Uncovered during routine renovation work, the paintings depict cheerful, idyllic and occasionally exotic scenes.
Mazowiecki Wojewódzki Konserwator Zabytków

Historians have been left both thrilled and baffled following the discovery of a series of paintings in the basement of Warsaw’s Regional Court.

Uncovered during routine renovation work, the paintings depict cheerful, idyllic and occasionally exotic scenes.

In one, an extravagantly moustached Chinese man can be seen pulling a rickshaw whilst a lady walks by the riverside with a parasol in hand.Mazowiecki Wojewódzki Konserwator Zabytków

In one, an extravagantly moustached Chinese man can be seen pulling a rickshaw whilst a lady walks by the riverside with a parasol in hand.

In another, a muscular, bare-chested male can be seen tickling a puppy while a buxom lady leans over it. Yet others reveal flowers and fantastically coloured birds.

In another, a muscular, bare-chested male can be seen tickling a puppy while a buxom lady leans over it.Mazowiecki Wojewódzki Konserwator Zabytków

The discovery has prompted much speculation about  their origin, much of which relates directly to the building’s wartime and pre-war use.

Built to a design coined by the eminent architect Bohdan Pniewski, it was one of a string of projects that would cement Pniewski’s status as one of Poland’s most celebrated architects.

Mazowiecki Wojewódzki Konserwator Zabytków

Yet others reveal flowers and fantastically coloured birds.Mazowiecki Wojewódzki Konserwator Zabytków

Responsible for many of the capital’s most iconic and monumental structures, in the pre-war years Pniewski redesigned the Bruhl Palace and was responsible for the modernist marvel that would later become known as the Pniewski Villa close to the Polish parliament.

Unlike many of his contemporaries, he was able to adapt to the post-war Communist reality and curry significant favour with the country’s new elite. As such, he designed such landmarks as the National Bank of Poland and the Socialist Realist Polish Radio building.

The discovery has prompted much speculation about  their origin, much of which relates directly to the building’s wartime and pre-war use.Bartłomiej Zborowski/PAP

However, for many it was the Regional Court that best exemplified his style.

Starting construction in 1935, it opened in 1939 and in June of that year was handed over to serve as the seat of Warsaw’s judiciary.

Built to a design coined by the eminent architect Bohdan Pniewski, the building was one of a string of projects that would cement Pniewski’s status as one of Poland’s most celebrated architects.Public domain

Continuing to function during the Siege of Warsaw, it briefly ceased operations following the beginning of the Occupation only to resume activity on December 10th, 1939 – albeit under strict German supervision.

It is at this point the plot thickens. Positioned in the heart of the Ghetto, the complex layout of this Jewish district meant that whilst one side of the court building faced onto Jewish Leszno street, its back end opened up onto the Polish Biała street.

Positioned in the heart of the Ghetto, the complex layout of this Jewish district meant that whilst one side of the court building faced onto Jewish Leszno street, its back end opened up onto the Polish Biała street.nplp.pl

This made the building a unique meeting point between Jews and Poles. Moreover, a German hospital was also situated within the building.

Despite the heavy Nazi presence, hundreds of Jews – and possibly thousands – escaped to the Polish zone through the building, among them children rescued by Irena Sendler.

This made the building a unique meeting point between Jews and Poles. Moreover, a German hospital was also situated within the building. Despite the heavy Nazi presence, hundreds of Jews – and possibly thousands – escaped to the Polish zone through the building, among them children rescued by Irena Sendler.AF Fotografie/Alamy Stock Photo/PAP

It is this heavily textured history that makes the origins of the paintings so uncertain.

So far, theories offered by the regional Conservator have been varied and include suggestions that the paintings could even pre-date the war and simply be decorations for the café facilities that had been planned by Pniewski.

However, other proposals have also been posited: according to the Conservator, the colourful pictures could have been painted to cheer up children that may have been hospitalised in the basement.

Theories include suggestions that the paintings could have been pre-war café decorations, they could have been painted to cheer up children that may have been hospitalised in the basement, or they could have been painted to help guide Jewish infants escaping to the Aryan side.Mazowiecki Wojewódzki Konserwator Zabytków

Equally, says the Conservator, they could well have been painted to help guide Jewish infants escaping to the Aryan side – in such a case, the paintings would have helped for orientation purposes.

Lastly, neither can it be discounted that they were actually the work of German soldiers simply seeking to distract themselves from their daily duties.

For the time being, though, the paintings represent another wartime mystery.