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1

ANDRZEJ CIECHANOWIECKI (1924–2015)

100%

Rottermund A.

Muzealnictwo

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2016

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vol. 57

108-111

EN

2 November 2015 saw the death in London of Andrzej Ciechanowiecki, a historian, an outstanding collector and patron of art, born on 28 September 1924 in Warsaw, founder of the Ciechanowiecki Foundation operating at the Royal Castle in Warsaw (1986). He was a generous contributor to and a friend of Polish museums. For his services to Polish culture he was awarded the Order of the White Eagle, and for his scientific, cultural and social activities he was granted the title of doctor honoris causa of the Jagiellonian University, the University of Warsaw, the University of New Mexico in Albuquerque (USA) and the Belarusian State University in Minsk. As a collector, he focused on gathering the so-called polonica, i.e. works of art, documents and historical items connected with Poland, European modern sculpture and oil sketches, mainly 16th-, 17th- and 18th-century French ones. He was also a renowned expert in modern sculpture and European painting. His achievements also included building up friendly relations between Poland and Belarus, the Vatican, and cultural ties between Poland and Germany, Italy, Great Britain and with the Jewish community. Polish museum centres and libraries abroad were particularly close to him, the Polish Museum in Rapperswil among others, to which he offered numerous valuable works of art as long-term loans and co-created the museum exposition which exists today. For many years he was an active member of the Board of Société Historique et Littéraire Polonaise of the Polish Library in Paris and the Sikorski Institute in London. He was also an originator and co-organiser of many exhibitions prepared by American and Polish museum institutions, including "The Twilight of the Medici" (1974), "The Golden Age of Naples: Art and Civilization under the Bourbons 1734–1805" (1981) and "Kraj skrzydlatych jeźdźców. Sztuka w Polsce 1572–1764" (1999–2000). He was our teacher and a stern critic, he did not tolerate mediocrity, laziness, irresponsibility and nonchalance in voicing opinions and judgements. He always wanted us to match world standards in the field of museology.

PL

2 listopada 2015 zmarł w Londynie dr Andrzej Ciechanowiecki, wybitny kolekcjoner, mecenas kultury, historyk, urodzony 28 września 1924 r. w Warszawie, założyciel m.in. Fundacji im. Ciechanowieckich na Zamku Królewskim w Warszawie (1986). Był hojnym ofiarodawcą i przyjacielem polskich muzeów, za zasługi dla polskiej kultury odznaczonym orderem Orła Białego, a za działalność naukową, kulturalną i społeczną doktoratami honoris causa Uniwersytetu Jagiellońskiego, Uniwersytetu Warszawskiego, Uniwersytetu New Mexico w Albuquerque (USA) i Białoruskiego Uniwersytetu Państwowego w Mińsku. Jako kolekcjoner skupiał się na gromadzeniu tzw. poloniców – dzieł sztuki, dokumentów i pamiątek historycznych związanych z Polską, nowożytnej rzeźby europejskiej oraz szkiców olejnych, głównie francuskich z XVI, XVII i XVIII wieku. Był też uznanym ekspertem w dziedzinie nowożytnej rzeźby i malarstwa europejskiego. Niemało osiągnął też w budowaniu przyjaznych relacji polsko-białoruskich, relacji z Watykanem a także kulturalnych stosunków polsko-niemieckich, polsko-włoskich, polsko brytyjskich i polsko-żydowskich. Szczególnie bliskie były mu polskie ośrodki muzealne i biblioteczne poza granicami kraju, m.in. Polskie Muzeum w Rapperswilu, któremu przekazał w depozycie wiele cennych dzieł sztuki oraz współtworzył istniejącą do dzisiaj stałą ekspozycję muzealną. Przez wiele lat był też aktywnym członkiem Rady Société Historique et Littéraire Polonaise przy Bibliotece Polskiej w Paryżu oraz Instytutu Generała Sikorskiego w Londynie. Był też pomysłodawcą i współorganizatorem wielu wystaw przygotowywanych przez amerykańskie i polskie instytucje muzealne m.in. „The Twilight of the Medici” (1974), „The Golden Age of Naples: Art and Civilization under the Bourbons 1734–1805” (1981), czy „Kraj skrzydlatych jeźdźców. Sztuka w Polsce 1572–1764” (1999–2000). Był naszym nauczycielem i surowym krytykiem, nie tolerował w sprawach zawodowych bylejakości, lenistwa, nieodpowiedzialności i nonszalancji w wydawaniu sądów. Pragnieniem Jego zawsze było byśmy w dziedzinie muzealnictwa dorównywali światowemu poziomowi.

