Search results

1

Wykaz publikacji i ważniejszych artykułów dotyczących Wilanowa i jego konserwacji za okres od 1946 do 1961 r.

100%

Fijałkowski W.

Ochrona Zabytków

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1962

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issue 3

115-116

2

Przedmowa

80%

Lorentz S.

Ochrona Zabytków

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1962

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issue 3

3-11

EN

The Wilanów pałace and park, dating from the 17th century, is one of the rare monuments in Poland in which not only the original architecture but also the decorative sculpture and. painting, the interior furnishings and the collection of works of art have been preserved. Talking into consideration the significance of this monument for the history of Polish culture, the Council o f Ministers of the Polish People’s Republic adopted a resolution on its restoration in 1954. The resolution designates means for conservation work and for its adoptation into a modern museum. During the work on safeguarding the valuable monument, some unfortunate alterations made in the 19th and 20th centuries were removed and, on the other hand, some neglected polychrome, sculpture and decorations were uncovered. Thirty restored .palace chambers have been opened to the public this year. This coincides with the 100th anniversary of the National Museum. The restoration of the palace will be completed in 1964.

RU

Дворцово-огородный комплекс в Вилянове происходящий из XVII века, является одним из весьма немногочисленных старинных объектов в Польше, сохранивших не только свой достоверный архитектонический стиль, декоративное, художественное и скульптурное искусство, но также оснащение внутреннего убранства и коллекцию дел искусства. Принимая по внимание ценную, значительную стоимость этого комплеса для истории польской культуры, Совет Министра Польской Народной Республики в 1954 году выдал постановление по делу перестройки этого объекта, обеспечивая притом материальные средства для проведения со- хранительных работ и приспособления объекта к потребностям современной музейной деятельности. В течении хода работ, прочно обеспечивающих ценные памятники, удалено неудачные перестройки, исполненные в XIX и XX веке, открывая притом скульптурное и декоративное искусство, а также забытую полихромию. В текущем году отремонтировано 30 зал, делая их доступными для зрителей в связи с сотой годовщиной существованная Народного Музея. Полная перестройка Дворца предусматривается в 1964 г.

3

Wilanowska perspektywa warszawskiej „Wystawy starożytności” w pałacu Potockich w lecie 1856 roku

80%

Paprocka-Gajek J.

Studia Wilanowskie

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2019

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vol. XXVI

179-244

EN

The Warsaw ”Exhibition of Antiquities belonged to a series of events that were a part of the panEuropean fashion for popularising the achievements of fine arts, scholarship and industry in the form of presentations or exhibitions open to the general public. The exhibition opened in June 1856 in the private palace of the Count and Countess August Potocki at Krakowskie Przedmieście 32 and continued for more than half a year. Beside the Potockis, its coorganisers were outstanding scholars and collectors, such as Paweł Bolesław Podczaszyński, Karol Bayer, Edward Rastawiecki, Henryk Stecki and Kazimierz Stronczyński. The aim of the exhibition was to gather and showcase objects linked directly with historical figures and events that reinforced the sense of national identity in the period when Poland was not an independent state; for this reason the event was disguised as one aimed to collect funds for charitable purposes. The Potockis lent 288 pieces from their own collections; 123 of them have survived to our times. The exhibition was accompanied by the publication of pioneering books, including a catalogue and an album which is today considered the first iconographic register of historical monuments in the Polish lands. This exhibition has provided the focus for a new permanent exhibition currently under preparation at the Wilanów Palace.

4

Norwid i Potoccy z Wilanowa

71%

Gadamska-Serafin R.

Studia Norwidiana

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2022

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vol. 40

191-203

EN

Wilanów is an important place on Norwid’s biographical and intellectual map, not only due to the cultivation of memory of his great “ancestor” John III Sobieski, but also because he learned to paint at the Warsaw studio of Aleksander Kokular, who was associated with Wilanów. Norwid maintained close contacts with the closest family of Wilanów’s owner, Count Aleksander Potocki: his second wife Countess Izabella nee Mostowska, primo voto Potocka, secondo voto Starzyńska, and her son Stanisław Potocki, grandson of Stanisław Kostka Potocki. Norwid even enjoyed the protection of Countess Starzyńska and would often meet in Paris with her son, an art collector, as well as exchange letters with him, mainly on the subject of art. Perhaps they visited together Hôtel Drouot, an art auction house in Paris.

PL

Wilanów to miejsce na biograficznej i intelektualnej mapie norwidowskiej bardzo ważne nie tylko ze względu na kultywowaną w nim pamięć o wielkim „przodku” poety – Janie III Sobieskim. Norwid uczył się w warszawskiej „malarni” związanego z Wilanowem Aleksandra Kokulara, utrzymywał także bliskie kontakty z najbliższą rodziną właściciela dóbr wilanowskich – hrabiego Aleksandra Potockiego: jego drugą żoną hrabiną Izabellą z Mostowskich, primo voto Potocką, secondo voto Starzyńską, oraz z jej synem Stanisławem Potockim (wnukiem Stanisława Kostki Potockiego). Cieszył się nawet protekcją hrabiny Starzyńskiej, a z jej synem, kolekcjonerem, wielokrotnie spotykał się w Paryżu i prowadził z nim korespondencję poświęconą głównie kwestiom sztuki. Być może wizytowali też wspólnie paryski dom aukcyjny Hôtel Drouot.

