Books & Edited Books by Magdalena Białonowska, PhD
Irena z Lamezan-Salins Komorowska. Malarstwo 1923 - 1967, 2023
Darczyńcy Polskich Muzeów. Historia i współczesność , 2021
ISBN: 978-83-7100-469-8
ISBN: 978-83-7022-293-2
Andrzej Stanisław Ciechanowiecki. Kolekcjoner, marszand i mecenas, Towarzystwo Naukowe KUL, Lublin 2012., 2012
Monograph book on Andrew Ciechanowiecki (1924-2015)
Papers by Magdalena Białonowska, PhD
Gabinet sztuki europejskiej. Arcydzieła z Narodowego Muzeum Sztuki im. Bohdana i Warwary Chanenków w Kijowie, 2024
Celem niniejszego tekstu jest zarysowanie szerokiego kontekstu dla do- niosłej inicjatywy Bohdana... more Celem niniejszego tekstu jest zarysowanie szerokiego kontekstu dla do- niosłej inicjatywy Bohdana i Warwary Chanenków, jaką było utworzenie przez nich w 1918 r. muzeum na bazie ich kolekcji i kijowskiej posiadło- ści. Tego typu instytucje – muzea kolekcjonerskie – zakładane były w ca- łej Europie, od Paryża po Kijów, a wyraźne nasilenie tego trendu można datować na XIX w. i pierwsze dekady XX stulecia. Brutalna sowietyzacja, a przede wszystkim wymazanie nazwiska kolekcjonerów z oficjalnej na- zwy i historii muzeum w l. 1924–1999 z powodu „braku ich rewolucyj- nych zasług dla kultury proletariatu”2, spowodowała zepchnięcie posta- ci Bohdana i Warwary Chanenków w niepamięć. Dlatego przywrócenie im należytego miejsca pośród zbieraczy i twórców muzeów znanych ba- daczom historii europejskiego kolekcjonerstwa jest tak istotne. Czynią to bezustannie pracownicy tej instytucji, publikując katalogi zbiorów i opracowania o jej historii. Niniejsza wystawa i katalog są również ele- mentem procesu przywracania pamięci o ważnej karcie dziejów kolek- cjonerstwa w Europie.
Kronika Zamkowa, 2023
It is worth recalling a unique group of collectors with academic education in the history of art ... more It is worth recalling a unique group of collectors with academic education in the history of art or with professional experience in this area, who, thanks to their knowledge and research, were able to search for unrecognised works of art, determine the time of their creation and make attributions, introducing many fields to the repertoire of art history research issues.
The article briefly presents the development of the practice of connoisseurship in the field of art from the sixteenth to the twentieth century. Against this background, the figures of four twentieth-century century art historians who created art collections in the field of art of the seventeenth and eighteenth centuries were recalled. The first to be presented was Denis Ma- hon (1910–2011), an art historian and collector, specialising in Italian Baroque paintings. His collection today as The Sir Denis Mahon Foundation is deposited in several British museums. Another presented is John Pope-Hennessy (1913–1994), one of the twentieth century’s most influential and prominent British museum professionals and art historians. An expert in modern Italian sculpture, he created a collection of paintings, drawings, and decorative arts to furnish his flats. The Pope-Hennessy collection was dispersed after his death, although some items ended up in museum collections. Pierre Rosenberg (born 1936) has been described as the next collector-cum-art historian. Former director of the Louvre, as a researcher and collector, he specializes in the French art of the seventeenth and eighteenth centuries. He donated his collections to the future Musée du Grand Siècle, which is due to open in Saint-Cloud in 2026. The last one presented was Andrzej Ciechanowiecki (1924–2015), a Polish art historian, art dealer, and donor. Ciechanowiecki lived and worked in London, between 1961 and 1995 he ran three galleries: Mallet at Bourdon House, Heim Gallery and Old Masters Gallery. He created art collections in three fields: Polonicas, sculpture, and French oil sketches. He donated his col- lection of Polonicas and sculpture to the Royal Castle in Warsaw, and the collection of French oil sketches was dispersed in 2000.
