Eugene Zak's works can be found in public collections and in many private collections including the Tom Podl collection located in New York and others located abroad.

List of Eugeniusz Zak's works in museum collections (outside Poland)
1. ' Dandelion ', 1924. oil on canvas, 99.7 x 79.5 cm, signed: Eug. Zak, National Gallery of Art, Washington, inv. no. 1964.19.10
https://www.nga.gov/collection/artist-info.1986.html

Exposed
A Group of Twentieth Century Paintings from the Chester Dale Collection, Department of Fine Arts, Carnegie Institute, Pittsburgh, 1931, no. 14

Published
Artur Tanikowski, 'Eugeniusz Zak', Sejny 2003, ill. 153.
"Pittsburgh Post-Gazette" 7 May 1931, no. 7
"European Paintings. An Illustrated Catalogue". National Gallery of Art, Washington 1985, p. 441.

A characteristic feature of the artist's work was the execution of several versions of the same motif, with the different variants of the paintings differing only in minor details. This is the case of the 'Monk', an almost identical version of which survives in a painting dated 1921 and stored in the District Museum in Toruń. Both paintings are characterised by a simplified rhythmic composition and a harmonious composition of colours creating the mood and harmonious arrangement of the painting, bringing it closer to the assumptions of 'Rytm', a group of which Eugeniusz Zak was a co-founder in 1922.

2. ' Praying Girl ' , ca. 1906, watercolour, pencil, black crayon, cardboard, 66.7 x 55.7 cm, signed: Eug. Zak, National Gallery of Art, Washington, inv. no. 1964.19.11
https://www.nga.gov/collection/art-object-page.50253.html

Published
Artur Tanikowski, "Eugeniusz Zak", Sejny 2003, ill. 61.

Both paintings by Eugeniusz Zak (items 1 and 2) are from the collection of the American banker and art collector Chester Dale (d. 1962). His collection focused primarily on French art. Most of the works from his collection of Paul Cezanne, Henri Matisse and Pablo Picasso, among others, ended up in the National Gallery of Art in Washington, where they were donated in 1964, after the collector's death. The group also includes two works by Eugene Zak purchased by Dale in 1929 in Paris.


3 ' Le guignol ' , c. 1925, oil on canvas, 54.5 x 65 cm, signed, El Museo Nacional de Bellas Artes, Buenos Aires, Argentina, inv. no. 2699
https://www.bellasartes.gob.ar/coleccion/obra/2699/

Published
Artur Tanikowski, "Eugeniusz Zak", Sejny 2003, p. 50.
"Paul Fierens incluye a Zak en un grupo de artistas denominado Les Stylisateurs", in Histoire de l'art contemporain: la peinture, René Huyghe (ed.), Paris 1935, pp. 293-298.

The work, probably created between 1923 and 1925, is a characteristic example of Zak's later work, in which the artist focused on intimate, narrative genre scenes, often inspired by everyday life. The scene depicts three characters - a woman, a child and an elderly man - immersed in the calm and warm atmosphere of a family interior. The woman, seated with her back to the viewer, is playing with a puppet with her child, while the older man, wearing a distinctive hat and coat, appears to be working on another puppet.

The painting's colour scheme is based on the intense red of the background, which contrasts with the cool shades of green and blue on the figures' clothes, creating a harmonious composition and emphasising the emotional warmth of the scene. The simplified, geometric forms of the figures, typical of Zak's late style, give the work clarity and elegance, while maintaining a subtle emotional depth. The compositional arrangement is well balanced - the figures form a compositional triangle that leads the viewer's gaze towards the centre of the painting, while the open doorway in the background introduces a spatial dynamic.

The symbolism of the puppet and theatrical play introduces an additional interpretative dimension, referring to the theme of the theatricality of life, present in the artist's other works. The painting, like many of Zak's other works, is a tribute to intimate human relationships and everyday moments, which the artist depicted with tenderness and melancholy. His fascination with line, so characteristic of his entire oeuvre, is reflected here in the fluid, supple contours that connect the figures to their surroundings and give the composition a rhythmic harmony.

