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SWEDISH RETINUE OF POLISH RULERS, OR TOMASZ TRETER 'REDIVIVUS'

100%
Widacka H.
Biuletyn Historii Sztuki
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2007
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vol. 69
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issue 3-4
189-202
EN
In the Ancient Prints sections of the Public Library and the National Library in Warsaw are to be found copies of a little recognised Swedish publication titled 'Polska Kongars Saga Och Skald', published in Stockholm in 1736 and dedicated to Queen Ulrika Eleonora, sister of Charles XII. This was a Swedish version of a work by Augustyn Koludzki, 'Ancestral Throne or the Palace of Eternity', which, published in Poznan (1707, 1727) and Suprasl (1723), contained fifty likenesses of Polish princes and monarchs (mythologised as well as historical), reproduced from copperplates in two contrasting styles that clearly relate to two groups. Its publication provokes a number of questions, the most important of which concern the identity of the initiator behind the Swedish edition of Koludzki's album (almost certainly king Stanislaus Leszczynski). Equally revealing is the dedication to Ulrika Eleonora, from whom Leszczynski on numerous occasions sought patronage following the tragic death of Charles XII. Answers to other questions are not available, for the time being.
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QUEEN OF POLAND - PRINCESS OF LORRAINE: ON THE PORTRAITS OF ELEONORA HABSBURG

100%
Widacka H.
Biuletyn Historii Sztuki
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2006
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vol. 68
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issue 2
149-163
EN
The etched iconography relating to the Habsburg Eleonora Maria Josepha (1653-1697), wife to the Polish monarch, Michael Korybut Wisniowiecki (1670), and subsequently the prince of Lorraine, Charles V (1678), arose mainly in Germany, Italy, France and Lorraine, while no more than a small number of painted objects have been preserved, confirmed only in the graphics available. The portraiture of the Habsburg princess, much as paintings depicting the same figure, present her as queen of Polish and princess of Lorraine. Two main groups of portraits are dealt with, one containing mainly undated pictures prior to 1678 and the other in her capacity as princess of Lorraine. All iconographic sources present for prosperity the picture of a young woman of slim figure and subtle, delicate and even original charm, a woman dressed in great splendour and not lacking in taste who must have adored costly jewellery. The etchings almost certainly relate to the artistic patronage of the courts of king Michael Korybut Wisniowiecki in Warsaw and Leopold I in Vienna (brother of Eleonora), as well as Charles V of Lorraine at Innsbruck.
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THE QUEEN WANDA MYTH IN GRAPHIC ARTS IN 16th-19th CENTURY

100%
Widacka H.
Roczniki Biblioteczne
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2007
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vol. 51
85-101
EN
The dramatic fate of the legendary Polish queen, Wanda, daughter of King Krak (Grakch), the ruler of Cracow, was reflected in iconography that includes portraits and historical scenes depicting the heroine's death and the recovery of her body from the Vistula river. The earliest images are the anonymous wood engravings in Maciej Miechowita's 'Chronica Polonorum' (1521) and in Marcin Bielski's 'Polish Chronicle' (1597) as well as two copperplates by Tomasz Treter ('Reges Poloniae' or the so-called Treter's Eagle, 1588, and another that is part of the 'Regum Poloniae Icones' series, published in 1591), copied by various European publishers (Arnold Mylius, 1594; Salomon Neugebauer, 1620). From 1852 comes a two-colour lithograph 'The Royal Castle and the shades of Krakus and Wanda' made in Lvov by Teofil Zychowicz and printed there at Marcin Jabłonski's factory. It was based on Michal Stachowicz's mural made between 1819 and 1821 at the Archbishops of Cracow Palace (destroyed by a fire in 1850). Between 1844 and 1946 in Paris a Lvov painter, Korneli Szlegel, painted an oil depicting Wanda's death and made two lithographs from it. In Warsaw, Aleksander Lesser painted 'The Death of Wanda' (1855), a painting that became a model for a tableau vivant presented on the stage of 'Teatr Wielki' in Warsaw in 1871, a wood engraving illustration of which (drawing by Lesser, engraving by Andrzej Zajkowski) was published by the Warsaw 'Klosy' in 1871. Probably the most popular among all those images was an oil painting by Maksymilian Antoni Piotrowski 'The Death of Wanda' (1859), copied by the author himself (with the copy now in the Museum of the Opole Silesia in Opole) an popularised by a two-colour lithograph printed at the Winckelmann & Sons press in Berlin under the imprint of Daniel Edward Friedlein from Cracow. This faithful though anonymous copy was subsequently included in Lucjan Siemienski's 'Album of Polish painters at the Exhibition of the Friends of Fine Arts Society in Cracow' (1860). The are no distinguished works among the graphic depictions of Wanda; similarly, there are no important Polish and foreign names among their authors (with the majority of works remaining anonymous).
4
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FURTHER WORD ON GOTTLIEB MARSTALLER, THE WARSAW ENGRAVER

100%
Widacka H.
Biuletyn Historii Sztuki
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2005
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vol. 67
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issue 3-4
259-269
EN
Gottlieb Jacob Marstaller was a professional engraver employed on a permanent basis at the court of Stanislaus Augustus in 1765 to 1785 who specialised in book illustration (title headpiece, tailpiece vignettes), as well as text illustrations. Not all his works are signed, which is why the list of potentially attributable pictures remains open to revision. As a result investigation into 18th-century old prints housed in the collections of Warsaw's National Library, almost ten new works have been attributed to Marstaller, each being an unsigned copperplate etching combined with watercolours.The copperplates most recently attributed to Marstaller confirm his high reputation in Warsaw in the second half of the 18th century; nor is it the first time that researchers wonder at how it possibly came to pass that they know virtually nothing about the life of this 'better-than-average' artist; even basic information such as where and when he was born and died.
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