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DOI Artikel:Nieciecki, Jan: Koleje życia Antoniego Herliczki, malarza polskiego XVIII wieku: =
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.37081#0287
KOLEJE ŻYCIA ANTONIEGO HERLICZKI
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green ground (terra verde), and at times cinnabar. He also used the grey colour of plaster
(when painting the sky); he obtained lights by laying thick layers of calcium. His oil paintings
on canvas were painted directly on bole primer, without grounding (alia prima).
Herliczka’s first work mentioned in the archives was the restoration of a wall painting in
1749. The painting was placed in a garden at J.K. Branicki’s palace in Warszawa, painted
a year before by G.W. Neunhertz (most certainly together with Herliczka). In 1750 he received
a commission from Izabella Czartoryska nee Morsztyn to paint illusionistic altars in a church
in Siedlce: the main and four side altars, he gilded and painted with oil (for 2940 PLN) the
altar menses and the ciborium (wall paintings are likely to be preserved partly under the
plaster). In 1751 he made paintings for J.K. Branicki on the vault and walls of the church in
Białystok (preserved and unveiled). In 1752 he may have worked in Kraków. From 1753 on
he was permanently employed by J.K. Branicki: in 1754 in the palace in Białystok he paint
the vault in the dining room on the ground floor and restored the History of Paris on the wall
in the exterior gallery on the part of the garden (painted in 1738 by G.W. Neunhertz), and in
the palace in Warszawa painted the vestibule under the boudoir. In 1755 he painted the room
of the Pavilion at the Channel in the Lower Garden in Białystok, the frontons and portraits of
horses to the palace in Stołowacz near Bielsk (the Podlasie region); in 1756 in the palace in
Białystok he designed figures on the Gate under Griffon (the old one) and made paintings in
the vestibule (preserved only in parts and unveiled), and the stucco fresco in the Big Room
on the first floor (according to the design made in Dresden). In the two palace pavilions in
Choroszcz near Białystok he made designs and supervised the decoration works, painted vaults
and walls, and made a dozen or so easel paintings, including several portraits; in 1757 he
made paintings on the vault and walls of the church in Choroszcz (preserved in parts, unveiled
and reconstructed on the basis of archival photos); in 1758 he painted the Supraśl Gate in
Białystok (“under the Deer”), in Choroszcz he completed works in the church, designed
stuccoes in the palace and painted, in Warszawa he painted a carriage; in 1760 - until October
he worked somewhere in Lithuania, in Białystok he painted portraits of the two Branickis; in
1761 he decorated in Białystok the interiors of the four presbyteries (preserved and unveiled),
in Tyczyn near Rzeszów he made (most likely in the same year) paintings in the church
(preserved under plaster, only on the walls); in 1762 he painted in Białystok the walls of the
Big Room under restoration; in 1763 in Białystok he made paintings, according to his own
design, in the theatre and copied the portraits of the two Branickis destined for the “foreign
countries,” in Choroszcz he worked in the annexes of the palace - he painted the dining room
and the vestibule (the Kitchen Annexe), in Tyczyn he completed (most likely) painting of the
church. After 1764 J.K. Branicki, until his death in 1771, he did not leave Białystok for longer
periods, thus there are no mentions in his correspondence about Herliczka’s works. We know
from other archives that Herliczka at that time made fresco in Białystok on a wall in the Ionic
colonnade (partly preserved, unveiled, and reconstructed), the paintings on the vault of the Big
Orangery (referring to the conferral of the Order of Golden Fleece on J.K. Branicki), decorated
facades and interiors of the houses in the town; In Choroszcz he painted the refectory in the
Dominican monastery. The inventory of 1772 lists two Herliczka’s paintings in Białystok
treasury on the Old Testament and ten landscapes.
After her husband’s death, I. Branicka rarely employed Herliczka. In that time he painted
mainly for other employers, most often the Branickis’ relatives. For I. Branicka he made the
following works: in 1773 he painted the “small room" and stairs in the Winter Apartment in
the Guest Annexe of the palace in Białystok; in 1777 he made a portrait of J.K. Branicki for
Castrum doloris the funeral in Kraków; in 1779 he copied a painting from Choroszcz; in 1780
he decorated a wagonette in Białystok and painted a portrait; in 1781 he decorated rooms in
the restored Pavilion on the Channel in the Lower Garden in Białystok; in the years 1791-1792
he painted two paintings in the church in Dolistowo on the Biebrza. In Białystok in a presby-
285
green ground (terra verde), and at times cinnabar. He also used the grey colour of plaster
(when painting the sky); he obtained lights by laying thick layers of calcium. His oil paintings
on canvas were painted directly on bole primer, without grounding (alia prima).
