Erected around 1742 for the Bieliński family, after the design by Józef Fontana, the palace has been owned by the Zamoyski family since 1799. Redeveloped 1897-1914 by Konstanty Zamoyski, it has preserved its original Second-Empire-style dcor from the late 19th and early years of 20th century.

The vestibule

Situated at the building’s axis, somewhat murky, with a stone flooring and beautiful oak-timber entrance-door frame, the vestibule is arranged with 19th-century oak-wood furnishings reminiscent of Gdansk baroque furniture (tables, armchairs, cabinets) and neo-Renaissance pieces (cassapanca benches). There are two large copies of paintings: to the right, Hunting a wild boar after the Flemish painter Frans Snyders and to the left, an equestrian portrait of King Augustus III the Saxon, after the 1718 original by Louis de Silvestre. The door on the left leads you to the presentable stairwell.

The stairwell

The stairwell will lead you, in turn, to the elegant upper floor. Richly adorned with stuccoworks, marble-clad, the stairwell features a neo-rococo railing made by the Władysław Gostyński establishment in Warsaw. The walls are tightly populated with paintings framed in golden frames. Family portraits take precedence among them, incl. those of Tomasz and Katarzyna Zamoyski, Jan ‘Sobiepan’ and Maria-Kazimiera Zamoyski and Bishop Jan Zamoyski, painted in 1890s by Józef Buchbinder who modelled them after early paintings and engravings. There are royal portraits, featuring: Augustus II the Strong, after Louis de Silvestre; Maria Leszczyńska and her husband Louis XV, and Henryk III Walezy (Henri de Valois) establishing the Order of the Holy Spirit. A copy of Moses by Michelangelo Buonarotti is among the featured sculptures.

Count Konstanty Zamoyski’s study

Also referred to as the Bieliński room, as eighteenth-century portraits of the Bieliński family members are hanged there. The largest of those portraits, featuring Grand Crown Marshal Franciszek Bieliński, was probably made by Louis de Silvestre, the court painter to the Saxon Wettin-house rulers. Right opposite the entrance, above a 19th-century cylindrically-enclosed French desk, you can admire the earliest-made painting in the Kozłówka collection – a landscape with antique ruins by Oswald Harms, 1672. Somewhat lower, to the right, one can see a picture similar in subject, painted ca. 1750 by the Italian Giovanni-Paolo Pannini. The same wall, beneath the ceiling, features portraits of the Vasa-house rulers: Sigismund III, Ladislaus IV and John-Casimir, as well as two effigies of queen cosort Marie-Louise Gonzaga de Nevers. Opposite to them are portraits of Czartoryski family members. Below them is a drawing by the excellent French painter François Gérard of 1804, featuring Zofia Zamoyska with her sons Konstanty and Władysław. By the same wall stands an upright piano called ‘giraffe’ (Vienna, early 19th c.), perhaps once owned by Zofia herself.

Count Konstanty Zamoyski’s bedroom

This bedroom mainly features the Count’s closest relatives: the parents Jan and Anna nee Mycielska (on both sides fo the recess); the grandmother Zofia Zamoyska, nee Czartoryska (the largest one, made after the 1799 original by Józef Grassi); Zofia’s brother, Duke Adam-Jerzy Czartoryski (above the door; after W. Lesseur-Lesserowicz); Konstanty’s cousin Pelagia Rembielińska by her first marriage and Branicka by her second, nee Zamoyska (excellent copy of a beautiful portrait by F. X. Winterhalter); and, in the first place, portraits of Count Konstanty himself and of his wife Aniela Zamoyska, nee Potocka, by Leopold Horowitz (1877). Between the windows is an inlaid escritoire (Würzburg, Germany, around mid-18th c.). Left of the bed is a cigar cabinet and cabinet-desk. A triple-sectioned table, so-called dumb waiter, stands in front of the bed, with silverwares and plates, made by English and Russian manufacturers, on it. In the room’s right-hand-side corner, behind a screen, is a toilet nook with a washstand and a bathroom set made of Czech porcelain (Fischer & Mieg producers of Brezova, latter half of 19th c.), painted after Japanese Imari porcelain designs.

