This work of exceptional art-historical and artistic value with considerable appeal to collectors illustrates the essence of the early phase of Slavíček’s oeuvre. This period is characterised, among other qualities, by a realistic approach to landscape painting, which by the end of the century gave way to a style distinguished by colour dots, vibrancy and inner dynamism. The painting depicts a woodland interior – specifically a section of the Houšťka forest park on the outskirts of Stará Boleslav, where Slavíček had travelled since his youth to visit his uncle Antonín, dean and provost of Stará Boleslav. The artist’s documented presence there in 1894 is confirmed by primary sources, namely a letter dated 9 July of that year addressed to the painter Ivan Mrkvička in Sofia.

The composition’s depth is built on a diagonal line that draws the viewer directly into the scene. While the interior of the forest, defined by a series of vertical tree trunks, gradually disappears into shadow, the foreground opens into a free proscenium illuminated by sunlight filtering through the tree canopies. Similar compositional and lighting contrasts may also be observed in other paintings by Slavíček from this period. The overall conception of the painting, as well as the choice of subject itself, undoubtedly relates to the artist’s training at the Academy of Fine Arts in Prague, where from 1887 he studied in the studio of Julius Mařák.

As indicated by the author’s inscription in the lower left corner of the canvas, the work was dedicated to Václav Plaček Trnavský (1868–1925), a physician, dramatist, illustrator and prose writer from Mladá Vožice, and one of Slavíček’s friends from their student years at the Real Grammar School in Spálená Street, Prague. A rather curious feature of the painting is its triple signature. The work was first signed by the artist in the lower right corner, most likely using the reversed end of a paintbrush directly en plein air. He later appeared to have returned to the forest to revise the painting; in doing so, the original signature was partially obscured by a new layer of paint, prompting Slavíček to incise a second signature in the lower left corner. The third signature, incorporated into the above-mentioned dedication, was executed in ink, most likely later in the studio. The authenticity of all three signatures is supported not only by comparable parallels within Slavíček’s early work, but also by the artist’s recognisable handwriting. In light of these circumstances and facts, this canvas represents an exceptional opportunity to acquire a work by Slavíček of truly museum-quality significance. Presented in a tasteful frame. During consultations, the work was assessed by Professor R. Prahl, CSc., and PhDr. Š. Leubnerová. An expert opinion of PhDr. K. Srp is attached.