4 ' Shepherd ' , 1910-1911, oil on canvas, 116.8 × 81.8 cm, signed: Eug. Zak, Art Institute Chicago, inv. no. 1931.519
https://www.artic.edu/artworks/9013/the-shepherd

Exhibited
New York, 'International Exhibition of Modern Art (The Armory Show)', Feb. 17-Mar. 15, 1913, cat. 233, as Le Berger; Chicago, The Art Institute of Chicago, 1913.
Chicago, The Art Institute of Chicago, 'Exhibition of Paintings from the Collection of the Late Arthur Jerome Eddy', 1922.
Chicago, The Art Institute of Chicago, 'Exhibition of the Arthur Jerome Eddy Collection of Modern Paintings and Sculpture', 1931-1932.
Hartford, Wadsworth Atheneum, "An Exhibition of Literature and Poetry in Painting since 1850", 1933.
Chicago, The Art Institute of Chicago, 'A Century of Progress: Exhibition of Paintings and Sculpture', 1933.
Chicago, The Art Institute of Chicago, 'A Century of Progress: Exhibition of Paintings and Sculpture', 1934.
Utica, NY, "Munson-Williams-Proctor Institute, 1913 Armory Show - 50th Anniversary Exhibition" 1963.
Warsaw, National Museum, "Eugeniusz Zak (1884-1926)", 2003-2004.
New York, New-York Historical Society, 'The Armory Show at 100', 2013-2014.

Published (see list of publications https://www.artic.edu/artworks/9013/the-shepherd)

In the painting 'The Shepherd', he presents a poetic and idealised vision of pastoral life. Probably created in the early 1920s, the work reflects the artist's fascination with idyllic, almost mythical landscapes in which human figures harmoniously interact with nature. The central figure, a shepherd dressed in a striking yellow outfit, kneels by a meandering stream from which he drinks water. The scene exudes peace and reverie, accentuated by the gently rolling hills in the background and the warm colours of the evening sky.

The composition is characterised by the simplicity and clarity that are the hallmarks of Zak's mature style. The silhouette of the shepherd is defined by fluid, soft lines that harmonise with the gentle curves of the landscape. The use of lines in this painting is not just a structural element, but also a lyrical one, creating a rhythm that guides the viewer's gaze throughout the scene. Precise details, such as flowers scattered across the field or sheep grazing in the distance, give the work an idyllic feel.

The colour palette in 'The Shepherd' is harmonious. The intense yellow of the shepherd's outfit contrasts with the lush green of the surrounding landscape, while the warm tones of the sky give the composition depth and emotional intensity. The painting evokes a sense of balance and tranquillity, an expression of Zak's interest in creating works that transcend the chaotic modernity of his time, finding a connection to classical ideals of beauty and harmony. Reminiscent of Renaissance and Neoclassical motifs, it has been interpreted in a modern spirit, characterised by simplified forms and an emphasis on emotional impact. "The Shepherd" is evidence of Zak's ability to weave narrative, symbolism and aesthetic sophistication into a coherent artistic vision. The painting depicts not only a moment of quiet reflection, but also an enduring connection between man and nature.

5 ' Self-portrait ' , 1919, oil on canvas, 100 x 79 cm, The Israel Museum, Jerusalem, inv. no. B53.09.5555
https://www.imj.org.il/en/collections/193667-0

Exhibited
"Skin-Deep - Surface and Appearance in Contemporary Art", The Israel Museum, Jerusalem, 1999.

Published
Kamien-Kazhdan, Adina (ed.), Modernism in Dialogue: 20th-Century Painting and Sculpture in the Israel Museum, The Israel Museum, Jerusalem 2010.

Eugene Zak's painting of his 'Self-Portrait', is one of the most introspective and expressive examples of the artist's work. The work was created in 1919, at a time when he was living in Poland and developing his distinctive style combining neoclassicism with modern influences.

In the composition, Zak shows himself in a seated position, with a slight twist of his body and a pensive expression on his face. The figure is distinguished by a noble simplification of form and subtlety of detail, such as the arrangement of the hands with the fan and the harmony of colours. The costume in shades of green and olive brown contrasts with the intense red of the chair and the dark monochrome background. This colour combination introduces a calm yet melancholic mood, which is typical of many of Zak's portraits.

The special feature of this self-portrait is the linearity of the form and the attention to the rhythm of the lines. The contours of the face, hands and body are fluid and reduced, creating an almost sculptural quality to the figure. Zak, as in his other works, uses soft light and delicate modelling to subtly outline the volume and texture of the figure. Thus, the lines not only define the figure, but also bring harmony and balance to the entire composition.