5

Analiza materiału kostnego z wczesnośredniowiecznego cmentarzyska z Wilanowa

71%

Tomczyk J.

Studia Ecologiae et Bioethicae

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2005

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vol. 3

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issue 1

147-172

EN

Acient materials from Wilanow were excavated nearly 40 years ago. It was researched by professor Wiercinski but the results of this work did not appear (it was published only cranial researching). We decided to finish this project – make inventoring, measure, and compare our results. So, the aim of work is to examinate the structure of Wilanow’s population dated back to the early Middle Ages. The whole series is represented by 75 skulls and 48 sketetons. A lot of skulls are very fragmentary, and the analysis is based on the descriptions only of 49 skulls (21 male, 25 female and 3 children). The skulls form Wilanow are interesting because they are approaching the border of brachycephalic. This population is quite different from that one having lived in Poland and dated from this same age. This problem should be researched in the future.

6

WSPOMNIENIE O DR. WOJCIECHU FIJAŁKOWSKIM

70%

Paprocka-Gajek J.

Muzealnictwo

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2014

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vol. 55

249-254

EN

After mourning ceremonies at the St. Anne’s Church in Wilanów, Wojciech Fijałkowski, PhD was laid to rest at the local cemetery on Monday, April 14, 2014. We lost a person who had dedicated his heart and professional life to Wilanów Palace and Warsaw for 60 years. W. Fijałkowski was born on July 4, 1927 in Żychlin. His professional life started at the National Museum in 1948. Delegated to Wilanów Palace by prof. Lorentz in April 1954, he was entrusted with the task of full restoration and opening of a museum. In the years 1955–1964 he was responsible for supervising the regeneration of the historic palace and garden. He retired in 1991. During his entire professional career Wojciech Fijałkowski was a devoted social activist. He participated in the activities of Social Fund for the Rebuilding of the Capital [Społeczny Fundusz Odbudowy Stolicy], Investment Commission of the Warsaw SFOS Committee [Komisja Inwestycyjna Komitetu Warszawskiego SFOS], Warsaw Society of Friends of Fine Arts, National Board of Museum Employees and Restorers of Monuments [Krajowa Komisja Pracowników Muzeów i Konserwacji Zabytków] by the Main Board of Trade Unions of Culture and Art Employees [Zarząd Główny Związku Zawodowego Pracowników Kultury i Sztuki], Society of Friends of Warsaw [Towarzystwo Przyjaciół Warszawy], Society for Heritage Protection [Komisja Ochrony Zabytków]. He was the Secretary of Culture Council by the President of the Republic of Poland and a member of the Council for Warsaw Development Program “Warsaw of the 21st Century”, President of the Main Board of the Society for the Preservation of Historical Monuments, Vice-President of the Social Committee for Erection of Józef Piłsudski Monument in Warsaw, Vice-President of the Social Committee for the Preservation of Old Powązki, President of the Committee for Erection of Juliusz Słowacki Monument in Warsaw. He was the expert of the Ministry of Culture in the field of regeneration of historical architectural ensembles, organizer of European Heritage Days in Warsaw, associate of the Natolin European Centre, member of the Association of Monument Conservators,honorary member of the Association France-Poland, and member of the Polish National Committees of ICOM and ICOMOS. For years he was the editor-in-chief of the journal „Ochrona Zabytków” [“Protection of Monuments”], member of the Editorial Board of „Studia Wilanowskie” [“Wilanów Studies”], „Spotkania z Zabytkami” [“Meetings with Monuments”], academic supervisor of the articles series „Biblioteka Towarzystwa Opieki nad Zabytkami” [“The Library of the Society for the Preservation of Historical Monuments”], author of texts in the magazine „Wierzyć życiem” [“Belive with life”].

PL

W poniedziałek 14 kwietnia 2014 r. w kościele św. Anny w Wilanowie odbyły się uroczystości żałobne, a na miejscowym cmentarzu pochowany został dr Wojciech Fijałkowski. Pożegnaliśmy człowieka, który przez 60 lat, jak nikt inny związany był sercem i pracą z pałacem w Wilanowie i Warszawą. W. Fijałkowski urodził się w 4 lipca 1927 r. w Żychlinie. Pracę zawodową rozpoczął w 1948 w strukturze Muzeum Narodowego. W kwietniu 1954 r. wydelegowany został przez prof. Lorentza do Pałacu w Wilanowie, w celu jego pełnej odbudowy i zorganizowania tam muzeum. W latach 1955–1964 powierzono mu nadzór nad rewaloryzacją zabytkowego espołu pałacowo-ogrodowego, w roku 1991 przeszedł na zasłużoną emeryturę. Przez cały okres działalności zawodowej Wojciech Fijałkowski był niestrudzonym działaczem społecznym. Brał udział w pracach Społecznego Funduszu Odbudowy Stolicy, Komisji Inwestycyjnej Komitetu Warszawskiego SFOS, Towarzystwa Przyjaciół Sztuk Pięknych w Warszawie, Krajowej Komisji Pracowników Muzeów i Konserwacji Zabytków przy Zarządzie Głównym Związku Zawodowego Pracowników Kultury i Sztuki, Towarzystwie Przyjaciół Warszawy, Komisji Ochrony Zabytków. Był sekretarzem Rady Kultury przy Prezydencie Rzeczypospolitej i członkiem Rady Programu Rozwoju Warszawy „Warszawa XXI wieku”. Piastował funkcję Prezesa Zarządu Głównego Towarzystwa Opieki nad Zabytkami, wiceprzewodniczącego Społecznego Komitetu Budowy Pomnika Marszałka Józefa Piłsudskiego w Warszawie, wiceprezesa Społecznego Komitetu Opieki nad Starymi Powązkami, przewodniczącego Komitetu Budowy Pomnika Juliusza Słowackiego w stolicy. Był rzeczoznawcą Ministerstwa Kultury w dziedzinie rewaloryzacji zabytkowych zespołów architektonicznych. Organizatorem warszawskich Dni Dziedzictwa Europejskiego. Współpracownikiem fundacji Centrum Europejskie Natolin, członkiem Stowarzyszenia Konserwatorów Zabytków, honorowym członkiem Stowarzyszenia Francja-Polska oraz członkiem polskich narodowych komitetów ICOM i ICOMOS. Przez wiele lat był redaktorem naczelnym czasopisma „Ochrona Zabytków”, członkiem rady redakcyjnej „Studiów Wilanowskich”, „Spotkań z Zabytkami”, opiekunem naukowym publikacji z serii „Biblioteka Towarzystwa Opieki nad Zabytkami”, autorem tekstów w periodyku „Wierzyć życiem”.