2

Marzyciel i pragmatyk. Emil Zegadłowicz jako kolekcjoner

100%

Bartos E.

Wadoviana. Przegląd historyczno-kulturalny

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2017

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issue 20

7-21

EN

A passion for collecting, bibliophilic fascinations, the poetic spirit and the willingness to be remembered by posterity made Zegadłowicz publish a great deal. The sketch Dreamer and pragmatistm. Emil Zegadłowicz as a collector is an attempt to look at the publishing strategies of the author of Motory, as well as the role the novel played in the reception of this work.

3

BUILDING A COLLECTION BY REV. JAN WIŚNIEWSKI, A GREAT DONOR OF THE DIOCESAN MUSEUM IN SANDOMIERZ

86%

Stępień U.

Muzealnictwo

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2018

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vol. 59

132-139

EN

The article is an attempt to show collecting achievements of Rev. Jan Wiśniewski (1876–1943), who after building an unusual, astonishingly vast and versatile collection of art and national memorabilia, donated it to the Diocesan Museum in Sandomierz. His collecting was rooted in the 19th century, in the spirit of growing patriotic awareness and interests in the history of one’s own country, resulted from the lack of independence. Apart from collecting, Rev. Wiśniewski conducted comprehensive research. As an amateur historian, he edited and published at his own cost 15 volumes of the Monografia dekanatów and Historyczne opisy kościołów. He started his collection in Radom, then continued accumulating items in Borkowice where he became a parish priest. It was there, in the parsonage, that he arranged the Museum of National Memorabilia. His exhibits were often displayed as loans outside his museum. As confirmed in written sources, Rev. Jan Wiśniewski had many contacts among collectors, antiquarians, art dealers and bibliophiles, some of them of great renown. His collection became a cornerstone of the Diocesan Museum in Sandomierz, which seems to be his intention from the start, as much as saving from demolition the historic elements of churches’ interiors. He was building his collection in order to make it public and pass on to the following generations.

4

Avant-Garde anatomy: dissection and re-composition of art and its history in the works of Milorad Krstić

86%

Somhegyi Z.

ARGUMENT: Biannual Philosophical Journal

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2022

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vol. 12

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issue 1

201-214

EN

Numerous artists have revisited or got inspired by artworks of earlier periods, thus making their own paraphrase of previous creations. Not only artists of the (early) Modern Age had revisited Antiquity, but even Avant-Garde artists have not entirely dissociated themselves from certain forms, motifs, approaches or themes of the classical traditions. It is so, despite the Avant-Garde artists’ focus on creating along new visions, and offering radically novel perspectives in and for art and its infrastructure, that was a similar feature in most of the movements within the classical Avant-Garde. Later however, even Avant-Garde itself got historicised, and, as a consequence, became possible subject-matter of revaluation, as we can observe it in the paraphrasing practice of several artists from the 20th and 21st centuries. The works of Milorad Krstić - that are put in the centre of this study as a thought-provoking case study with fascinating consequences for aesthetics too - represent a particular approach within the aforementioned revisitations of art in general and the re-interpretation of Avant-Garde and 20th century art in particular. One of the specialities of his approach lies in the fact that he does not merely return to previous works, including those that are of crucial importance in the Avant-Garde, simply for inspiration, but his practice of the evaluative examination of the art of the 20th century will be essentially defined by the Avant-Garde techniques. In his Das Anatomische Theater he dissects the 20th century, but then encyclopaedically re-assembles the fragments to a novel total work of art that presents the history of art of the period. Then, in his full-length animation movie Ruben Brandt, collector he continues re-assembling and re-telling art history by constantly inserting fragments of it in the novel work itself, hence the collection will become not only the subject-matter of the film, but even one of its most spectacular features.

