June Events

The first week of June was a time of celebrations dedicated to the International Children’s Protection Day. We saw one in Alexandria Park. This video shows the competition of moms who were delegated to the improvised stage by their children to dance in front of them to “classical music”.

On June 6, we accidentally witnessed a motorbike ride to/from downtown. The rally was not advertised anywhere and did not seem to be tied to any outstanding holiday or event. Let’s assume it was dedicated to the International Children’s Protection Day. For us, it was another manifestation of the people’s strength and decisiveness as real patriots.

We attended another traditional festival of vintage cars called “Mrowisko 2026” that took place in the Polish Foresters Square on June 14, 2026 under the motto “Vintage Vehicles Take Over Siedlce Once Again”. Siedlce became the capital of classic car enthusiasts. It was the 17th "Mrowisko 2026", and it was combined with the 13th International Vintage Car Rally.

The program included:

• a presentation of vintage vehicles,
• classic motorcycles and cars from various eras: old-timers – vehicles manufactured before 1989 and young-timers - vehicles manufactured after 1989.
• a ride in vintage vehicles,
• attractions for children and adults,
• free inflatables for children,
• a food court,
• a family atmosphere and numerous accompanying attractions.

According to Michał Szymani from the Siedlce Association of Historic Technology Enthusiasts "Korba," which organized the event, well over 400 vehicles were presented at the rally grounds. To meet the expectations of the younger audience, who are actively present on social media, “Korba” engaged some well-known figures to help organize the rally, among them a well-known automotive journalist, Adam Kornacki. Robert Buczyński, known as Buczooo, and Julia Hebdzyńska from the Girls Classic Moto project also assisted in the project. Of course, there was also a food court and free inflatables for the little ones.

Attending the traditional vintage cars festival, Siedlce

Fiat 900 E Panorama, 1979
Engine: 2.0 in-line 4 petrol; Capacity: 1995 cubic centimeters; Width: 1790 mm; Height: 1940 mm; Wheelbase: 2300 mm; Number of seats: 2+7 (9-seater); Weight: approx. 1450 kg; Top speed: approx. 120 km/h; Fuel consumption: approx. 9.0 l/100 km
The Fiat 900 E Panorama is a popular van and passenger car produced by the Italian manufacturer Fiat from 1975 to 1985. It was characterized by a simple design, reliability, and ample usable space for families, businesses, and services. The Panorama version was designed for passenger transport and was frequently used for restorations. Today, the Fiat 900 E Panorama is prized by classic car enthusiasts and is often used as an ambulance, fire truck, or school bus. The given vehicle is from a private collection.

City EL (1992)
Manufacturer: City Vehicles (UK)
Electric Minicar, 2 seats (driver + passenger), DC Electric, approx. 3 kW (4 hp), 48 V; Lead-acid batteries (set of 8, 6 V); Front-wheel drive; Automatic (single-speed); Height: 1,350 mm; Wheelbase: 1,620 mm; Current weight: approx. 220 kg; Length: 2,360 mm; Width: 1,300 mm.
Maximum speed 45 km/h, approx. 50-70 km (depending on conditions); Charging time: approx. 6-8 hours (230 V).
The City EL was designed and manufactured in the UK by City Vehicles in the 1990s. It was one of the most recognizable electric microcars of its era. Its lightweight fiberglass construction and electric drive made it the ideal vehicle for city driving – quiet, economical, and environmentally friendly. The City EL was popular with individuals, businesses, and institutions as an affordable means of transport with low operating costs and easy charging from a 230V socket. Today, it is increasingly rare and is a curiosity among microcar collectors.
Fun fact: The City EL could be charged from any standard 230V socket, making it extremely practical for everyday use. Its modern design and low maintenance costs were ahead of its time. The vehicle is from a private collection, Woolworth, Great Britain.

Fiat 850 Vignale
Technical data: weight: approx. 670 kg; 4-cylinder, liquid-cooled; 34 hp (25 kW) at 5600 rpm; 843 qu.cm; 4-speed (manual); Drive: rear-wheel drive; Number of seats: 4
Length/Width: 3660 mm/1420 mm; Height: 1340 mm; Wheelbase: 2200 mm; Top speed: approx. 130 km/h; Fuel consumption: approx. 6.0 l/100 km.

The Fiat 850 debuted in 1964 as the successor to the 600 and quickly became one of the most popular cars in Italy and Europe. It was a modern, compact car with a rear engine. In 1965, the renowned Vignale company presented an exclusive version of the 850. The Vignale bodywork was distinguished by elegant lines, increased glass area, and high-quality interior trim.
The Fiat 850 Vignale was produced in very limited numbers, making it a rare and cherished classic of Italian motoring today. This model combines the reliability and technical simplicity of the 850 with the elegance and prestige of a Vignale-designed body.
Fun fact: An estimated 2,000 units of the Fiat 850 Vignale were produced. Each car was handcrafted by the Vignale bodywork in Turin. This vehicle is from a private collection in Italy.