7

Odbudowa ogrodu

70%

Ciołek G.

Ochrona Zabytków

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1962

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issue 3

86-106

EN

The author begins his article with an extensive review on historical and present documentation concerning the Wilanów Park. According to the main stages of territorial development, the park consists of three parts: the central section — the oldest an/d baroque in style; to the south of this is the romantic landscape part; and then there is the north part dating from the 19th century. Conservation work began here in 1948. It provided for the preservation of the different styles prevalent in each section of the park but, at the some time, maintaning a harmonious whole. Conservation work covered the garden, grounds and melioration system as well as the reconstruction and conservation of the park statues and buildings. This work was interrupted in 1950 because of a lack of funds. Work was resumed in 1960 in the garden, coordinating the conservation programme with the solution of technical problems necessary for the proper functioning of the Wilanów Park.

RU

В самом начале статьи автор представляет обширный осмотр исторической и современной документации, касающейся Виляновского огорода. Согласно с главными фазами территориального развития, огород делится на три основные части: центральная наистаршая в стиле барокко, с южной стороны расположена часть огорода романти- чески-ландшафтная, а с северной стороны находится часть огорода — повставшая в XIX веке. Консервационные работы, к которым присту- плено в 1948 году имели в виду удержание стильной особенности в отдельных партиях огорода с одновременным учётом полной гармонизации территория. Относилось это одинаково к работам местным, мелиоративным, озеленения, как и к работам, связанным с реконструкцией и консервацией статуй и огородных построек. В 1950 году в веденных работах наступил перерыв по причине недостатка инвестиционного фонда на обновление парка. В 1960 году снова приступлено к работам на территории огорода, согласуя реализацию консервационных закладок с разрешением с современной технической проблемы, необходимой для правильного функционирования целого комплекса.

8

Dorobek i perspektywy badań nad życiem i działalnością Stanisława Kostki Potockiego prowadzonych w Muzeum Pałacu Króla Jana III w Wilanowie. W dwusetną rocznicę śmierci

70%

Kwiatkowska A., Paprocka-Gajek J.

Studia Wilanowskie

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2021

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vol. XXVIII

21-39

EN

The museum established in the Wilanów residence by Stanisław Kostka Potocki was the first art museum in Poland. Today, on the bicentenary of the death of its founder, we reflect upon the activities and prospects for research on Potocki's legacy conducted with the participation of the Museum of King Jan III's Palace at Wilanów. In 2014, in cooperation with the Winckelmann Society, the Museum initiated the project “Johann Joachim Winckelmann i/und Stanisław Kostka Potocki. Nowe badania i dokumenty/Neue Forschungen und Dokumente”, aimed at studying the influence of Winckelmann's works on art collecting in Central Europe, including the activity of Stanisław Kostka Potocki. As part of the project, a German translation of Potocki's most important work, O sztuce u dawnych, czyli Winkelman Polski, has been published. The popularisation of Potocki's output is also carried out by way of organising numerous scientific conferences and publishing studies on his literary legacy (cf. O spuściźnie literackiej Stanisława Kostki Potockiego. Studia i szkice), political activity (M. Getka-Kenig, Stanisław Kostka Potocki. Studium magnackiej kariery w dobie upadku i “wskrzeszenia” Polski), the ways of developing his collection of works of art, as well as the stories of individual objects therein, such as the image of the Salvator Mundi by Leonardo da Vinci or the portrait of Stanisław Kostka Potocki by Jacques-Louis David. At the same time, research is being carried out on Potocki's collection itself, as well as on his manuscripts and letters. The results of this research are presented in the form of exhibitions organised by the Museum (“Leonardiana in Polish Collections”) and numerous articles published in Wilanów Studies. The profound change, currently underway, of the profile of both the permanent and temporary exhibitions in the interiors of the Wilanów Palace aims to emphasise the significance of the Enlightenment idea of collecting as practised by Stanisław Kostka Potocki. The section of the exhibition on the first floor of the palace, presenting the art collecting achievements of the third generation of the Potocki family in Wilanów, will be made available to the public in 2022.

