In 1947, as it was rebuilding itself from the destruction of war, Poland was hit by a massive thaw flood. Chrząszczowa conveyed a rather subdued image of the natural disaster, unlike Jerzy Bossak’s award-winning film The Flood, which showed the tragedy in all its ghastly splendour. Chrząszczowa documented the flood’s late stage: the last thaws and the overflowing Jeziorka River near the Old Paper Mill. She captured an image of the neo-Gothic Church of the Holy Virgin Mary at Piłsudskiego Street 54, a design of Józef Pius Dziekoński and Zdzisław Mączeński, reflected in the flood waters. Chrząszczowa lived in Konstancin until the 1960s, when she moved to Polna Street in Warsaw.
The earliest Chrząszczowa could have taken the photographs of ice floes floating down the Vistula was in the winter of 1946. The Most Poniatowskiego bridge visible in two of the images had been rebuilt and put into use in July 1946.
One Masurian landscape photograph is signed ‘Stefan’ on the reverse, a pseudonym Chrząszczowa often used. Picturesque views: fishing nets hung out to dry, lakes glimmering in the sun, fields and forests, this may be a collection of tests and potential entries for a photo competition.
Chrząszczowa marked the photographs of twisted roots and gnarled branches as ‘bizarre plane trees’. The images are probably from a private trip to Lower Silesia in 1971, though Chrząszczowa had been documenting the region of the so called Regained Territories – Wrocław, Jelenia Góra, Zielona Góra, Kłodzko – since the late 1940s.