Herliczka’s first work mentioned in the archives was the restoration of a wall painting in
1749. The painting was placed in a garden at J.K. Branicki’s palace in Warszawa, painted
a year before by G.W. Neunhertz (most certainly together with Herliczka). In 1750 he received
a commission from Izabella Czartoryska nee Morsztyn to paint illusionistic altars in a church
in Siedlce: the main and four side altars, he gilded and painted with oil (for 2940 PLN) the
altar menses and the ciborium (wall paintings are likely to be preserved partly under the
plaster). In 1751 he made paintings for J.K. Branicki on the vault and walls of the church in
Białystok (preserved and unveiled). In 1752 he may have worked in Kraków. From 1753 on
he was permanently employed by J.K. Branicki: in 1754 in the palace in Białystok he paint
the vault in the dining room on the ground floor and restored the History of Paris on the wall
in the exterior gallery on the part of the garden (painted in 1738 by G.W. Neunhertz), and in
the palace in Warszawa painted the vestibule under the boudoir. In 1755 he painted the room
of the Pavilion at the Channel in the Lower Garden in Białystok, the frontons and portraits of
horses to the palace in Stołowacz near Bielsk (the Podlasie region); in 1756 in the palace in
Białystok he designed figures on the Gate under Griffon (the old one) and made paintings in
the vestibule (preserved only in parts and unveiled), and the stucco fresco in the Big Room
on the first floor (according to the design made in Dresden). In the two palace pavilions in
Choroszcz near Białystok he made designs and supervised the decoration works, painted vaults
and walls, and made a dozen or so easel paintings, including several portraits; in 1757 he
made paintings on the vault and walls of the church in Choroszcz (preserved in parts, unveiled
and reconstructed on the basis of archival photos); in 1758 he painted the Supraśl Gate in
Białystok (“under the Deer”), in Choroszcz he completed works in the church, designed
stuccoes in the palace and painted, in Warszawa he painted a carriage; in 1760 - until October
he worked somewhere in Lithuania, in Białystok he painted portraits of the two Branickis; in
1761 he decorated in Białystok the interiors of the four presbyteries (preserved and unveiled),
in Tyczyn near Rzeszów he made (most likely in the same year) paintings in the church
(preserved under plaster, only on the walls); in 1762 he painted in Białystok the walls of the
Big Room under restoration; in 1763 in Białystok he made paintings, according to his own
design, in the theatre and copied the portraits of the two Branickis destined for the “foreign
countries,” in Choroszcz he worked in the annexes of the palace - he painted the dining room
and the vestibule (the Kitchen Annexe), in Tyczyn he completed (most likely) painting of the
church. After 1764 J.K. Branicki, until his death in 1771, he did not leave Białystok for longer
periods, thus there are no mentions in his correspondence about Herliczka’s works. We know
from other archives that Herliczka at that time made fresco in Białystok on a wall in the Ionic
colonnade (partly preserved, unveiled, and reconstructed), the paintings on the vault of the Big
Orangery (referring to the conferral of the Order of Golden Fleece on J.K. Branicki), decorated
facades and interiors of the houses in the town; In Choroszcz he painted the refectory in the
Dominican monastery. The inventory of 1772 lists two Herliczka’s paintings in Białystok
treasury on the Old Testament and ten landscapes.
After her husband’s death, I. Branicka rarely employed Herliczka. In that time he painted
mainly for other employers, most often the Branickis’ relatives. For I. Branicka he made the
following works: in 1773 he painted the “small room" and stairs in the Winter Apartment in
the Guest Annexe of the palace in Białystok; in 1777 he made a portrait of J.K. Branicki for
Castrum doloris the funeral in Kraków; in 1779 he copied a painting from Choroszcz; in 1780
he decorated a wagonette in Białystok and painted a portrait; in 1781 he decorated rooms in
the restored Pavilion on the Channel in the Lower Garden in Białystok; in the years 1791-1792
he painted two paintings in the church in Dolistowo on the Biebrza. In Białystok in a presby-