9

Konserwacja obrazów i malowideł ściennych

70%

Marconi B.

Ochrona Zabytków

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1962

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issue 3

44-64

EN

Fused with the architecture are paintings in the palace such as those on linen (plafonds, friezes, supraportals, panneaux) and some mural paintings (on ceilings, vaults, fascia and walls). The conservation of the paintings on linen met with no difficulties despite the poor condition of their preservation as wiell as some repalntings. Proper conservation methods were decided upon after a detailed laboratory analysis defined the scope of the damages. Those pictures which needed relining were treated accordingly, applviing the iso called Dutch method. Retouchings, darkened varnish and repaintings were removed from some of the pictures. Some losses were filled up with gluechalk putty. The surfaces of the paintings were isolated by mastic varnish; before hanging up the pictures they are to be covered with a wax mixture for an additional protection. Original two-part circular wooden stretcher are discovered in some plafonds canvas. The mural paintings often covered by two or three coats of paint posed the question whether to restore an earlier preserved painting or to accept later alterations. In the Grand Hall of .the main part of the palace fragments o f 17th century paintings were uncovered as well as some ornamental decorations in window recesses; these latter will be reconstructed. Parts of 18t)h century paintings „en grisaille“ will be worked on and then veiled by the paintings on linen taken out for conservation work. The 18th century repaintinigs will be removed from among the well-preserved paintings in the King’s and Queen’s bed-chambers. It was decided to preserve these repaintings — on four very damaged plafonds in the south wing — to correspond with the original’s composition and colouring. The most valuable discovery concerns well-preserved paintings found in a staircase. The paintings were made in calcic al secoo technique imitating Gobelin tapestry. Studies on some of the .paintings have not been carried out yet because of the construction work in progress. The question of an original polychrome beam ceiling structure in the ante-chamber, which was revealed on the first floor while exchanging the rafters, was very difficult for the conservators. In the 18th century the ceiling lining was fixed on the ceiling structure, whitened walls were rough-cast and adorned with paintings done in the calcic technique. By the end of the 18th century they were covered in Chinese style and repainted again towards the end of the 19th or at the beginning of the 20th century. To protect the composition in the ante-chamber, the conservators have decided to work on the 18th century paintings and to leave the polychrome ceiling in concealment. The paintings of minor value, preserved often only in fragments, are to be conserved where possible or, in any case, inventoried.

RU

В состав художественного украшения Дворца, связанного с его архитектурой, входят картины, рисованные на полотне (плафоны, фризы, „супра- порты, „panneaux”) а также стенная живопись (на потолке, на своде, карнизах и стенах). Консервация картин, рисованных на полотне, несмотря на их плохое состояние и перекрашивания, не представляла особенных трудностей. После проведенных детально лабораторных исследований, подробно определено степень разрушения и в связи с тем установлено соответственный метод консервации. Картины, требующие нового сдублирования, сдублировано в воске методом, званым голландским; с некоторых частей картин удалено ретуш, потемневший лак и перекрашивания. Убыли заполнено мелово-клеевой замазкой. Поверхность картин изолировано смоловым лаком; прежде чем картины, будут повешены, поверхность их для добавочного изолирования будет покрыта смесью воска со специальным лаком. В некоторых картинах открыто оригинальные двухчастичные подрамники, соединённые при помощи гнёздышек и клинов. В стенной живописи очень часто встречаются двух и трёхкартные наслоения, живопись такого рода требует восстановления прежнего, сохранившегося изображения или задержания возникших позже перемен. В Великой Сени главного корпуса здания открыто фрагменты XVII-вечных изображений а такж е значительные орнаментальные украшения на внутренней поверхности оконных отверстий, эти орнаментальные украшения будут реконструированы. Остаток картин „en grisaille” с XVIII века будут закрыты после обеспечения, снятыми для консервации изображений на полотне. С картин, находящихся в спальнях короля и королевы, сохранившихся в довольно хорошим виде, будут удалены XVIII-вечные перекрашивания. На четырёх плафонах в южной галереи, очень повреждённых, перекрашивания которых колоритом и композицией отвечают подлинникам, решено удержать. Наиболее ценным открытием является открытие на лестничной клетке хорошо сохранившихся изображений, исполненных известковой техникой „al secco”, подделаных под гобелены. В связи с продолжающимися строительными работами некоторые картины ещё не были исследованы. Трудного решения требовал вопрос консервации свода в Передней на втором этаже, первоначально балочного, покрытого полихромией, который открыто во время замены скрепы в крыше. В XVIII веке нижнюю поверхность свода укреплено, стены побелено и всё это вместе покрыто штукатуркой, а целость украшено художественно известковой техникой. В коньце XVIII века всё это покрыто композицией в китайском стиле, вторично перекрашено на переломе XIX и XX века. Для удержания композиции помещения решено приступить к консервации XVIII-вечных изображений, а покрытый полихромией свод оставить в укрытии. Менее ценные картины, сохранившиеся только отрывочно, по мере возможности, будут подданы консервации, но в каждом случае будут включены в инвентарную опись.

10

Pożegnanie wilanowskiego kobierca z Galerii Obrazów zwanej Muzeum

70%

Czaja B.