5

PRINCE STANISŁAW PONIATOWSKI: EXPERT ON AND COLLECTOR OF ANCIENT AND ITALIAN ART

86%

Bender A.

Muzealnictwo

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2020

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vol. 61

80-89

EN

The current state of research into the patronage and collecting activities of Prince Stanisław Poniatowski (1754–1833) in Italy with which he was connected for almost 40 years of his life is outlined. Over the period, the Prince made 3 long trips there which preceded 30 years of living in Italy on a permanent basis, first in Rome, and then in Florence where he was buried. Despite his many accomplishments and extraordinary personal history, the Prince has not taken as prominent a position either in academic research or in the collective memory of Poles as his junior cousin Prince Józef who drowned in the Elster River giving his life for the homeland. Although no monograph has as yet been published on Stanisław Poniatowski, he is not entirely forgotten. However, the major studies dedicated to him were published a relatively long time ago. The most extensive, i.e. the book I Poniatowski a Roma (Firenze 1972), speaking of the history of Prince Stanisław and the Poniatowski family, was written by the Italian writer and columnist Andrea Busiri Vici and has never been translated into Polish. As the current state of research shows, very few Polish art historians have taken any in depth interest in the Prince’s activity. Apart from the mentions scattered in different studies, there are merely four articles dealing with some selected aspects of the Prince’s patronage and collecting activity (by Janina Michałkowa, Elżbieta Budzińska, Tadeusz Jaroszewski, Dominika Wronikowska). Historically the most complete study dedicated to Prince Stanisław is to be found in Jerzy Michalski’s paper from 50 years ago published in the Polish Biographical Dictionary. The to-date Polish and foreign publications in history, history of art and archaeology do not exhaust many issues related to the person, activity, and the collecting passion of Prince Stanisław.

6

Problematic Issues of Protection of Procedural Rights of the Claimant in the Implementation of Enforcement Proceedings in the Context of the Decisions of the European Court of Human Rights

72%

Kolobov L.

Krakowskie Studia Małopolskie

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2021

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vol. 1(29)

67-79

EN

The article considers the issue of non-execution and / or long-term execution of court decisions by the judicial bodies of Ukraine, which are assigned the relevant functions by law, which serves as the basis for numerous appeals of citizens to the European Court of Human Rights. The decisions of the European Court of Human Rights on the consideration of complaints of persons who are parties to enforcement proceedings - collectors in connection with the noncompliance of the state of Ukraine with court decisions and resolutions of the Cabinet of Ministers of Europe are analyzed.

7

MUZEUM KALUSTA GULBENKIANA W LIZBONIE

72%

Jasińska A., Jasiński A.

Muzealnictwo

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2017

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vol. 58

24-37

EN

The Calouste Gulbenkian Museum is located off the tourist paths, on the outskirts of Europe, and far away from the centre of Lisbon, in the serenity of the Santa Gertrudes Park. Its austere concrete buildings hide treasures from the collection of an extraordinary man, a millionaire of Armenian origin, an oil magnate, and an art and garden lover. The article presents the collector, the history of his collection and the museum buildings which now form an original park and museum complex run by the Calouste Gulbenkian Foundation. In 2010, the complex was entered into the register of national monuments of Portugal, thus being the first masterpiece of the 20th-century architecture to feature in this register.

PL

Z dala od utartych tras turystycznych, na uboczu Europy i na uboczu Lizbony, w zacisznym parku Santa Gertrudes mieści się Muzeum Kalusta Gulbenkiana. W surowych betonowych gmachach ukryte zostały skarby należące do kolekcji niezwykłego człowieka, ormiańskiego milionera, magnata naftowego, wielbiciela sztuki i miłośnika ogrodów. W artykule omówiona została sylwetka kolekcjonera, losy powstania kolekcji i historia budynków, które tworzą dziś oryginalny kompleks parkowo-muzealny, zarządzany przez Fundację Kalusta Gulbenkiana, który w 2010 r. został wpisany do rejestru zabytków, jako pierwsze arcydzieło XXwiecznej sztuki muzealnej.