Bloomsbury Art Markets – Protagonists, Networks, Provenances, 2023
Bloomsbury Art Markets – Protagonists, Networks, Provenances, 2023
Bloomsbury Art Markets – Protagonists, Networks, Provenances, 2023
Bloomsbury Art Markets – Protagonists, Networks, Provenances, 2023
Ciechanowiecki directed the gallery and Jan Pomian (1924-2016) worked as an account director. The... more Ciechanowiecki directed the gallery and Jan Pomian (1924-2016) worked as an account director. The former, an art historian with a PhD degree, raised the profile of the gallery and built an international circle of clients mainly by research profile and good publicity.
Abakanowicz. Konfrontacje., 2022
SAECULUM CHRISTIANUM, 2021
16 th-century Venetian decorative arts, due to their precious materials, technological craftsmans... more 16 th-century Venetian decorative arts, due to their precious materials, technological craftsmanship, and high artistic level, were an export commodity all over Europe. With regard to several groups of Venetian artistic craftsmanship (glass, majolica, enameled copper or silk fabrics), we can consider the issue of colour values that influenced the perception of these luxurious goods. Venetian dye sellers-vendicolori-had ingredients in their stores that were used by craftsmen such as ceramic painters, glass painters and fabric dyers. Red and its various shades, cobalt, and yellow were the colours that dominated the products of Venetian artistic craftsmanship of that period.
KRONIKA ZAMKOWA, 2020
Wystawa Dolabella. Wenecki malarz Wazów prezentowana w Zamku Królewskim w War- szawie od 11 wrześ... more Wystawa Dolabella. Wenecki malarz Wazów prezentowana w Zamku Królewskim w War- szawie od 11 września do 6 grudnia 2020 r. to pierwsza ekspozycja poświęcona weneckiemu artyście ( il. 1). Tomasz Dolabella był nadwornym artystą polskich królów z dynastii Wazów: Zyg- munta III, Władysława IV i Jana Kazimierza, a także biskupów i przeorów. Dolabella uważany jest za epigona weneckiego manieryzmu, który bardzo silnie wpłynął na polskie malarstwo baroku.
Liturgia Sacra. Liturgia - Musica – Ars, 2019
Sacred art objects in French private collections in the 19th century – selected examples
The arti... more Sacred art objects in French private collections in the 19th century – selected examples
The article deals with the problems of the functioning of sacred art objects in private collections created in France in the first half of the 19th century. In the context of the vandalism of the Great French Revolution, a movement of theorists arose who opposed destruction and advocated the pro-tection of art objects as monuments of French history. This movement inspired collectors’ interest in sacred art, mainly medieval. Alexandre Lenoir (1761–1839) was mentioned in the article, followed by collections of medieval religious art created by: Alexander Du Sommerard (1779–1842); Pierre Révoil (1776–1842); Alexandre Sauvageot (1781–1860); Louis Fidel Debruge-Dumenil (1788–1838) and Jean-Baptiste (1792–1871) and Louis (1827–1888) Carrand. Analysis of the content and history of these collections allowed to draw the conclusions about the changing motives for which collectors of the first half of the 19th century collected sacred art objects, from the need to save French art monuments to treating them as research material
Artykuł dotyczy problematyki funkcjonowania obiektów sztuki sakralnej w kolekcjach powstających we Francji w I połowie XIX w. W kontekście wandalizmu Wielkiej Rewolucji Francuskiej zrodził się ruch teoretyków, którzy sprzeciwiali się destrukcji i opowiadali za ochroną zabytków jako pomników historii Francji. Ruch ten zainspirował wśród kolekcjonerów zainteresowanie sztuką sakralną, głównie średniowieczną. W artykule została przywołana postać Alexandre Lenoira (1761–1839), następnie kolekcje średniowiecznej sztuki sakralnej stworzone przez: Alexandra Du Sommerarda (1779–1842), Pierra Révoila (1776–1842), Alexandre’a Sauvageota (1781–1860), Lo-uisa Fidela Debruge-Dumenila (1788–1838) oraz Jeana-Baptiste’a (1792–1871) i Louis (1827–1888) Carrandów. Analiza zawartości i historii tychże kolekcji pozwoliła wysnuć wnioski na temat zmieniających się pobudek, dla których kolekcjonerzy z I połowy XIX w. gromadzili obiekty sztuki sakralnej – od potrzeby ratowania zabytków sztuki francuskiej po traktowanie ich jako materiał badawczy.