Studia Wilanowskie

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2021

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vol. XXVIII

357-367

EN

An enormous carpet with floral decorations which embellished the floor in the Painting Gallery at the Wilanów Palace since the 1970s is leaving the display at the Museum of King Jan III's Palace at Wilanów forever. The text presents the characteristics and the history of the manually woven carpet executed as a copy of a nineteenth-century rug.

11

Przywracanie kompozycji Szwanera w Wilanowie

70%

Mądrach P. G.

Ochrona Zabytków

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1996

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issue 2

182-186

EN

The palace and park in Wilanow were embellished with exceedingly lavish sculpture ornaments. The best known sculptors who worked for the king were Andrzej Schluter and Stefan Szwaner. The latter was the author o f one o f the most magnificent bas relief all’antica decorations o f the palace facade, depicting the deeds and victories of king Jan III Sobieski. Owing to the highly unsatisfactory present-day state of the bas reliefs, it was decided in spring 1993 to initiate conservation work. The task was entrusted to a team of artists-art conservators, headed by Piotr Grzegorz Mądrach, and composed o f Jolanta Pawlak, Zenon Sądecki, Piotr Zambrzycki and Jerzy Zebrowski. Conservation began with a thorough acquaintance with the history o f the sculptures and a detailed examination of their technical state. Close studies o f the history o f the sculptures and archive iconographie material led to an ex traordinary discovery. All descriptions, drawings and photographs prior to the 1930s present designs made by Stefan Szwaner during the seventeenth century. A radical change occurred in 1 9 3 3 -1 9 3 7 although there are no information documents telling us who, why and when altered the sculptures on the palace facade attic storey. The conservation team proposed the recreation o f the original form o f the bas reliefs. A commission o f experts: art historians, museum staff, historians, art conservators and technologists, was established. After an examination o f all arguments in favour and against the restoration o f the seventeenth — century com position, it was decided to recreate the original shape of a sculpture known as „The Expedition against the Tartar Hordes”. This work was restored by making a clay model, a plaster form and a positive cast in modified mineral mortar, reinforced with a rust-free steel net. The copy o f the Stefan Szwaner statue was then installed on the attic storey o f the Wilanow palace facade. The task was completed in the autumn o f 1994. After a period o f sixty years, we can once again admire „The Expedition against the Tartar Hordes” in the form and with the symbolic designed by its author.

12

Rzeźby ogrodowe z fabryk Feilnera i Marcha w kolekcji Muzeum Pałacu Króla Jana III w Wilanowie - przyczynek do opracowania

61%

Zając M.

Studia Wilanowskie

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2019

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vol. XXVI

245-304

EN

According to extant sources, in the 1840s and 1850s August Potocki bought a group of ceramic objects from two of the most renowned Prussian factories of that time: the first one owned by Tobias Christoph Feilner, in Berlin, the second - by his pupil Ernst March, in Charlottenburg. Most of those objects decorated the private garden by the southern wing of the palace, the others - other parts of the gardens, some of them were positioned in the interiors. The paper, which is a contribution to the elaboration of the collection of ceramic garden sculptures from the Museum of King Jan III's Palace at Wilanów, presents an overview of the history of both factories in which these purchases were made, and analyses the archival, bibliographic and iconographic sources connected with the collection from Wilanów. The paper is complemented by a catalogue of preserved sculptures and archaeological shards.

13

Kontynuacja „fabryki” i losy zbiorów pałacu w Wilanowie po śmierci króla. Nieznane wilanowskie archiwalia artystyczne z lat 1698-1720 w zbiorach Biblioteki Uniwersyteckiej w Warszawie i Archiwum Warszawskiej Prowincji Zakonu Braci Mniejszych Kapucynów w Zakroczymiu

61%

Wardzyński M.

Studia Wilanowskie

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2021

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vol. XXVIII

99-163

EN

This article presents and analyses six unpublished documents that concern the continuation of the villa 'factory', the maintenance of the garden and the Wilanów manor a few years after the death of King Jan III, during the administration of the estate by Prince Aleksander Benedykt. Four of them are letters written in January 1698 and spring 1699 by Jan Kazimierz Żeligowski, plenipotentiary and administrator of the Wilanów estate, to Aleksander. They are held in the Manuscripts Department of the University of Warsaw Library. The letters contain key information on the appointment of the stuccoer Antonio Perti as head of this 'factory' and the scope of his responsibilities and circle of collaborators between 1699 and 1704, as well as a detailed description of the damage caused to the palace by the lack of adequate supervision in the preceding period. Żeligowski's account is supplemented by news of other investments in Wilanów and undertakings made during this period. These sources are a valuable addition to the accounting archives and property records from the Vilnius collection (LVIA) compiled and published in 2014 by Aleksandra Skrzypietz. The last two documents come from the same collection and other Sobiesciana from the Archive of the Warsaw Province of the Order of Friars Minor Capuchin at the 'Honoratianum' Spirituality Centre in Zakroczym were used for their correct interpretation. This is a list, drawn up on 1 March 1720, of the movable property of Wilanów divided between the princes Jakub Ludwik and Konstanty Władysław. Until then, they were part of the deposit in the Warsaw Capuchin monastery, in the rooms of the royal suite and in the upper oratory - the place where the royal coffin was displayed. The creation of the inventory and the final distribution of the movables may be connected with the sale of Wilanów by the princes to Elżbieta Helena Sieniawska née Lubomirska, the wife of the Grand Crown Hetman, which was not finalised until 1720.