8

MICHAŁ TYSZKIEWICZ (1828–1897): AN ILLUSTRIOUS COLLECTOR OF ANTIQUITIES

72%

Kazimierczak M.

Muzealnictwo

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2019

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vol. 60

64-77

EN

Michał Tyszkiewicz was an outstanding collector of antiquities and a pioneer of Polish archaeological excavations in Egypt conducted in late 1861 and early 1862, which yielded a generous donation of 194 Egyptian antiquities to the Paris Louvre. Today Tyszkiewicz’s name features engraved on the Rotunda of Apollo among the major Museum’s donors. Having settled in Rome for good in 1865, Tyszkiewicz conducted archaeological excavations there until 1870. He collected ancient intaglios, old coins, ceramics, silverware, golden jewellery, and sculptures in bronze and marble. His collection ranked among the most valuable European ones created in the 2nd half of the 19th century. Today, its elements are scattered among over 30 major museums worldwide, e.g. London’s British Museum, Ny Carlsberg Glyptotek in Copenhagen, New York’s Metropolitan Museum of Art, or the Museum of Fine Arts in Boston. The latest investigation of M. Tyszkiewicz’s correspondence to the German scholar Wilhelm Froehner demonstrated that Tyszkiewicz widely promoted the development of archaeology and epigraphy; unique pieces from his collections were presented at conferences at Rome’s Academia dei Lincei or at the Académie des Inscriptions et Belles-Lettres in Paris, and published by Italian, French, Austrian, and German scholars. He was considered an expert in glyptic, and today’s specialists, in recognition of his merits, have called a certain group of ancient cylinder seals the ‘Tyszkiewicz Seals’, an Egyptian statue in black basalt has been named the ‘Tyszkiewicz Statue’, whereas an unknown painter of Greek vases from the 5th century BC has been referred to as the ‘Painter Tyszkiewicz’.

9

Образ коллекционера в прозе Михаила Шишкина

58%

Skotnicka A.

Przegląd Rusycystyczny

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2019

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vol. 2019

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issue 4

PL

Obraz kolekcjonera w powieści Michaiła Szyszkina „Zdobycie twierdzy Izmaił” Artykuł poświęcony jest problemowi kolekcjonera w powieści M. Szyszkina Zdobycie twierdzy Izmaił. Autorka wykorzystuje do analizy obrazu kolekcjonera prace Krzysztofa Pomiana i Waltera Benjamina i dowodzi, że pojęcie to odnosi się nie tyle do bohatera, ile do autora i narratora powieści. Kolekcjonowanie traktowane jest jako postawa wobec świata i rozpatrywane w kontekście cech całej prozy pisarza, wśród których autorka wyróżnia tęsknotę za całością, wynikającą z doświadczenia rozpadu świata, a także palimpsestowość i intertekstualność.

EN

The Image of the Collector in Mikhail Shishkin’s Novel „The Taking of Izmail” The article is dedicated to the problem of the collector in Mikhail Shishkin’s novel The Taking of Izmail. Using the works by Krzysztof Pomian and Walter Benjamin, the author establishes that the term “collector” refers rather to the author and the narrator of the novel than to its main character. In the article, collecting is regarded as the attitude towards the world and is considered in the context of the main traits of Shishkin’s works, among which the author identifies longing for wholeness resulting from the experience of fragmentation of the world, palimpsestic nature, and intertextuality.

RU

Статья посвящена проблеме коллекционера в романе М. Шышкина Взятие Измаила. Автор использует произведения Кжиштофа Помяна и Вальтера Бенджамина для анализа образа коллекционера и доказывает, что этот термин относится не столько к герою, сколько к автору и рассказчику романа. Сборник трактуется как отношение к миру и рассматривается в контексте всей прозы писателя, среди которой автор выделяет стремление к целому, вытекающее из опыта распада мира, а также ее интертекстуальность.