Meister K6, 1974.
Type: K6; Weight: 184 kg; Motor: Puch AG, 49 qu.cm; Engine power: 3,5 KM (2,6 kW) at approximately 5,000 rpm; Maximum speed: 40 km/h; Manufacturer: Hans Jörg Meister.
Number of units produced: 701.
Drive: rear-wheel; Vehicle: 3-wheeled (1 front, 2 rear)

Hans Jórg Meister founded the company in 1962. Production and headquarters are in Thal near Graz. Production ended in 1979. In total, around 1,500 different vehicles were built, and the K6 model was produced. The brand name is Master (Meister in German). The vehicle consisted of a tubular frame and a fiberglass body. The drive was on one of the two rear wheels.
The producer’s name Ing.H.Meister (Hans Meister), is right in the apron before the van.
Fun fact: The Meister K6 is one of the most recognizable models of the 1970s. Thanks to its lightweight fiberglass construction and economy, it was perfect for city driving and short trips. This vehicle is from a private collection in Austria.

Fiat 500 Topolino (Little Mouse)
Year of manufacture: 1937
Current weight: 630 kg; Gearbox: 4+1 (3 and 4 synchronized); Engine: In-line 4-cylinder, bottom valve; Engine capacity: 569 qu.cm; Engine power: Drive: 13 HP (9.6 kW) at 4,000 rpm on the front wheels; Top speed: 85 km/h
FIAT was founded on July 11, 1899, in Turin, Italy. From the outset, FIAT manufactured passenger cars, then trucks and tractors, and in the 1950s, fighter jets for NATO.
In 1921, FIAT began building a car factory in Warsaw, but this investment was interrupted, and it wasn't until 1931 that assembly of the 508 1 625 model began at the PZInż plant. Production in Poland, however, didn't begin until 1967, with the 125p model at the FSO plant in Žerań.

The Topolino was first introduced in 1936 and was manufactured until 1955. It was produced in three body styles: coupe, convertible, and station wagon. Before the war, licenses for the car were purchased by the French company Simca and the German company NSU. It was also assembled at the Austro-Fiat plant, with a limited series assembled at the Polish plant of PZinż.
Other names of this model: Flat 500 Belvedere, Fiat 500 Giardiniera, Simca Fiat 5, Fiat Balilla. The car appeared in the movie Cars 2 as Uncle Topolino. Fun fact: The dry quickly won the hearts of drivers. This vehicle is from a private collection in Poland.

Velorex 16/350
Czechoslovakia
Current weight: approx. 350 kg; Engine: Jawa 344 qu.cm, 2-cylinder, two-stroke; Engine power: 16 HP; Maximum speed: approx. 85 km/h; Drive: rear-wheel drive; Gearbox: 4-speed; Number of seats: 2; Length/Width: approx. 2750 mm/1300 mm; Fuel tank: approx. 9 liters; Fuel consumption: approx. 3-4 l/100 km
The Velorex is one of the most unusual cars of post-war Europe, produced in Czechoslovakia in the 1950s and 1960s. The vehicle was designed by brothers František and Mojmír Stránský, who, after World War II began creating simple and affordable means of transportation for everyone. The distinctive design of a tubular frame covered with canvas made the Velorex exceptionally lightweight, easy to manufacture, and simple to repair.
The 16/350 model, introduced in 1961, was powered by a two-cylinder, two-stroke Jawa 344cc engine with 16 hp, allowing it to reach speeds of up to approximately 85 km/h.
Between 1951 and 1971, over 15,000 Velorex models of all versions were produced.
Today, the vehicle is a valued automotive icon and a symbol of the creativity of Central European individuals. This vehicle is from a private collection.

ZÜNDAPP JANUS 250
Year of manufacture: 1958

Weight: approx. 620 kg;
Type: Janus 250;
Engine: I-cylinder, 2-stroke;
Engine capacity: 245 cu.cm;
Gearbox: 4-speed (manual);
Drive: rear-wheel drive;
Number of seats: 4;
Length / Width: 2860 mm / 1280 mm;
Height: 1340 mm;
Maximum speed: approx. 80 km/h;
Fuel consumption: approx. 4.5 l/100 km.

