", 1930 III, pastel on paper, 65 x 50 cm, Museum of Central Pomerania, Slupsk
"Portrait of Stefan Daszynski", 1930 II, pastel on paper, 65 x 50 cm, Museum of Central Pomerania, Slupsk
"Double Portrait of Kazimierz Sosnkowski and Michal Choromanski", 1930 III, pastel on paper, 50 x 71 cm, Museum of Central Pomerania, Slupsk

[..] the Formist group whose members adapted certain features of Futurism, Cubism and Expresionism. The Formist movement was rather short-lived (1917-1922) but it had two excellent protagonists. One was Leon Chwistek [..] The second was Stanislaw Ignacy Witkiewicz - Witkacy, the most extraordinary individuality of artistic and intellectual life in inter-war Poland, painter, theoretician of art, writer, and dramatist. As the son of Stanislaw Witkiewicz, the creator of the vernacular "Zakopane style", he grew up in artistic household and the stimulating Young Poland atmosphere of Zakopane. In 1914, he left, together with the celebrated anthropologist Bronislaw Malinowski, for an exotic trip to Ceylon and Australia, and then spent the October Revolution in Russia. Paintings originating from the period after his return to Poland in 1918 are airless, multi-strata compositions and perverse phantasmagoria, in which threatening monsters with animal shapes wrestle in incomprehensible strife. The forms are flat and angular, and the colour is composed of loud dissonances. In 1919, the artist proclaimed his theory of "Pure Form", the first Polish philosophically grounded theory of art. In the mid-1920s, Witkacy recognised "artistic work" to be barren, and established a one-person openly commercial Portrait Firm, which produced differently priced pastels "made to order" in accordance with the wishes of the client - "smooth" portraits as well as deformed, vibrating images executed under the impact of narcotics. [*]

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