The concept of cycle of engravings Xięga balwochwalcza matured in 1920-1922. These works are concerned to be first drawings of vintage Schulz. He often put those engravings into portfolios, decorated them with the original illustrated cover and front pages. He gave them free or presented to his friends, he tried to sell some as well. Motives, feelings and atmosphere of visions from the boundary of dreams and reality are characteristic to Xięga balwochwalcza and other Schulz drawings and literary works that followed.

Almost all drawings from Xięga balwochwalcza are made in complicated and rarely used technique called cliché-verre. He wrote in one of his letters that this method lay between graphic and photography, it was painstaking labour not suited for mass production. That etching technique entailed coating a glass plate with a black pigment, which was etched away using a sharp instrument, for example, a needle. The plate with the drawing, like a glass-plate negative, could then be put in contact with photosensitive paper, and then the paper was developed as photo.

Original glass-plates, which were used to create the cycle Xięga balwochwalcza were non-durable and none of them remained till now.

Technique of cliché-verre is the most proximate to aqua forte. Presented on the exhibition copies of Schulz cliché-verre from Xięga balwochwalcza cycle are made in this technique by Polish painter Małgorzata Leszczewska-Włodarska.

Xięga balwochwalcza is not only prominent drawings; it is first Schulz literary work – the book without words. In the form of the book it repeats the same story in different versions. It leads the viewer-reader through adventures of its heroine – Undula, who is always surrounded by men that worship her. Among those men one can also recognize the author himself. The theme of this book is the invincible power the woman possesses over man. It is characteristic to this cycle of engravings and later it became one of the dominant themes in drawings and writings of Bruno Schulz.

Witold Gombrowicz (1904-1969)

Novelist, playwright and essayist. Author of novels “Ferdydurke”, “Transatlantic”, drama “Ivonna, the Princess of Burgundy”. Also famous for his “Diaries”. In 1939 emigrated to Argentina. Died in France. In the 1930-ies maintained close contacts with Schulz, who appreciated his writings highly. All Schulz letters to Gombrowich were lost during the war.

Romana Halpern (1900-1944)

Was the addressee of the best-preserved Schulz letters collection. Amateur of literature and art she moved in Warsaw literature and journalistic circles. For some time was a close friend of Witkiewicz, who acquainted her with Schulz in winter 1936. Supported Schulz literary attempts and helped him selflessly with all problems he ever mentioned to her. Their acquaintance and correspondence had lasted for three years before the war broke out. During the occupation she and her son were forced to live in Warsaw ghetto. Ran away, hid her son in the country and moved with false documents to Krakow, where worked in commercial firm – she knew stenography and spoke fluently four languages. In September 1944 was arrested by Gestapo and shot a few days before Krakow was liberated. Her son found Schulz letters in February 1945 in Warsaw.

Stanisław Ignacy Witkiewicz (1885-1939)

Also known as Witkacy. All-round man, one of the most innovative Polish writers and artists of XX century. Painter, playwright, novelist, philosopher and theorist of art. Was among the first people, who supported Schulz writings. Recognized Schulz as an outstanding writer when only his first short stories were published.

Witkiewicz committed a suicide on 18th of Sptember 1939 when he heard that Red Army invaded Poland.

Deborah Vogel (1902-1942)

Theorist of art, novelist and poet, author of the book “Acacia is blooming”. A friend of Schulz. Was killed together with her family in Lviv ghetto.