The Zündapp Janus 250 was one of the most original microcars manufactured in Europe in the 1950s.
Introduced by the German company Zündapp in 1957, it was intended as an economical means of transportation for families during the post-war reconstruction of Europe.
The name "Janus" comes from the Roman god with two faces and alludes to its unusual design.
This solution allowed for the maximum utilization of the vehicle's limited cabin space.
The car had doors in both the front and rear, and passengers sat facing each other.
Power was provided by a single-cylinder, two-stroke engine with a capacity of 245 cc, located centrally.
This vehicle is from a private collection in Germany.

Messerschmitt KR 200
VIP version.
Year of manufacture: 1963;
Type: KR 200 VIP;
Engine: 1-cylinder, 2-stroke;
Engine power: 10 HP (7.4 kW) at 5,250 rpm;
Engine capacity: 191 cc;
Gearbox: 4-speed (manual);
Drive: rear-wheel drive;
Number of seats: 2 (tandem);
Length / Width: 2,690 mm / 1,260 mm; Height: 1,150 mm;
Current weight: approx. 230 kg;
Maximum speed: approx. 90 km/h;
Fuel consumption: approx. 3.0 l/100 km
The Messerschmitt KR 200 is one of the most recognizable microcars of the 1950s and 1960s. Produced by the German company Messerschmitt at its Augsburg plant, it was created as a response to the need for a cheap, economical, and practical means of transportation after World War II. Its distinctive aircraft-style cabin, made of lightweight plastic, and tandem seating arrangement (one behind the other) allowed for very low weight and good performance. The interior trim was improved compared to the standard version. The VIP version, introduced in 1961, distinguished itself with more lavish equipment and improved comfort worldwide. The Messerschmitt KR 200 became an icon of its era and remains highly prized by collectors to this day.
Fun fact: The VIP version boasted more lavish equipment and a more comfortable interior trim than the standard KR 200 models. This vehicle is from a private collection.

Fiat 600D
Year of manufacture: 1965; Curb weight: approx. 580 kg; Engine: 4-cylinder, air-cooled; Engine power: 21 hp (15.4 kW) at 4600 rpm; Engine capacity: 767 qu.cm; Gearbox: 4-speed (manual); Drive: rear-wheel; Number of seats: 4; Length / Width: 3220 mm / 1370 mm; Height: 1350 mm; Top speed: approx. 95 km/h; Fuel consumption: approx. 6.0 l/100 km; 4-cylinder, air-cooled.
The Fiat 600 is one of Fiat's most successful and best-selling models, debuting in 1955 as a response to the growing demand for an affordable and economical car for a wide audience.
The 600D, introduced in 1960, was a modernized version of the "Nuova 600" and was manufactured until 1969. It featured improved interior trim, improved brakes, and minor styling changes. The 600D is powered by a four-cylinder, air-cooled, 767 cc engine located in the rear of the vehicle. Thanks to its compact size and low weight, it offers surprisingly good performance in urban conditions.
The Fiat 600D is today an automotive classic and a symbol of the Italian approach to simplicity, functionality, and driving pleasure.
Fun fact: The Fiat 600 gained immense popularity not only in Italy but also in Spain, Argentina, and Poland.

Attending the traditional vintage cars festival, Siedlce

Attending the traditional vintage cars festival, Siedlce

We got an invitation from our local friend Martha to attend the performance of a local amateur theatre at the Podlasie Culture Center on June 19. It was a free-admission show, but only for members of the Third Millennium Theater. Therefore, we are grateful to Martha, who acted on the stage in this play. She played the role of one of the maids. She gave us the invitation card for the play. The played lasted for about two hours, exactly as the MC had warned the spectators. It was the language of the 19th century spoked in a rather fast tempo, so we barely understood everything.

The scenario was written and directed by Katarzyna Szczepaniak. It was a play, “Ladies and Hussars,” written in 1825 by Aleksander Fredro (1793 - 1876), a Polish count, comedy writer, poet, and landowner, who lived in the Romantic era. He is considered the most outstanding comedy writer in the history of Polish literature.

“Ladies and Hussars”, one of only a few of Fredro's comedies to be written in prose. It presents a gallery of characters from the Napoleonic army. It is set at a Major's rural home, where the Major himself, a Cavalry Captain, a Lieutenant, a Chaplain, and "two old hussars" are staying. The action of this three-act play takes place between the Napoleonic campaigns of 1809 and 1812. The Major is having vacations there with a group of hussar friends. They enjoy their rest in this idyllic retreat by hunting and playing chess. However, their bachelor's bliss is short-lived.