Piękne przedmioty. Ozdoba ciała i dekoracja wnętrz sakralnych i świeckich, 2019
Nowy początek. (Od) budowa kolekcji muzealnych po II wojnie światowej, 2019
The convoluted post-war history of artworks forming part of the Royal Castle
in Warsaw collectio... more The convoluted post-war history of artworks forming part of the Royal Castle
in Warsaw collection highlights the assorted form and manner of delivering the
idea of restituting the royal collection. The notion of restitution was applied in
conservation concepts for the Royal Castle in Warsaw in the year 1973, and duly
referenced for purposes of restoring the castle as a symbol – the seat of supreme
state authorities – by reconstructing the edifice itself and recouping royal collections,
primarily those owned by Poland’s last king, Stanislaus Augustus.
The purpose of this paper was to present the process of restituting Royal
Castle in Warsaw collections by describing the individual methods applied: postwar
reclamations and transfers to allow reconstruction and refurbishment of
individual rooms; purchases and – no less importantly – bequests and donations
(including the most valuable gift, presented by Karolina Lanckorońska);
and foundation-based compilations placed in Castle deposit (i.e. respective
Foundations of the Ciechanowiecki Collection, Teresa Sahakian’s Collection and
Tomasz Niewodniczański’s Collection). The abundance of provenance-related
issues relating to the contemporary Royal Castle in Warsaw collection reflects
the post-war history of numerous museum institutions, while allowing deliberations
whether processes involved with delivering the idea of restituting collections
involved a coherent assembling policy, or were they rather a sequence
of fortunate coincidences.
Studia i Materiały Lubelskie, Dec 18, 2017
"Barok. Historia-Literatura-Sztuka” 2016 nr 45/46, s. 19–54, 2016
Rzeczy piękne. Rzemiosło artystyczne na przestrzeni wieków, red. A. Bender, M. Wrześniak, 2015
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Books & Edited Books by Magdalena Białonowska, PhD
Papers by Magdalena Białonowska, PhD
The article briefly presents the development of the practice of connoisseurship in the field of art from the sixteenth to the twentieth century. Against this background, the figures of four twentieth-century century art historians who created art collections in the field of art of the seventeenth and eighteenth centuries were recalled. The first to be presented was Denis Ma- hon (1910–2011), an art historian and collector, specialising in Italian Baroque paintings. His collection today as The Sir Denis Mahon Foundation is deposited in several British museums. Another presented is John Pope-Hennessy (1913–1994), one of the twentieth century’s most influential and prominent British museum professionals and art historians. An expert in modern Italian sculpture, he created a collection of paintings, drawings, and decorative arts to furnish his flats. The Pope-Hennessy collection was dispersed after his death, although some items ended up in museum collections. Pierre Rosenberg (born 1936) has been described as the next collector-cum-art historian. Former director of the Louvre, as a researcher and collector, he specializes in the French art of the seventeenth and eighteenth centuries. He donated his collections to the future Musée du Grand Siècle, which is due to open in Saint-Cloud in 2026. The last one presented was Andrzej Ciechanowiecki (1924–2015), a Polish art historian, art dealer, and donor. Ciechanowiecki lived and worked in London, between 1961 and 1995 he ran three galleries: Mallet at Bourdon House, Heim Gallery and Old Masters Gallery. He created art collections in three fields: Polonicas, sculpture, and French oil sketches. He donated his col- lection of Polonicas and sculpture to the Royal Castle in Warsaw, and the collection of French oil sketches was dispersed in 2000.