14

Wilanowska kolekcja roślin egzotycznych w świetle inwentarzy z 1856 i 1857 roku

61%

Kuśmierski J.

Studia Wilanowskie

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2021

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vol. XXVIII

253-356

EN

The Potocki family contributed greatly to Wilanów gardens in two fundamental aspects: they developed the landscape arrangement of the palace and park, and they created alarge collection of glasshouse and orangery plants. Exotic plants were grown in the garden grounds in an orangery, a conservatory for fig trees, two hothouses, a glasshouse and two conservatories for pineapples. Until now, the species composition of the plant collection was known only from fragmentary information in the press covering garden exhibitions, in which Countess Aleksandra Potocka was actively involved. The missing information was found in two previously unknown inventories of 1856 and 1857 kept in the collection of the Central Archives of Historical Records in Warsaw (AGAD). They contain lists of glasshouse and orangery plants prepared by the inspectors of the Wilanów gardens. The aim of the present research was to identify the reasons and conditions for the preparation of these inventories, and to characterize the plant species mentioned therein. Manuscripts were rewritten and decoded, and then analysed for historical aspects and detailed botanical information. The precise historical context of both documents was established after the comparison of historical plant names with the modern nomenclature, and a total of 763 plant species and varieties were identified. Most of these plants are native to tropical and subtropical regions of North America, South America or Asia. The extraordinary diversity and richness of the Wilanów collection of exotic plants indicates that the owners of the estate at that time, Count August Potocki and his wife Aleksandra, had a huge interest in botany and provided versatile forms of patronage to gardens.

15

Pierwowzory graficzne płaskorzeźb skrzydeł bocznych pałacu wilanowskiego

61%

Wołowicz A.

Biuletyn Historii Sztuki

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2011

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vol. 73

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issue 1-2

121-132

EN

In the year 1720, Wilanów passed into the hands of the Elżbieta Sieniawska and almost immediately after was commenced renovation of the new residence. Side wings were raised down to 1730 that were decorated under the supervision of Pietro Innocente Comparetti and Francesco Fumo. In all likelihood, the latter-named of these Italian stucco artists was responsible for the bas-relief work decorating the side-wing elevation archivolts facing the courtyard, dating from the second half of the 1720s and inspired by Ovid’s Metamorphoses. The author analyzes three graphic sources of the bas-reliefs decorating the courtyard-facing side-wings of Wilanów Palace.

16

Problemy ekologicznego zagrożenia Wilanowa

61%

Fijałkowski W.

Ochrona Zabytków

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1998

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issue 1

14-20

EN

In recent years, the historical residential complex in Wilanow, located in the southern part of Warsaw, became endangered by increasing air, water, and soil pollution, spontaneous developments of industrial areas, and the planned construction of a Berlin-Warsaw highway, despite protests of scientific, social, and professional organisations. The Society for the Protection of Historical Monuments, together with the Director of the Museum and Palace in Wilanow and Warsaw-based civic organisations, wage an incessant battle for the protection of the threatened historical, cultural, and landscape merits of Wilanow, which is one of the most valuable monuments of Polish culture and one of the few extant grand-scale spatial premises in Warsaw.

17

O początkach mody na „delfty” na terenie Rzeczypospolitej - rezydencje Jana III Sobieskiego w Żółkwi, Jaworowie i Wilanowie

61%

Przywoźna-Leśniak K.

Biuletyn Historii Sztuki

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2013

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vol. 75

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issue 3

425-436

EN

Starting from the end of the 17 th century and almost throughout the whole 18 th century, wall tiles manufactured in the Netherlands were a popular element of the European interior décor. They came into fashion with the European aristocracy starting with the Trianon de Porcelaine of Louis XIV, this coinciding with the longstanding fascination with Oriental china and the interest in Chinoiserie. In the Polish-Lithuanian Commonwealth Dutch tiles were used the earliest in the residences of King John III Sobieski in Żółkiew, Jaworów, and Wilanów.

18

Non omnes res perdite sunt : o ogrodach barokowej Warszawy

61%

Fijałkowski W.

Ochrona Zabytków

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1998

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issue 4

333-350

EN

Baroque Warsaw comprised the largest Polish town of gardens. Numerous garden premises organically connected with royal residences, magnate palaces and manors of the nobility as well as monastic and church complexes emerged in the town itself, surrounded by ramparts, in its suburbs and in the nearest vicinity. The main sequence assumed form along the line of the Vistula, achieving the most picturesque form on the escarpment and in the river valley. A considerable part of the gardens was also created along the main tracts leading to the west, south and north. The French entre cour et jardin premise was greatly popular in the first half of the seventeenth century up to the last quarter of the eighteenth century. Owing to the dramatic history of Warsaw, wartime cataclysms and spatial transformations of the city, the former Baroque gardens disappeared from its landscape or were subjected to far-going transformations. The only premise which regained its Baroque form is the royal residence in Wilanow. Work has been initiated on the restoration of Baroque qualities to the garden of the Royal Castle and the Saxon Garden, once the largest royal Baroque premise in Warsaw.

19

Norwid’s literary “Etruscan” works

61%

Gadamska-Serafin R.