The Major is visited by his three sisters and their "entourage," : a flock of maids: Józia, Zuzia, and Fruzia. Young Zosia is the daughter of one of the men. Her mother wants to marry her off to the wealthy Major, but the girl loves the Lieutenant, and he loves her in return. After numerous plot twists and misunderstandings, Zosia marries her beloved, and the Major bequeaths his wealth to the young couple.
In "Ladies and Hussars," Aleksander Fredro didn't hesitate to portray the eternal battle of the sexes in a way that was not only enticingly humorous but also thrilling. By exploiting the sharp contrast between the military drill of men and the scheming nature of women, the author achieved a comic effect while also revealing lesser-known aspects of the era's social norms. Soldierly honor demands that women be treated with dignity. The men try their best, but their efforts fall far short of the desired results. As time passes, they increasingly become the embodiment of the element of destruction.

Here is the major’s song that everybody enjoyed:

On June 20, there was a show that we were looking forward to: the Midsummer Night’s performance at the park pond. We attended such a performance last year, and decided to repeat the pleasure. However, this time the City Center of Culture and Arts did not deliver any plastic chairs to the shore, like last year, and spectators had to sit (un)conveniently on the shore grass and enjoy the entire show from there. I appreciated the introduction story of the MC, recorded it, and used a part of it here. The MC told us a lot about this holiday, also known as St.John the Baptist’s Day. This is what she told the spectators.

During the festivities of St.John the Baptist Day, Siedlce

Celebrating St.John the Baptist Day, Siedlce

In the popular narrative, the term "Kupala Night" is often used. Originating from Slavic traditions, Kupala Night was named supposedly as a derivation of the pagan word for "Shaku Pały," who was the patron saint of love and abundance. This name was eventually adopted by traditionalists, becoming the feast of St. John the Baptist.
In Poland, the "Kupala Night" has been a popular holiday. The fires lit during the celebration were called "Kupala Night fires." Midsummer's Night and the Kupala Night are linked by calendars. This convergence is not coincidental and stems from the Christianization of folk traditions with pagan roots. The shortest night of the year is a time of peace, a time of miracles and living things. For centuries, summer has been perceived as a special and peaceful period. This holiday was connected to the cult of the Sun, Fire, and Water. It was also a day of communication, fun, and freedom.
Fire and water, masculinity and femininity, day and night, activity and poverty were connected on that day, with all its blessings, an ideal time for fun and joy. The ripening of plants and the approaching harvest were also linked to human potency, which is why this night was a celebration of love. It was a time of profound relaxation of social norms, with these permits piling up moral freedoms, which brought happiness, wisdom, and wealth to all the people.
Herbs with medicinal or magical properties, such as lichen and sagebrush, were thrown into the fire, since they were believed to protect against illness and misfortune. The fire had the power to ward off plagues and diseases. The glow of the sacred fires was supposed to ward off witches in the smoke. The bonfires were lit to illuminate the path for good. The bonfires were also believed to bring good weather during snowfall. They had a purifying power, all the more so because herbs were thrown into them, creating a glowing film, intended to cleanse the world of the living, often demons.
Numerous documented reports of women dancing around bonfires date back to the 13th century. Many Mazovians believe that a woman who does not approach the sacred fire is a witch. It is also known that the entire community participated in the festivities, from the youngest children to the oldest members of the local community. However, the night of the bonfire was particularly important for young people who had not yet met their soul mates.

On June 25, our sponsors – The International Organization in Migration (IOM) – within the framework of learning Polish, took us to the Regional Museum to see new exhibitions for further discussing them during our lesson in the Refugee Home in Siedlce. We saw the exhibitions with a new guide, as well as some canvases by Irena Karpińska and Małgorzata Łada Maciągowa, and the new exhibition dedicated to the centennial of the death of the outstanding Polish painter Ludomir Benedyktowicz.

Fire and destruction in Siedlce. Woodcuts based on the photographs by Konrad Brandl (From the collection of the Regional Museum in Siedlce)
In the second half of the 19th century, Siedlce was ravaged by three major fires: in 1854, 1865, and 1874. The destruction often covered three-quarters of the city's area. In 1877, the tsarist authorities issued a permit to establish a fire department in Siedlce. Its first headquarters was the "Pod Jacek" town hall. In 1892, firefighters were moved to the newly built town hall on Piękna Street. Before the outbreak of World War I, numerous volunteer fire departments were organized in Siedlce and the surrounding area. The ranks of the volunteer firefighters included many members of the Polish Military Organization.