The article deals with the problems of the functioning of sacred art objects in private collections created in France in the first half of the 19th century. In the context of the vandalism of the Great French Revolution, a movement of theorists arose who opposed destruction and advocated the pro-tection of art objects as monuments of French history. This movement inspired collectors’ interest in sacred art, mainly medieval. Alexandre Lenoir (1761–1839) was mentioned in the article, followed by collections of medieval religious art created by: Alexander Du Sommerard (1779–1842); Pierre Révoil (1776–1842); Alexandre Sauvageot (1781–1860); Louis Fidel Debruge-Dumenil (1788–1838) and Jean-Baptiste (1792–1871) and Louis (1827–1888) Carrand. Analysis of the content and history of these collections allowed to draw the conclusions about the changing motives for which collectors of the first half of the 19th century collected sacred art objects, from the need to save French art monuments to treating them as research material
Artykuł dotyczy problematyki funkcjonowania obiektów sztuki sakralnej w kolekcjach powstających we Francji w I połowie XIX w. W kontekście wandalizmu Wielkiej Rewolucji Francuskiej zrodził się ruch teoretyków, którzy sprzeciwiali się destrukcji i opowiadali za ochroną zabytków jako pomników historii Francji. Ruch ten zainspirował wśród kolekcjonerów zainteresowanie sztuką sakralną, głównie średniowieczną. W artykule została przywołana postać Alexandre Lenoira (1761–1839), następnie kolekcje średniowiecznej sztuki sakralnej stworzone przez: Alexandra Du Sommerarda (1779–1842), Pierra Révoila (1776–1842), Alexandre’a Sauvageota (1781–1860), Lo-uisa Fidela Debruge-Dumenila (1788–1838) oraz Jeana-Baptiste’a (1792–1871) i Louis (1827–1888) Carrandów. Analiza zawartości i historii tychże kolekcji pozwoliła wysnuć wnioski na temat zmieniających się pobudek, dla których kolekcjonerzy z I połowy XIX w. gromadzili obiekty sztuki sakralnej – od potrzeby ratowania zabytków sztuki francuskiej po traktowanie ich jako materiał badawczy.
in Warsaw collection highlights the assorted form and manner of delivering the
idea of restituting the royal collection. The notion of restitution was applied in
conservation concepts for the Royal Castle in Warsaw in the year 1973, and duly
referenced for purposes of restoring the castle as a symbol – the seat of supreme
state authorities – by reconstructing the edifice itself and recouping royal collections,
primarily those owned by Poland’s last king, Stanislaus Augustus.
The purpose of this paper was to present the process of restituting Royal
Castle in Warsaw collections by describing the individual methods applied: postwar
reclamations and transfers to allow reconstruction and refurbishment of
individual rooms; purchases and – no less importantly – bequests and donations
(including the most valuable gift, presented by Karolina Lanckorońska);
and foundation-based compilations placed in Castle deposit (i.e. respective
Foundations of the Ciechanowiecki Collection, Teresa Sahakian’s Collection and
Tomasz Niewodniczański’s Collection). The abundance of provenance-related
issues relating to the contemporary Royal Castle in Warsaw collection reflects
the post-war history of numerous museum institutions, while allowing deliberations
whether processes involved with delivering the idea of restituting collections
involved a coherent assembling policy, or were they rather a sequence
of fortunate coincidences.
The article briefly presents the development of the practice of connoisseurship in the field of art from the sixteenth to the twentieth century. Against this background, the figures of four twentieth-century century art historians who created art collections in the field of art of the seventeenth and eighteenth centuries were recalled. The first to be presented was Denis Ma- hon (1910–2011), an art historian and collector, specialising in Italian Baroque paintings. His collection today as The Sir Denis Mahon Foundation is deposited in several British museums. Another presented is John Pope-Hennessy (1913–1994), one of the twentieth century’s most influential and prominent British museum professionals and art historians. An expert in modern Italian sculpture, he created a collection of paintings, drawings, and decorative arts to furnish his flats. The Pope-Hennessy collection was dispersed after his death, although some items ended up in museum collections. Pierre Rosenberg (born 1936) has been described as the next collector-cum-art historian. Former director of the Louvre, as a researcher and collector, he specializes in the French art of the seventeenth and eighteenth centuries. He donated his collections to the future Musée du Grand Siècle, which is due to open in Saint-Cloud in 2026. The last one presented was Andrzej Ciechanowiecki (1924–2015), a Polish art historian, art dealer, and donor. Ciechanowiecki lived and worked in London, between 1961 and 1995 he ran three galleries: Mallet at Bourdon House, Heim Gallery and Old Masters Gallery. He created art collections in three fields: Polonicas, sculpture, and French oil sketches. He donated his col- lection of Polonicas and sculpture to the Royal Castle in Warsaw, and the collection of French oil sketches was dispersed in 2000.