10

Pobór podatku od nieruchomości oraz opłaty targowej, miejscowej, uzdrowiskowej i od posiadania psa w drodze inkasa na przykładzie wybranych gmin województwa zachodniopomorskiego

58%

Mańczyk P.

Acta Iuris Stetinensis

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2014

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issue 5

PL

Tematem opracowania jest inkaso podatków i opłat lokalnych. W pierwszej kolejności autor pokrótce charakteryzuje instytucję inkasa od strony teoretycznej, a następnie dokonuje analizy dwudziestu uchwał rad gmin w sprawie inkasa. Wynikiem tej analizy są następujące wnioski: 1) inkaso ustanawia się przede wszystkim dla podatku od nieruchomości; 2) na inkasentów wybiera się sołtysów; 3) inkasentom przyznaje się wynagrodzenie; 4) wysokość wynagrodzenia dla inkasentów wynosi 5% – 10% pobranej daniny; 5) gminy rzadko zmieniają termin wpłat pobranych przez inkasentów danin. W treści opracowania autor poruszył również kwestię uchybień zasadom technik prawodawczych przy tworzeniu analizowanych uchwał.

EN

The subject of this paper is a collection [inkaso] of taxes and local fees. The author based on the Polish legislation described this institution briefly from the theoretical side. The author analysed twenty resolutions of district councils on the collection [inkaso]. The analysis allowed to express a few motions about the collection [inkaso], as well as the remuneration for tax collectors: 1) the collection [inkaso] is being established above all for the real estate tax; 2) village administrators [soltyses] are most often chosen to tax collectors; 3) tax collectors receive the remuneration; 4) the remuneration for tax collectors amounts to 5% – 10% of the collected tax; 5) district councils rarely change the date of payments of taxes taken by tax collectors. Furthermore the author wrote a few remarks about departures from principles of legislative techniques at editing analysed resolutions.

11

Les collectionneurs chez Pascal Quignard – s’accrocher obstinément au passé

58%

Preda A.-M.

Quêtes littéraires

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2022

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issue 12

139-150

EN

The purpose of this article is to highlight – in a comparative approach – the versatility of the role of collectibles in the process of recollection among collectors in certain novels by Pascal Quignard. The analysis of the memorial discourse of collectors reveals two aspects: the different relationship to the value of the object (museum or intimate) and the power to trigger emotions. The discourse balances between an impersonal evocation, with emphasis on the material importance, the testimonial and aesthetic dimension of art objects from ancient times and a passionate and subjective description of small, banal objects, but charged with psychological meanings. The article demonstrates that excessively relating to time-/trace-objects by virtue of their documentary or commemorative value will lead to a failure of the memorisation process. Paradoxically, the collector always remains in search of the lost memory, despite the excess of material evidence he holds.

FR

Le propos de cet article est de relever, dans une approche comparative, la versatilité du rôle des objets de collection dans le processus de remémoration chez les collectionneurs de certains romans de Pascal Quignard. L’analyse du discours mémoriel des collectionneurs relève deux aspects : un rapport différent à la valeur de l’objet (muséal ou intime) et le pouvoir de déclencher des émotions. Le discours balance entre une évocation impersonnelle, qui met l’accent sur l’importance matérielle, la dimension testimoniale et esthétique des objets d’art d’époques anciennes et une description passionnée et subjective de petits objets banals, mais chargés de significations psychologiques. L’article démontre que se rapporter excessivement aux objets-temps/trace en vertu de leur valeur documentaire ou commémorative débouchera sur un échec de la démarche mémorielle. Paradoxalement, le collectionneur reste toujours à la recherche de la mémoire perdue, malgré l’excès de preuves matérielles qu’il détient.

12

Odpowiedzialność karnoskarbowa za uporczywe niewpłacanie podatku i nieterminowe wpłacanie podatku

44%

Ziółkowska K., Omieczyńska S.

