Ben Uri Research Unit

Born: 1902 Warsaw, Poland

Died: 1977 London, England

Year of Migration to the UK: 1940

Biography

Artist, architect and cinematographer, Stefan Osiecki was born on 23 February 1902 in Warsaw, Congress Poland (now Poland). From a young age, influenced deeply by his father Stanisław, he developed an enduring passion for the mountains, which would later intertwine with his pursuits in art and filmmaking. Osiecki studied at the Warsaw University of Technology, where he graduated in 1929 with a degree in architecture and engineering. Early in his career, he contributed significantly to Polish architecture, co-designing projects including the upper station of the mountain cable car in Krynica and collaborating on the award-winning Polish Pavilion at the 1939 World’s Fair in New York. These ventures combined architectural innovation with the modernist aesthetics for which Osiecki became known.

During the vibrant interwar period in Poland, Osiecki established himself as a pioneering graphic designer, creating striking posters known for their distinctive visual style. Partnering with artist Jerzy Skolimowski, he co-designed iconic posters, including the renowned graphic for the 1931 Ice Hockey World Championships in Krynica (V&A collection). This vividly colourful and dynamic design marked a turning point in Polish poster art, influencing generations of designers (Wielka Encyklopedia Tatrzańska). Together with Skolimowski and architect Jerzy Hryniewiecki, Osiecki produced a series of powerful tourism and winter sports posters that captivated audiences domestically and internationally. These works, including Zakopane – Kasprowy (1935), Polska – raj narciarzy and Polen – Kraków (1936), became defining images of Poland’s graphic golden age, celebrated for their skilful integration of photomontage and modern typography. Parallel to his graphic pursuits, Osiecki passionately engaged with filmmaking, particularly through his documentaries focused on mountaineering. He participated in two groundbreaking Polish expeditions to the Andes (1933–34 and 1936–37), capturing on film the historic first Polish ascent of Aconcagua via a new route—a significant national achievement and altitude record. His celebrated documentary, Roof of America (1934), became an international success, admired for its visual narrative and authenticity. This work significantly enhanced Osiecki’s international reputation as both cinematographer and adventurer.

With the outbreak of the Second World War, Osiecki's life and career took an unexpected direction. Initially participating in the defence of Lviv in September 1939, he eventually fled through Hungary and France, arriving in the UK, where he joined the Polish Army in exile, completing officer training and serving with the 1st Cadre Rifle Brigade stationed in Scotland. By 1941, Osiecki transitioned from active military service to filmmaking, joining the Film Office of the Polish Ministry of Information and Documentation in London, where he assumed the role of director in 1944. His tenure proved influential, as he directed and produced several wartime documentaries, notably the significant film Opowieść o mieście (Story of a City, 1944). This production, constructed from clandestine footage smuggled from occupied Warsaw, effectively portrayed Polish resistance for international audiences.

After the war, Osiecki chose to settle permanently in London, quickly integrating himself into the artistic and cultural milieu of the capital. In 1946, he assumed the role of Technical Director at Concanen Production Ltd., a British film studio, directing the crime thriller No Way Back in 1949. During this period, Concanen also released his documentary Picturesque Poland, reflecting his ongoing dedication to promoting Polish culture through film. His contribution to British cinema was marked by his distinctive visual storytelling, merging Polish cinematic traditions with the narrative conventions of British film.

From the mid-1950s onward, Osiecki increasingly devoted himself again to architecture, co-founding a successful architectural practice in London with fellow Polish émigré architect, E. Maurice Meyersohn (Mejer). Together they completed a variety of residential and commercial projects, including the celebrated design of a high-end hairdressing salon in Knightsbridge, located on the ground floor of Caltex House, Knightsbridge Green. Featured extensively in the October 1960 issue of Architect & Building News, this project demonstrated Osiecki’s mature architectural style, combining functional precision, elegant modernist forms, and sophisticated detailing.

Despite this intensive architectural focus, Osiecki periodically returned to graphic design and maintained his lifelong fascination with alpine landscapes. Regular trips to the Alps provided ongoing inspiration, while occasional visits to Poland allowed him to reconnect with his cultural heritage. His artistic works, including paper sculptures, have been exhibited internationally posthumously, including in London, Brussels, Rome, Helsinki, and New York, confirming his status as a significant figure in 20th-century European art and design. Stefan Osiecki died in London, England on 7 May 1977. In the UK public domain, his work is represented in the Victoria and Albert Museum collection.

Related books

Anna Sieradzka, Polish Art Déco Posters from the collections of Ethnography and Handicraft Museum in Lvov (Kozłówka: Muzeum Zamoyskich w Kozłówce, 2005)
Papieroplastyka Polska/Polish Paper Sculpture, exhibition catalogue (London: Polish Cultural Institute, 1995)
‘Nation in Exile’, Kinematograph Weekly, 19 June 1941, p. 27

Public collections

Victoria and Albert Museum

Related organisations

Concanen Production Ltd (Technical Director)
Royal Institute of Polish Architects, London (member)
University of Technology, Warsaw (student)

Selected exhibitions

Papieroplastyka Polska/Polish Paper Sculpture, Polish Cultural Institute, London (1995)

Ben Uri archive

Consult items in the Ben Uri archive related to [Stefan Osiecki]