Studia Norwidiana

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2018

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vol. 36 English Version

217-250

EN

Norwid’s stay in Florence – the capital of the former Etruria – in the 1840s coincided with the height of European interest in Etruscan culture. In Italy, there were numerous Etruscan museums, mainly private ones, with magnificent collections from excavations. In Europe (Italy, France, Germany and Great Britain) a lot of interesting and usually richly illustrated publications on the Etruscans were published. Norwid could have become familiar with a good selection of these works at the University Library in Berlin, and also in Italy itself. It seems, however, that his Etruscan passion was born in Poland, in the paint shop of Aleksander Kokular. In the Warsaw years, the poet must have visited the magnificent Gallery of Antiquity in Wilanów (where his teacher – Kokular, produced various paintings) and as a “student” of fine arts he had to know the pioneer work (and collections) of S.K. Potocki O sztuce u dawnych, czyli Winckelmann polski, three chapters of the book were devoted to Etruscan art. Not without significance were Norwid’s contacts (domestic and Parisian) with the “Etruscan” collectors: the Potocki, Czartoryski and Działyński families. The Etruscans left their mark both in the notebooks and in the works of the author of Quidam, from his Italian period (which is obvious) to the novel Tajemnica lorda Singelworth written shortly before his death; thus Norwid’s fascination with Etruscan culture and art lasted until the end of his life. Interestingly, the notes also confirm his presence at one of the most recent archaeological sites of that time: in the presumed tomb of the Etruscan ruler Porsenna. All these facts make Norwid one of the few Polish Romantics (alongside J.I. Kraszewski) who were deeply and substantively interested in this archaeological and cultural theme. Norwid’s literary and plastic “Etruscan” works also constitutes an important – equal to the vision of British, Italian and French artists – contribution of the Polish “magician” to saving and preserving the Etruscan heritage in the culture (and awareness) of modern Europe.

20

Główne problemy konserwacji i adaptacji zespołu pałacowo-ogrodowego

61%

Fijałkowski W.

Ochrona Zabytków

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1962

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issue 3

12-25

EN

The monument-complex at Wilanów consisting of the palace, park and some adjacent buildings is in very poor condition at present. Among the reasons for thiis state of affairs were the many, but not always proper restoration work and the difficulties to assure sufficient conservation care during the Second World War. A number of very difficult conservation problems arose concerning the restoration of the Wilanów Palace to its former splendour and to adapt it to the new purposes in the service of the national culture. The main and most difficult problems concerned the palace — the central object at Wilanów. The foremost problem dealt with arresting the rapid deterioration and, on the other hand, the restoration of a proper technical state of affairs to the building to ensure a maximum durability and resistance against the influence of time while safeguarding its value as a monument. The second important conservation task concerned the restoration of the palace’s historical and artistic value, its historical looks and interior installations taking into account a number of historical additions to the palace. A detailed conservation programme was worked out following archival and observational studies and after many discussions of outstanding Polish conservators, art historians and architects. Talking into consideration the fact that the Wilanów Palace is not a homogeneous structure — as regards period and style — and it has parts dating from the 17th, 18th and 19th centuries, it was decided to preserve and even accentuate the style of the main part of the palace. The architectural differences of the exterior of the palace are to be preserved with baroque prevailing. In accordance with historical data the interior of the middle pairt and the galleries — the oldest parts of the palace — are to be restored in 17/18th century style; the interior of the south wing is to be restored according to the second half of the 18th and the beginning of the 19th century; and the interior of the north wing, rebuilt in the 19th century, will remain unchanged. Those elements which were added in the 19th and the 20tih century and have little value and importance will be removed while interesting historical and artistic elements from earlier periods are to be restored. The third problem dealt with the adaptation of the palace into a museum in such a way as to reconcile its historical and artistic values with dedactic utility and exhibit requirements as well as with the convenience and security of visitors to the museum. The ground floor of the palace, which represents the greatest artistic value, will house the exhibition of home furnishings from the 17th to 19th century. The first floor — of rather secondary importance — will be set aside for the paintings, artistic handicraft and art from the Far East. The newly built underground rooms will serve as cloak-rooms, lecturehalls, waiting-rooms etc. All the new underground rooms and other palace interior which have no architectural and ornamental decorations, will be done up in contemporary style. The lighting and heating equipment has been so installed so as not to change the historical character and monument value of the palace interior. Similar methods were applied for the restoration and adaptation of the adjacent buildings in which are to house scientific and conservation work rooms, a library, store room, offices, apartments for the staff etc.