Bathroom I

Having left the Count’s bedroom, you pass through the tiny corridor and the side-stairwell platform to the bathroom. While in the corridor, you will pass by a bust and a portrait of Anna Zamoyska, nee Mycielska, to our right and then the strong-room door and the Countess’s bedroom door. The bathroom is one of the six bathrooms arranged in the course of the redevelopment project carried out in late 19th/early 20th c. It was then that the Warsaw partnership Sikorski & Kurcewski installed a water-supply and sewerage system and equipped the palace with bathtubs, fixtures-and-fittings and water-heating columns. In the corner, behind the stove, is a lavatory with and English pan, embellished with a chrysanthemum flower motif. On the washstand is a French faience toilet set (Sarreguemines, late 19th c.) and a travelling bag whose equipment, featuring the Zamoyskis’ coat-of-arms Jelita, is contained in the stand’s drawer. The largest and most valuable painting is A poet wreathed in laurel, authored by Wilhelm Kotarbiński in Rome in 1881.

The Small Salon

In the time of the Bielińskis, a chapel was housed there; before the war, the owner’s oldest son’s room. Today’s furnishings refer to the outfit from the early years of 20th century. Among the paintings adorning the wall, copies of some masterpieces of European painting come to the fore. Above the bathroom door is Prince Henry Lubomirski as Amor after Angelica Kauffmann, and then, as you go clockwise: Susanna bathing after J. B. Santerre; King Charles I Stuart and Queen Henrietta after the Van Dyck school; below, Maria Czartoryska, nee Dzierżanowska and Cecylia Beydale; Amor and Psyche after François Gérard; Atrocities of war after P.P. Rubens; below, Danaë after Titian; Girl with a letter after Greuze; Antiope’s dream after Correggio; on the bottom, there are portraits of Konstanty, Andrzej, Jan and Władysław Zamoyski. By the window stands an Italian pianomelodicon from the late 19th century – an instrument designed for mechanical playback of music, whilst the showcase displays silverwares from various European manufacturers and a crystal tableware made by the French glassworks Baccarat (4th quarter of 19th century) – one of two surviving sets of this sort (six carafes and fifty-five goblets) once owned by the Zamoyskis.

The Countess’s bedroom

Till 1930, the room functioned as a bedroom of the subsequent landladies of the Kozłówka estate; later on, it became the residential room of Jadwiga and Aleksander Zamoyski. A group portrait, painted by Sebastian Norblin, shows Stanisław and Zofia Zamoyski with their six elder children. The recess above the bed contains the Great Holy Family after Rafael; the side walls feature portraits of Konstanty Zamoyski’s parents, Anna Sapieżyna (Sapieha) and Franciszek Mycielski. Beside the stove is a portrait, after Pantaleon Szyndler, of Janina Potocka, nee Potocka, who was Aniela Zamoyska’s sister. The furniture dates to 19th century: in the centre is a French table from 1870s, clad with porcelain tiles; beside it are tiny neo-rococo chairs and a neo-rococo chaise-longue (by Jansen of Paris) and small handiwork tables; combined refrigerator-cabinets (made by Józef Sawicki of Warsaw) are placed between the windows. The palace’s most beautiful fireplace is adorned by a French clock (by J. Ardavani, Paris) with a miniature portrait of Zofia Zamoyska. On the floor is a Persian early-20th-century Tabriz carpet with a Tree-of-Life motif.

The Red Salon

The palace’s most presentable, largest (114 sq. m) and highest (9 m) room. Its three French windows once led to the now-non-existent terrace with stairs descending to the garden. The windows and the doors are adorned with embroidered lambrequins and heavy curtains made of red velvet; in the corner, a giant stove stands, featuring white-and-blue tiles – one of the three such stoves made on special order. Konstanty Zamoyski has gathered there effigies of Polish kings and hetmans – ‘to reinvigorate the hearts’ in the years of national captivity. He did not neglect the glory of his own family, though – placing in the most sumptuous interior portraits of Zamość heirs and heiresses-in-tail. Of the two grand compositions dedicated to Hetman Jan-Karol Chodkiewicz, Chodkiewicz bids farewell to his wife before the Chocim expedition was painted by Józef Oleszkiewicz in 1808; the painting The death of Chodkiewicz near Chocim is ascribed to Franciszek Smuglewicz. Opposite the windows is a pair of portraits, showing Hetman and Chancellor Jan Zamoyski, founder of the Zamość entailed estate and of the family’s powerfulness, and his fourth wife Barbara nee Tarnowska. The central position in the salon is occupied by two semi-circular couches (produced by L. Mergenthaler, Warsaw). Copies of antique sculptures – The wrestlers and Gaul dying are placed on French Louis-XV-style inlaid cabinets; porcelain figurines of Chinamen with their heads tottering. Beside the grand piano is an American pianola (player-piano) from the turn of the 20th century. It is an attachment which plays back the music encoded on a perforated paper tape with the grand piano or upright piano.