The article deals with the problems of the functioning of sacred art objects in private collections created in France in the first half of the 19th century. In the context of the vandalism of the Great French Revolution, a movement of theorists arose who opposed destruction and advocated the pro-tection of art objects as monuments of French history. This movement inspired collectors’ interest in sacred art, mainly medieval. Alexandre Lenoir (1761–1839) was mentioned in the article, followed by collections of medieval religious art created by: Alexander Du Sommerard (1779–1842); Pierre Révoil (1776–1842); Alexandre Sauvageot (1781–1860); Louis Fidel Debruge-Dumenil (1788–1838) and Jean-Baptiste (1792–1871) and Louis (1827–1888) Carrand. Analysis of the content and history of these collections allowed to draw the conclusions about the changing motives for which collectors of the first half of the 19th century collected sacred art objects, from the need to save French art monuments to treating them as research material
Artykuł dotyczy problematyki funkcjonowania obiektów sztuki sakralnej w kolekcjach powstających we Francji w I połowie XIX w. W kontekście wandalizmu Wielkiej Rewolucji Francuskiej zrodził się ruch teoretyków, którzy sprzeciwiali się destrukcji i opowiadali za ochroną zabytków jako pomników historii Francji. Ruch ten zainspirował wśród kolekcjonerów zainteresowanie sztuką sakralną, głównie średniowieczną. W artykule została przywołana postać Alexandre Lenoira (1761–1839), następnie kolekcje średniowiecznej sztuki sakralnej stworzone przez: Alexandra Du Sommerarda (1779–1842), Pierra Révoila (1776–1842), Alexandre’a Sauvageota (1781–1860), Lo-uisa Fidela Debruge-Dumenila (1788–1838) oraz Jeana-Baptiste’a (1792–1871) i Louis (1827–1888) Carrandów. Analiza zawartości i historii tychże kolekcji pozwoliła wysnuć wnioski na temat zmieniających się pobudek, dla których kolekcjonerzy z I połowy XIX w. gromadzili obiekty sztuki sakralnej – od potrzeby ratowania zabytków sztuki francuskiej po traktowanie ich jako materiał badawczy.
in Warsaw collection highlights the assorted form and manner of delivering the
idea of restituting the royal collection. The notion of restitution was applied in
conservation concepts for the Royal Castle in Warsaw in the year 1973, and duly
referenced for purposes of restoring the castle as a symbol – the seat of supreme
state authorities – by reconstructing the edifice itself and recouping royal collections,
primarily those owned by Poland’s last king, Stanislaus Augustus.
The purpose of this paper was to present the process of restituting Royal
Castle in Warsaw collections by describing the individual methods applied: postwar
reclamations and transfers to allow reconstruction and refurbishment of
individual rooms; purchases and – no less importantly – bequests and donations
(including the most valuable gift, presented by Karolina Lanckorońska);
and foundation-based compilations placed in Castle deposit (i.e. respective
Foundations of the Ciechanowiecki Collection, Teresa Sahakian’s Collection and
Tomasz Niewodniczański’s Collection). The abundance of provenance-related
issues relating to the contemporary Royal Castle in Warsaw collection reflects
the post-war history of numerous museum institutions, while allowing deliberations
whether processes involved with delivering the idea of restituting collections
involved a coherent assembling policy, or were they rather a sequence
of fortunate coincidences.
activity of Andrzej Stanisław Ciechanowiecki – hunter
of Polonicas in the West
Andrzej Stanisław Ciechanowiecki, collector, marchand and patron of
the arts, was born on the 28th of September 1924 in Warsaw. In 1961 he settled in London, and in the years 1961–1995, as a prominent and influential marchand, he run three galleries, respectively: Mallet at Bourdon House, Heim Gallery and Old Masters Gallery. While living and working in London, he has been collecting works of art connected with Poland in the name of the E. Hutten-Czapski’s motto: „Monumentis Patriae naufragio ereptis”.
From his private collection he founded the Ciechanowiecki Family Collection Foundation at the Royal Castle in Warsaw in 1984. Foundation’s collection consists of art works that were looted from Poland during the Second World War and evacuated by the owners to secure the family treasures in the wartime, or art objects dispersed in the West since the 19th century or earlier. Worth mentioning are paintings from the King of Poland – Stanisław August Poniatowski’s Collection: Portrait of Urszula Zamoyska and Portait of Izabela Poniatowska by M. Bacciarelli; Jesus among the Doctors attributed
to L. Bramer and Landscape with shepherds by P-M. Gault de Saint-Germain. Other objects connected with the King are his Portrait by M. Bacciarelli, the brooch – gem with the King’s portrait made from sapphire, engraved by J. Regulski, and decorated with diamonds by J. Martin in 1787.