Doradztwo Podatkowe Biuletyn Instytutu Studiów Podatkowych

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2022

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vol. 8(312)

37-43

EN

The model of the current tax system, corresponding to the chosen economic and political goals, requires citizens to bear certain burdens and public benefits, among which public-law liabilities in the form of taxes are of great importance. Often taxpayers, payers and collectors are late in the performance of the tax obligations imposed on them, as a result of which numerous tax arrears arise. In Chapter VI of the Fiscal Criminal Code, the legislator provided for a catalog of acts which, as a result of violation of basic tax obligations, threaten the state’s fiscal interest and expose the tax to depletion. One of the punishable offenses is untimely and persistent failure to pay the tax, which is regulated in Art. 57 KKS and 77 KKS depending on the individualized entity that is the perpetrator of the prohibited act. On the basis of the aforementioned provisions, many interpretation doubts arise due to the use of the imprecise concept of persistence. And as indicated by the fundamental principle of nullum crimen sine lega certa et stricta, it requires stylistic clarity in the formulation of regulations. Only a thorough analysis and recognition of all the features of a crime as fulfilled will allow the citizen to be held liable to criminal fiscal penalties.

PL

Model obowiązującego systemu podatkowego, odpowiadający obranym celom gospodarczym i politycznym, wymaga od obywateli ponoszenia określonych ciężarów i świadczeń publicznych, wśród których doniosłe znaczenie mają należności publicznoprawne w postaci podatków. Niejednokrotnie podatnicy, płatnicy i inkasenci pozostają w zwłoce w wykonywaniu nałożonych na nich obowiązków podatkowych, wskutek czego powstają liczne zaległości podatkowe. Ustawodawca określił w rozdziale VI ustawy z dnia 10 września 1999 r. – Kodeks karny skarbowy1 katalog czynów, które wskutek naruszenia podstawowych zobowiązań podatkowych godzą w państwowy interes fiskalny i narażają podatek na uszczuplenie. Czynami podlegającymi penalizacji są m.in. nieterminowe wpłacanie podatku i uporczywe niewpłacanie podatku, uregulowane w art. 57 i 77 k.k.s. w zależności od zindywidualizowanego podmiotu będącego sprawcą czynu zabronionego. Na gruncie wskazanych przepisów powstaje wiele wątpliwości interpretacyjnych z uwagi na zastosowanie nieostrego pojęcia uporczywości. Fundamentalna zasada nullum crimen sine lega certa et stricta nakazuje zaś zachować stylistyczną jasność w formułowaniu przepisów. Dopiero dokładna analiza i uznanie wszystkich znamion przestępstwa za wypełnione pozwalają pociągnąć obywatela do odpowiedzialności karnoskarbowej.

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ANDRZEJ CIECHANOWIECKI (1924–2015)

Marzyciel i pragmatyk. Emil Zegadłowicz jako kolekcjoner

BUILDING A COLLECTION BY REV. JAN WIŚNIEWSKI, A GREAT DONOR OF THE DIOCESAN MUSEUM IN SANDOMIERZ

Avant-Garde anatomy: dissection and re-composition of art and its history in the works of Milorad Krstić

PRINCE STANISŁAW PONIATOWSKI: EXPERT ON AND COLLECTOR OF ANCIENT AND ITALIAN ART

Problematic Issues of Protection of Procedural Rights of the Claimant in the Implementation of Enforcement Proceedings in the Context of the Decisions of the European Court of Human Rights

MUZEUM KALUSTA GULBENKIANA W LIZBONIE

MICHAŁ TYSZKIEWICZ (1828–1897): AN ILLUSTRIOUS COLLECTOR OF ANTIQUITIES

Образ коллекционера в прозе Михаила Шишкина

Pobór podatku od nieruchomości oraz opłaty targowej, miejscowej, uzdrowiskowej i od posiadania psa w drodze inkasa na przykładzie wybranych gmin województwa zachodniopomorskiego

Les collectionneurs chez Pascal Quignard – s’accrocher obstinément au passé

Odpowiedzialność karnoskarbowa za uporczywe niewpłacanie podatku i nieterminowe wpłacanie podatku