The White Salon

This salon, more intimate in character, is also called the Tapestry Room, after the furniture once present in it. The largest two paintings are copies of group portraits of the Zamoyski family members – one of them (after Angelica Kauffmann) showing Chancellor Andrzej Zamoyski with his offspring Anną, Aleksander and Stanisław; the other one (after François Gérard) features Zofia Zamoyska with her sons Konstanty and Władysław. The original paintings got burned in 1939 in the Azure Palace. Noteworthy are the pieces of French Louis-XV-style furniture from the latter half of 19th century: two showcases adorned with bronzes from the E. Garnier workshop; inlaid cabinets, decorated with bronzes featuring a lion skin motif; a marquetry-laid desk made by French ebonist Befort (the Younger) who specialised in making copies of A.C. Boulle's furniture. The chairs, by Jansen of Paris, once furnished the chapel’s interior. The glass cases display 18th, 19th and 20th-century pieces of porcelain from various European manufacturers; objects given off by the Polish society to the National Defence Fund in 1939 (a gold reliquary cross, a pair of rings, a cameo with Hermann and Dorothea), along with other valuable bric-a-bracs (an ivory Chinese woman with chrysanthemums; a Fabergé agate wild-boar).

Count Adam Zamoyski’s study

This is the first-to-go-to unit in the southern luxury apartment. The room’s pride is a white-and-gold stove featuring the Jelita coat-of-arms, made on special order and modelled after rococo stoves; the fireplace is, in turn, a replica of the 1781 one to be met in the Versailles palace. Opposite the entrance door, you can see two portraits of Zofia Zamoyska, the one to the right having probably been made at the François Gérard atelier in the early 19th century. Next to the mirror is a portrait of Konstancja and Stanisław Poniatowski, the parents of King Stanislaus Augustus Poniatowski whose effigy is visible above the door leading to the White Salon (both portraits after M. Bacciarelli). The excelling pieces of furniture include: a 19th-century Louis-XV-style French cabinet; a Kolbuszowa-made press with an adjustment in the form of an escritoire; a davenport with the date ‘1716’ inlaid on it. A Martenot-of-Paris clock, reminiscent of the Boulle products, stands on the fireplace sill, as does a pair of French Empire-style chandeliers. On the cabinet by the door stands a bust of Rachel, the French actress who was famous in 19th century. In the room’s corner is a cup offered to Count Adam to commemorate his stay in Detroit in 1928.

Count Adam Zamoyski’s bedroom

This bedroom was originally arranged for the 2nd heir-in-tail in the former representative visitor apartment. The alcove displays portraits of Adam’s parents, Stanisław and Róża nee Potocka; above them is a copy of Van Dyck’s painting Jan Grusset Richardot with his son as well as effigies of Konstanty and Aniela Zamoyski painted by Leon Biedroński. Above the bed is a portrait of Aleksander Zamoyski, Adam’s elder son, the last proprietor of Kozłówka, painted in 1918 by Marceli Krajewski. A complete set of furniture, made by the Warsaw ‘Z. Szczerbiński’ factory, dates to 1930. Left of the alcove are portraits of Cecylia Lubomirska nee Zamoyska (after F.X. Winterhalter) and of Stanisław Zamoyski wearing a Maltese Knight uniform. Below those is a copy of a Balthazar clock as originally made for Louis XVI’s bedroom at the Versailles. Above a Louis-Philippe-style couch is a simulacrum of Princess Izabela Czartoryska nee Fleming (after Kazimierz Wojniakowski). Above it are portraits of: French Marshal Pietro Strozzi, Prokop-Jana Granowski, Teresa Czapska nee Zamoyska and Konstancja Zamoyska nee Czartoryska. Above the corridor door is an effigy of Queen Maria Leszczyńska. A copy of an antique sculpture Venus squatted-down stands on a chest-of-drawers with bronzes in the form of lion skins.