The introspective nature of the portrait is one of its greatest strengths. The facial expression gives the impression of sadness and thoughtfulness. The position of the body, based on a natural gesture, emphasises its authenticity and intimacy. The fan in the hand can be interpreted as a symbol of artistic tools or personal expression.

This self-portrait is not only a record of Zak's physical presence, but also a reflection of his inner self - sensitive, reflective and searching.

6. ' Le jeune buveur' ('The drinking young man ') , oil on canvas, 66.04 x 60.96 cm, signed: Eug Zak, Buffalo AKG Museum, inv. no. 1929:1
https://buffaloakg.org/artworks/19291-le-jeune-buveur

The painting was probably created between 1910 and 1915, at the height of the artist's career, when his work was characterised by combining neo-classicism with elements of symbolism. The painting is perfectly in keeping with the École de Paris style.

It depicts a young man sitting on a simple wooden stool, holding in his raised hands a jug shaped like an ancient amphora. The figure's gesture is full of tension, which, combined with his focused expression, gives the scene a symbolic character. The vessel he lifts can be interpreted as a metaphor for spiritual desire, the quest for knowledge or reflection on one's own destiny.

The composition of the painting is balanced and its space constructed with a sense of rhythm and harmony. The background, despite its simplicity, introduces an atmosphere of mystery through the contrast of dark vertical stripes and subtle traces of texture. The figure is the focal point of the composition, and its expressive contours and intense colouring give it a sculptural quality.

The painting's colour scheme is expressive yet harmonised. Zak has used a palette of intense colours, such as deep blues, warm reds and ochre yellows, which contrast with the neutral background. The use of light and shadow is subtle, emphasising the softness of the form and the delicate modelling of the figure.

Compared to his more idyllic and arcadian landscapes, such as 'The Shepherd', it is more introspective. The painting can be read as a meditation on human desires, spirituality or a reflection on one's inner self.

7. ' Blind Beggar ' , 1925, oil on canvas, Mishkan Museum of Art in En Charod Me'uchad (Israel)

Published
Artur Tanikowski, 'Eugeniusz Zak', Sejny 2003, ill. 141 (only photograph of the work from the collection of the IS PAN, no information on the preservation of the painting).

Exposed
"Treasures of the Mishkan Museum of Art", Mishkan Museum of Art, 2022

. The composition of the painting focuses on the figure of a beggar dressed in red attire, from whom an aura of suffering and loneliness emanates. His expressive, hunched figure and outstretched hand attract attention, evoking sympathy. The background consists of simple but intensely coloured buildings, emphasising the isolation of the figure. The yellow and red buildings contrast with the dark parts of the painting. Zak uses subtle chiaroscuro to give the figure of the beggar an almost sculptural quality, bringing it to the foreground. The lines and shapes are expressive, which is typical of his style, but at the same time the composition has something of a mystical symbolism about it.

The story of 'The Blind Beggar' is part of the tragic and controversial fate of the artworks seized by the Nazis during World War II. The painting was stolen during World War II in Paris by the Nazi Einsatzstab Reichsleiter Rosenberg, an organisation dedicated to confiscating Jewish property. After the war, it ended up in Israel as part of a programme to donate orphaned works of art to Jewish communities. In Israel, the painting ended up in the collection of the Ein Harod Museum, where it remained forgotten for decades in terms of its provenance.

The discovery of a Nazi seal on the back of the painting by a Polish student researching art looted during World War II made it possible to identify its provenance. The find has shed new light on the complex history of artworks looted during the Holocaust, highlighting the importance of research into their restitution. On this topic 'Israeli museum hopes to solve mystery of looted painting', The Guardian, publication 2016, accessed online https://www.theguardian.com/world/2015/dec/16/israeli-museum-hopes-to-solve-mystery-of-looted-painting

8 Untitled (male head) , gouache, 30.6 x 25.8 cm, signed: Eug. Zak, Harvard Art Museum, inv. no. 1929.92
https://hvrd.art/o/310270

Exhibited
Chicago, The Art Institute of Chicago, '11th International Exhibition of Watercolors', 1931. Cambridge, Unidentified Exhibition, Cambridge Fine Arts Guild, 1936.