RU

Старинный комплекс в Вилянове, состоящий из Дворца, огорода и Флигельных построек, просуществовал века, но в нашее время находился уже в очень плохом состоянии. На это состояние, между прочим, имели влияние многочисленные, но не всегда надлежаще веденные работы по его восстановлению а также возникнувшие трудности в приобретении гарантии к достаточному обеспечению его во время последней войны. Вопрос, возращения Вилянову его прежнего великолепия и включения его в новые задачи, служащие народной культуре, встретился с целым рядом трудных проблем, связанных с консервацией. Главные, а вместе с этим наиболее трудные проблемы появились в центральном объекте Виляновского комплекса, то ест во Дворце. Первой основной проблемой являлась необходимость задержания очень быстро поступающего разрушения при помощи работ, связанных с приведением Дворца в соответственное техническое состояние, гарантирующее ему максимальную прочность и устойчивость против действия времени, сохраняя вместе с тем полную стоимость достопримечательности. Другой важной проблемой по консервации являлась необходимость возвращения Дворцу его исторического и пластического значения а также отображения исторического вида и установки внутреннего убранства, учитывая притом факты существования исторических наслоений. В результате архивных исследований и открытий в натуре а также в результате многих дискуссий, веденных в кругу известных польских консерваторов, историков искусства и архитекторов, разработано очень подробно консервационные указания. Принимая во внимание факт, что Виляновский Дворец не представляет собой однородной постройки как в стиле так и во времени и что имеет он очень выразительно выделяющиеся партии с XVII, XVIII и XIX века, — решено не только сохранить, но даже извлечь стильные качества из его основных частей. Что касается внешнего вида Дворца, постановлено признать правильным стильное разграничение подлинных для архитектуры Дворца элементов при сохранении гармоничного изъявления пластической целости с доминирующими в его массе чертами стиля барокко. А что касается внутреннего убранства, решено, согласно с исторической правдой, центральный корпус и галереи, так как наиболее старинные части Дворца, удержать в стиле XVII/XVIII-вечным, внутренний вид южного флигеля восстановить и возвратить ему стиль с второй половины XVIII и сначала XIX века, а внутренний вид северного флигеля в полности переделанного в XIX веке, оставить без перемены. Приобретение соответственных исторических и пластических качеств Дворца решено получить путём ликвидирования мало стоимых и не имеющих существенного значения позднейших элементов с XIX и XX века а также благодаря восстановлению (главным образом путём открытий) временно утреченных давней- ших форм. Третьей основной проблемой являлось приспособление Дворца к современным музейным потребностям таким образом, чтобы помирить исто- рически-артистические качества с экспозицийными, дидактическими и инными потребностями а также с удобством и безопасностью посещающих Музей зрителей. Первый этаж дворца, имеющий наиболее высокие артистические качества и достопримечательности, предзначено к экспозиции. Опираясь на существующей инвентарной описи и сохранившейся движимости, сорганизовано внутреннее убранство жилых помещений в стиле XVIII—XIX века. В этаже Дворца, имеющим второстепенное значение устроено галерею художественного искусства, артистического ремесла и искусства Дальнего Востока, а вновь возникшее подземелье предзначено исключительно к общественному пользованию (гардеробы, приёмные, зал для докладов и т.п.). Приспособляя вновь возникшие помещения к музейным потребностьям в подземельях дворца и в помещениях дворцовых не имеющих архитекто- нически-декорацийных украшений, принято за правило применять в разрешении этого вопроса определённо современное пластическое изъявление. Размещение инсталяций связанных с освещением и отоплением Дворца проведено как можно наиболее содержанной системой, не нарушающей общего характера внутреннего убранства и в полности сохраняя все качества и достопримечательности внутреннего вида Дворца. Такое же правило было принято при восстановлении и приспособлении старинных флигельных построек, предзначенных на мастерские для науки и для работ консервацион- ных, а также на библиотеку, склады для коллекций дед искусства, бюро, помещения для службы и т.п.

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Wykaz publikacji i ważniejszych artykułów dotyczących Wilanowa i jego konserwacji za okres od 1946 do 1961 r.

Przedmowa

Wilanowska perspektywa warszawskiej „Wystawy starożytności” w pałacu Potockich w lecie 1856 roku

Norwid i Potoccy z Wilanowa

Analiza materiału kostnego z wczesnośredniowiecznego cmentarzyska z Wilanowa

WSPOMNIENIE O DR. WOJCIECHU FIJAŁKOWSKIM

Odbudowa ogrodu

Dorobek i perspektywy badań nad życiem i działalnością Stanisława Kostki Potockiego prowadzonych w Muzeum Pałacu Króla Jana III w Wilanowie. W dwusetną rocznicę śmierci

Konserwacja obrazów i malowideł ściennych

Pożegnanie wilanowskiego kobierca z Galerii Obrazów zwanej Muzeum

Przywracanie kompozycji Szwanera w Wilanowie

Rzeźby ogrodowe z fabryk Feilnera i Marcha w kolekcji Muzeum Pałacu Króla Jana III w Wilanowie - przyczynek do opracowania

Kontynuacja „fabryki” i losy zbiorów pałacu w Wilanowie po śmierci króla. Nieznane wilanowskie archiwalia artystyczne z lat 1698-1720 w zbiorach Biblioteki Uniwersyteckiej w Warszawie i Archiwum Warszawskiej Prowincji Zakonu Braci Mniejszych Kapucynów w Zakroczymiu

Wilanowska kolekcja roślin egzotycznych w świetle inwentarzy z 1856 i 1857 roku

Pierwowzory graficzne płaskorzeźb skrzydeł bocznych pałacu wilanowskiego

Problemy ekologicznego zagrożenia Wilanowa

O początkach mody na „delfty” na terenie Rzeczypospolitej - rezydencje Jana III Sobieskiego w Żółkwi, Jaworowie i Wilanowie

Non omnes res perdite sunt : o ogrodach barokowej Warszawy

Norwid’s literary “Etruscan” works

Główne problemy konserwacji i adaptacji zespołu pałacowo-ogrodowego