The Exotic Room

The Exotic Room is a small room arranged in an Oriental style. Nineteenth-century utensils from the Far and Middle East are gathered there along with European products inspired by Oriental art, e.g. a Japanese Imari-type flowerpot, Chinese porcelain chandeliers, a famille-rose vase or German imitations of white-and-blue Chinese porcelain. The armchair from the turn of 20th century, a Carlo Bugatti design, inlaid with ivory and mother-of-pearl, copper sheet-metal-clad, is a decent rarity among the pieces of furniture.

The corridor will lead you from Count Adam’s bedroom to a side staircase and to the White Salon. There is an eighteenth-century wardrobe standing to the right, inlaid with flower and bird motifs. Above it is a portrait of the last owner of Kozłówka – Jadwiga Zamoyska nee Brzozowska, with her three children: Adam, Maria and Andrzej, painted in 1941 by G. Orłowski.

Bathroom II

This bathroom belongs to the southern luxury apartment. It s original furnishing is extant – including a bathtub, water heating column, a fixture. The floor and the walls are clad with tiles by Villeroy & Bosch, the renowned company still in operation today. The most grandiose piece of furniture is the magnificent washbasin with a crystal mirror and marble top, equipped with a sink with a slanting bowl, drawn-out bidet and drawn-out feet-washing vessel. In the corner, behind the heavy curtains, is an English toilet bowl.

The Cupboard Room

The Dining Room

The Dining Room is arranged, according to a nineteenth-century canon, in a heavy, dark variety of baroque style. Two Gdansk wardrobes from the late 17th/early 18th century stand opposite the entrance, filled with porcelain silver tableware. Somewhat later-dated (18th-century) plaited chairs are also from Gdansk, as are the carved chairs at the table (19th c.). Tradition has it that the table, the buffet and the frame of the mirror above the fireplace are Venetian. Partly surviving Zamoyski-coat-of-arms glass dinner set, originally composed of 154 pieces, is placed on the buffet, along with eighteenth-century plates and soup vase from Meissen. There are four Berlin-porcelain figurines on the table, impersonating Fortune and Peace; there is also a gilded beer set and gilded toast cups. The fireplace is adorned by an 18th-century Boulle-type clock; the other one, a grandfather clock (Maple of London, early 20th c.) is placed next to the buffet. Above the wardrobes are copies of portraits of the Sobieski family members (after J. Tricius): King John III with his son Jakub; John’s wife Marie-Casimire-Louise (‘Marysieńka’) with their daughter Teresa-Kunegunda. Scenes from the Hercules myth are displayed above the door. The table, set for two, presents porcelain dishes from a Berlin tableware of 1913–1914; crystal decanters and goblets from the French Baccarat glassworks, and silver cutleries by the Viennese J. C. Klinkosch manufacturer (dated c. 1900).

The Library

The Library is arranged in an English style, with oak-wood glazed bookcases decorated with coats-of-arms: Jelita of the Zamoyskis and Pilawa of the Potockis. The book collection numbers a total of 6,700 volumes, including 572 old prints, with the earliest ones dating to 16th century. The collection is quite diversified theme-wise, embracing works in the areas of religion, philosophy, history, law, exact sciences, agriculture, dictionaries and encyclopaedias, handbooks, children’s books, guides and Baedekers, classical literature and ‘light’ belles-lettres, cartographic collections and year’s issues of periodicals (incl. an almost complete set of Biblioteka Warszawska of 1841 to 1914; a few dozen year’s issues of the French periodical Revue des Deux Mondes; ladies’ magazines La Mode Illustreé, Bluszcz). In the centre, a table is located (made by Trotschel, Warsaw), with a triple early-20th-centiury kerosene lamp above it. On the fireplace is a bust of Andrzej Zamoyski, an outstanding politician and economic activist, a work by sculptor Marceli Guyski (1869). A Hetman Jan Zamoyski’s bust is to be seen in the opposite corner.