Published
Agnes Mongan and Paul J. Sachs, 'Drawings in the Fogg Museum of Art', Cambridge 1940, no. 775, fig. 404

Green-grey and pink gouache on black crayon paper

9 Untitled (female figure) , drawing on paper, 28.2 x 22.2 cm, The Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/489619

10. " Young Italian " , 1902, paper, pencil; 21.5 × 17.0 cm, collection of Belgazprombank OJSC
https://artbelarus.by/ru/collection/4978.html?from_artist=1573

11. " Woman in a long dress " , 1902, paper, pencil; 21.5 × 17.0 cm, OJSC Belgazprombank collection
https://artbelarus.by/ru/collection/4979.html?from_artist=1573

12. " Sitting " , 1902, paper, pencil; 20.8 × 16.5 cm, OJSC Belgazprombank collection
https://artbelarus.by/ru/collection/4980.html?from_artist=1573

Information on publications and exhibitions and information on paintings based on data from museum catalogues supplemented by the author.

13. ' Man in a Helmet ' , 1906, watercolour, paper, signed: Eug. Zak/06, Polish Institute of Arts and Sciences of America, New York

. More works in public collections outside Poland are in the making.

The work of Eugeniusz Zak - a painterly synthesis of tradition and modernism

Eugeniusz Zak's works are now recognised as some of the most interesting achievements of the École de Paris.

Eugene Zak, also known as Eugène Zak or Eugene Zak, was born in 1884 in Mogilno, Minsk Governorate (now Belarus), to an assimilated Jewish family. His life and work spanned between Paris, Poland, Germany and Brittany, and his paintings brought him international recognition as one of the most important artists of the École de Paris.

Early life and education
Zak's mother, after the death of her husband, moved with her son to Warsaw in 1892, where the latter completed grammar school and began his artistic education. In 1902, he went to Paris to study at the École des Beaux-Arts in the studio of the academician Jean-Léon Gérôme. He then trained at the private Académie Colarossi under the French, by then already an Impressionist, Paul Albert Besnard. In 1903, he travelled to Italy, visiting, among other places, Rome and Florence. Rome and Florence, among others, and at the end of the same year he began his studies in Munich at the private school of Anton Ažbe, a portraitist of Slovenian origin but educated in Vienna and Munich, whose not very prolific oeuvre maintained a spirit of academic technical proficiency based on solid analyses of anatomy, however, combined with a certain impressionist sensibility and not devoid of expressionist emotion, and in his mature period of work also influenced by Art Nouveau, and above all his pedagogical activity was appreciated at the turn of the 20th century. Among Ažbe's pupils were primarily students from Eastern Europe, including Wassily Kandinsky and Alexei Yavlensky or the Pole Zygmunt Rozwadowski. In his teaching, he combined a 'slavish', as Kandinsky recalled it, emphasis on technical proficiency and knowledge of anatomy with an openness to stimulating the individual, artistic vision of his students, who, in front of their easels, were expected to open up to their own anatomy of painterly vision. This seems to have had a strong influence on the development of Eugene Zak's individual style

Paris and Brittany
Zak returned to Paris in 1904, where he made his debut at the Autumn Salon. His talent was quickly recognised - two years later he became a member of the jury of the drawing section of this prestigious exhibition. He also exhibited at the Salon des Independents and the Tuileries. Between 1906 and 1908, the artist travelled to Brittany, including Pont-l'Abbé, where he was inspired by the local landscape and rural life.

In Paris, Zak became involved in the life of the Polish art colony and worked with the Society of Polish Artists. His work quickly gained recognition: in 1910 one of his works was purchased by the French government for the Luxembourg Museum, and in 1911 a solo exhibition of his paintings was organised at the Galerie Druet. In 1913 his work was shown at the famous 'Armory Show' in New York, the year before at the exhibition of the Paris Society of Polish Artists. And in 1914 at the Venice Biennale.

International career and family life
In 1912, Zak became a professor at the Académie de La Palette. In 1913, he married the painter Jadwiga Kon, who opened the famous Galerie Zak in Paris after his death. During the First World War (1914-1916) he stayed in southern France (Nice, St Paul-de-Vence, Vence) and in Lausanne, Switzerland.

In 1916, the artist and his family returned to Poland, settling in Częstochowa, his wife's hometown, and he often visited Warsaw. In Poland, he became involved with the Formists and co-founded the 'Rhythm' group. During his stay in his homeland, he exhibited a lot, including in Warsaw, where his solo exhibition was held in 1917. In 1922, Zak left Poland permanently.