Other art works, now in the Foundation’s Collection recovered in the West, are those from Potocki Family Collection in Łańcut Castle (e.g: Portrait of Adam Kazimierz Czartoryski in the red coat, 1793, by É-L. Vigée-Le Brun), from Czartoryski Family Collection, Andrzej Mniszech Collection and many other family collections. Among art works recovered by Ciechanowiecki are important objects looted during the Second World War by the Nazis: Resurection by B. Bruyn (stolen from Wawel, donated by Ciechanowiecki to the same museum), Venus and Cupid by J. Massys (stolen from Xavery Pusłowski Collection, donated by Ciechanowiecki to Jagiellonian University Museum), Arabesque Polish Carpet (stolen from Czartoryski Museum).
Thanks to his extensive contacts Ciechanowiecki was able to control the market of Polonicas in the second half of the 20th century and recover
important art works for Polish Collections.
Pokaz kilku dzieł sztuki europejskiej powstałych w XVII wieku, których tematyka oscyluje wokół zagadnień ówczesnych kolekcji i kolekcjonerstwa.
Siedemnasty wiek to okres, kiedy wszystko co rzadkie i osobliwe budziło zainteresowanie, to wówczas tworzono zbiory dzieł sztuki określane jako kunstkamery i gabinety osobliwości zwane wunderkamerami. W ówczesnych kolekcjach gromadzono naturalia, obiekty sztuki, aparaty naukowe oraz przedmioty egzotyczne. Zbiory te miały odzwierciedlać ówczesny stan wiedzy, były swoistym pomniejszeniem wszechświata, mikrokosmosem.
Ówczesne pasje kolekcjonerskie i naukowe inspirowały zjawiska w sztuce. Wykształcił się nowy gatunek martwej natury – obrazy ukazujące z bliskiej perspektywy kolekcje dzieł sztuki i osobliwości, zwane obrazami gabinetów lub kunstkamerami. Innym gatunkiem malarskim, który wówczas się rozwinął to martwe natury z osobliwościami naukowymi i naturalnymi oraz takie złożone tylko z egzotycznych muszli.
Nowożytne kolekcje dzieł sztuki, gabinety osobliwości oraz biblioteki tworzone na dworach królewskich i książęcych, w domach mieszczan, humanistów, badaczy i artystów były istotnym elementem ówczesnego pejzażu kulturowego. W tym kontekście nie dziwi fakt, iż stały się one tematem dzieł malarskich.
Eksponowane dzieła pochodzą z kolekcji:
Zamek Królewski w Warszawie – Muzeum, Muzeum Narodowe w Warszawie, Muzeum Narodowe w Krakowie, Muzeum Sztuki im. Bohdana i Warwary Chanenko w Kijowie
Tematyczna ścieżka zwiedzania: 16.03-31.12.2021
Cykl wykładów: 30.03-31.12.2021
Kuratorzy wydarzeń „Traktat ryski – odzyskane dziedzictwo”:
dr Magdalena Białonowska, Norbert Haliński, Paweł Tyszka
Projekty graficzne: Jarosław Kłaput (wystawa), Maria Majnusz (plakat, folder)
https://www.zamek-krolewski.pl/aktualnosc/931-traktat-ryski-odzyskane-dziedzictwo
Cykl wykładów: https://www.zamek-krolewski.pl/strona/wizyta/932-wyklady-towarzyszace-wystawie-traktat-ryski-odzyskane-dziedzictwo
Kurator wystawy: Magdalena Białonowska
Projekt scenografii: Studio Govenlock
https://arch.zamek-krolewski.pl/zamek-krolewski.pl/zwiedzanie/archiwum-wystaw-czasowych/dolabella.html
Wystawa w Muzeum Rolnictwa im. ks. Krzysztofa Kluka w Ciechanowcu,
7 kwietnia – 11 czerwca 2017
https://arch.zamek-krolewski.pl/zamek-krolewski.pl/zwiedzanie/archiwum-wystaw-czasowych/sto-najcenniejszych-dziel-kul.html