Staying in Germany and returning to Paris
In Germany, Zak, already an established artist, stayed first in Berlin and then in Bonn, where he made interior decorations for the villa of the architect Fritz August Breuhaus. He also published articles in the prestigious magazine 'Deutsche Kunst und Dekoration', introducing the profiles of artists he valued. In 1923, he settled again in Paris, where he maintained social contacts with Zygmunt Menkes and Roman Kramsztyk, among others. In 1925, the last solo exhibition of the artist during his lifetime was held in Paris at the 'Devambez' gallery.

The artist ' s work
Eugeniusz Zak was an artist whose work was distinguished by a combination of classical traditions with a modernist approach to colour, form and composition. He drew inspiration from a variety of sources, from Italian Renaissance art with a particular fondness for the work of Botticelli and Leonardo da Vinci and German art - especially the works of Hans Holbein the Younger and Albrecht Dürer, through French Symbolists such as Puvis de Chavannes, to the influence of Cézanne, early Picasso and the Nabists. Arguably influenced by the latter, his penchant for the flatness of colour patches limited in a nuanced way appears in his work. However, the artist's inspiration went further - his fascination with Renaissance lines and harmony was intertwined with influences from Far Eastern traditions such as Persian miniatures, Chinese porcelain and Japanese woodcuts. These influences were evident in the conventionality of his landscapes, delicate contours and decorative compositional arrangements, giving his works a unique character. In this period of his work, we can see the influence of not only the aforementioned Pierre Puvis de Chavannes but also Nicolas Poussin, evident in the idyllic scenes characteristic of the artist's pre-war period. However, these diverse inspirations, his experience of Munich and his own personality opened him up, above all, to his own exploration, experimentation and reflection on art as a timeless phenomenon.

Zak did not paint from nature, creating his paintings in the studio. His landscapes and figures were the product of the artist's imagination, set in an idealised, Arcadian world. The protagonists of his paintings were 'free people' - fishermen, shepherds, mothers with their children, comedians or dancers, often depicted in theatrical poses. These idyllic scenes, painted in a bright, glowing palette, combined elegance with melancholy. Between 1923 and 1924, maternity themes and figures with musical instruments such as pierrots, harlequins and dancers appeared in Zak's work. At the end of the First World War, we can observe more and more pessimistic themes in his work, and his forms also became increasingly stylised and even geometrised. Paintings from this period are distinguished by a more refined colour scheme, dominated by pinks, purples, greens and reds, giving the works a new aesthetic dimension. At the same time, these nostalgic and pessimistic scenes meet another dimension of his work, where motherhood, intimacy and a fascination with the happy dimension of life emerge.

An important element in Eugeniusz Zak's work was the line, which the artist treated as a basic tool for organising the space of a painting. The line in his works had a contouring and delimiting function, but not a modelling one in the classical sense. It was a means of creating closed, harmonious colour planes. In this aspect, one can see inspiration from both Wyspianski and Van Gogh, who also used line as a means of ordering forms. Also evident in his drawings and paintings is a fascination with the aforementioned Renaissance masters and later artists such as Cézanne. Line, rhythm and harmony were for him the most important values in art.

Eugene Zak's work is characterised by several unique features. His compositions are characterised by decorativeness, where the rhythmic harmony of forms and lines gives the paintings a distinct aesthetic value, and even a mannerist elongation of proportions. The subtlety of chiaroscuro is evident in the delicately modelled light on the figures' features, which gives them a softness and elegance. Linearity is another feature of his style - fluid, flexible contours sometimes with an almost Art Nouveau finesse are a characteristic element of his work. Finally, the syntheticity of form, i.e. the reduction of shapes to simple but expressive lines, is an important aspect of his works. Zak combined a classical love of proportion with a modernist approach to colour and form, creating his own distinctive but uneven style, undoubtedly distinguishing him in the circle of École de Paris artists in which he revolved. He did not succumb to avant-garde experiments, but he did not close himself off to change and new currents. He was an artist who found beauty in processing tradition.

His paintings were quite readily exhibited in the prestigious galleries of Paris, Berlin, London or New York, winning praise from critics and collectors alike. A marker of his success is the purchase of one of his works by the French government for the collection of the Luxembourg Museum. Zak believed that art is not assigned to one moment in time, but belongs to all eras. In his notebook he noted: "One should not resent the subversion of something or the building up of something. There are no inventions in art. Art is neither of yesterday, today nor tomorrow - it is of all times." This belief in the timelessness of art was reflected in his works, which combined classical proportions with a modern approach to composition.

Inspirations and influences
Eugene Zak's work was diverse and rich in inspiration. The artist drew on the works of the old masters such as Botticelli, Leonardo da Vinci, Holbein and Albrecht Dürer. Harmony and linearity, characteristic of Italian Renaissance art, were particularly important to him. At the same time, he was inspired by the Symbolists, such as Puvis de Chavannes, and his contemporaries, including Cézanne, Picasso and the Nabists. Far Eastern influences are also evident in his work - Persian miniatures, Chinese porcelain and Japanese woodcuts influenced the subtlety of his contours and the decorative quality of his compositions.

In the artist's often fantastic and Arcadian landscapes, one can see a transformation of the ideas of Cézanne, who treated landscape as a construction of colourful planes. Zak's work is dominated by harmonious rhythms and decorative forms, making his paintings exude calm and balance. At the same time, his work was deeply reflective - the vision of death that accompanied his life left its mark on many of his works, imbuing them with melancholy and mystery.

Style development and experimentation
Over the years, Zak's style evolved, moving from his early experiments with colour planes and the rhythm of lines, through Renaissance-inspired figural compositions, to the more abstract and rhythmic paintings of the 1920s. In works such as 'Judith' (1909) and 'Spring' (1912), an attempt to transform classical forms into a contemporary painterly language is evident. On the other hand, in later works such as 'Harlequin' (1922) and 'Woman with a Cobra' (1923), the artist introduces more complex divisions of planes and intense colours.

The colouring of his works became more pronounced in the 1920s, when Zak began to experiment with bright, contrasting colours. His works from this period, such as The Player (1925) and Boy with a Guitar (1924), combine the intensity of colours with the finesse of rhythmic line arrangements, which gives them a unique dynamic and expressive quality.

Relationships with other artists
Eugene Zak was an important member of the École de Paris and closely associated with artists such as Leopold Gottlieb, Roman Kramsztyk, Mela Muter and Marc Chagall. He was also friends with art critics, including Adolf Basler and André Salmon, who supported his work and promoted it in art circles. In Poland, he co-founded the Rhythm Association of Polish Artists, which promoted the ideas of neo-classicism and folk-inspired art.

Death and legacy
Eugeniusz Zak died of a heart attack on 15 January 1926, aged just 41. His death interrupted a rapidly developing career - just before his death he was to take up a position as professor of painting at the Academy of Fine Arts in Cologne. Posthumous retrospective exhibitions of his work were held at the Paris galleries "Bing" (1926), "M. Bernheim' (1927), 'Zak' (1936, 1938), as well as in Warsaw and Dusseldorf (both in 1926), New York (1927), and London (1929). The Galerie Zak, run by his wife, became one of the most important art promotion venues in Paris, hosting, alongside the works of her late husband, works by artists such as Amedeo Modigliani and Marc Chagall.

Zak's paintings, full of harmony, lyricism and reflection on the essence of human nature, remain timeless, impressing with their subtlety, sense of form and deep lyricism. Zak's work is proof of the artist's ability to masterfully combine diverse inspirations into a coherent and unique whole - Zak combined tradition and modernity in his works, creating works that have inspired his contemporaries as well as subsequent generations of artists.

Tombstone monument
Eugene Zak's tombstone is located in the Montparnasse cemetery in Paris. It is distinguished by its austere, modernist form, characteristic of the interwar period. It was probably created shortly after the artist's death in 1926. The structure of the tombstone is made of grey polished stone. It retains a minimalist, geometric shape. It consists of a tombstone at the head of which is placed a vertical element in the form of a block with a rectangular cross-section. It consists of a solid block with a rectangular recess in the upper part, which divides the form into two sections: a lower, solid one and a higher, more visually open one. The recess has a simple, geometrised shape, framed on the right by a pillar extending downwards with two faults. Below the niche is a cuboidal stone block on which the following inscription is carved on the front:

. EUGENE ZAK / ARTISTE PEINTRE / 15 DECEMBRE 1884 / 15 JANVIER 1926.

The recess probably contained an unpreserved decorative element.

The tombstone bears signs of the passage of time. Discolouration of the stone due to weathering and minor surface damage such as scratches and small cavities are visible. The inscriptions remain legible, although slightly faded.