Revisiting the museum exhibition, Siedlce

The replica of a 16th-century Polish cannon that stands inside a terrace of the regional museum building, Siedlce

According to the information board at the cannon, the original is located in Riga, the capital of Latvia. The casting was made in 1999 at the request of Władysław Bugaj of Siedlce, who designed and manufactured the wooden gun mount. The cannon represents a type of regimental cannon. It is a 3-pounder with a calibre of 76 mm. The term 3-pounder refers to the weight of the projectile. A charge of 3 pounds converted to kilograms weighed 1.36 kg. The cannon was fired with: cast iron balls, forged iron balls (for destroying walls), grenades, and grapeshot. The cannon is sometimes referred to as a bastard falconet. In artillery formations, they were among the smallest types of cannon, transported by four-horse teams. Light regimental cannons accompanied the infantry. Artillery of this type played a significant role, for example, in the victorious battle of Kłuszyn in 1610, won by Polish forces commanded by Hetman Stanisław Żółkiewski. Falconets were used in the 16th and 17th centuries. The cannon on display weighs approximately 400 kilograms.

Ludomír Benedyktowicz in Eastern disguise posing for a painting by Stanisław Chlebowski (1835-1884) entitled The Entry of Muhammad II into Constantinople on May 29, 1453 (central fragment of the painting). A large-format canvas with life-size figures, unfinished due to the artist's death. Exhibited at Wawel Castle in 1983 on the 300th anniversary of the Relief of Vienna. From the collection of the National Museum in Krakow. The photograph of the painting comes from a family album, property of the L. Benedyktowicz family.

Pine-trees by Ludomyr Benedyktowicz

Ludomyr Benedyktowicz

Włodzimierz Tetmajer, who published an article in one of the Krakow magazines and marked with the penname W.T., devoted it to Ludomir Benedyktowicz. This is how he commented on the works of the artist: “Why do these small pictures captivate the viewer? Or perhaps only because they are well-painted? It seems to me that it's not just that. These pictures attract the eye with that elusive something called the artist's feeling. The painter who painted these forests and trees loves them and knows them intimately. He lived there once, wandered through the woods, and simply sings a song about a dark forest, a sunny, noisy, deep forest. The painter sees life in the forest, and it's evident in these pictures. It seems that at any moment the head of a stag with tearful, glassy eyes will peek out from the quiet thicket, that a squirrel will scurry along the pine branches, and who knows, maybe a shot will ring out, rustling with prolonged reverberation."
Such thoughts are evoked by these little images. No wonder! They were painted by a painter-poet, not just a painter-technician—a painter who spent a significant portion of his young life in the forest. And so its forests live on and preserve within themselves to this day those arrows, those songs, those commands, and all those enchanted voices that the creator of the paintings once listened to in their depths.
He even left a part of himself in the forest, left his own hands there, which in his youth he had given to his homeland. But he took from the forest and carried into life all the poetry of the forest, its depths, its roar and silence—armed with these riches, he punched a hole in the wall of oblivion that separated him from the world and emerged to seek his place in the history of Polish painting. He created a book that can justly be called "Sincere Art" and we see his name written in capital letters - a beautiful name in our art in the sixties: LUDOMIR BENEDYKTOWICZ.
W.T.

Ludomyr Benedyktowicz. A turk (self-portrait), 1883, coal

Ludomyr Benedyktowicz

The insurgents in an ambush by Ludomyr Benedyktowicz

We found out a lot about Ludomir Benedyktowicz (1844-1926). He took part in the January Uprising of 1863-1864, during which he was shot in the left arm, and later, while still semi-conscious, his right hand was severed by a Cossack. Amputation of his left arm saved his life. He fled to Galicia to escape repression, and his premature return to his hometown led to his arrest and imprisonment in the Warsaw Citadel. After regaining his freedom, he was able to develop his drawing and painting skills thanks to a metal bracelet worn above the knuckle of his right forearm, to which he attached a brush, a pen, a charcoal, or a pencil.

He prioritized forest landscapes and tree studies. While studying painting in Munich, he was strongly influenced by the Munich School and landscape painting, also known as Stimmung I”Mood”).
In the late 1870s, he broadened his palette, focusing on genre painting, dominated by realistic depictions of the Polish countryside. The artist also created portraits.

As his health deteriorated, he abandoned oil painting and used watercolours and gouache.
He left behind a collection of meticulously crafted drawings in ink, pencil, charcoal, and crayon.
He was also a prolific poet, writing sonnets and poems, among other works.

At the same time, we saw some of the works of the artists we had seen during our previous visit to the museum: Małgorzata Łada Maciągowa and Antonina Wysocka-Jonczak.

Works by Małgorzata Łada Maciągowa

Antonina Wysocka-Jonczak, In memory of Emil B.

"Residents of Siedlce on Vacation" was another exhobition we visited at the museum.

The new exhibition poster / A young woman on the grass

Mini Zoo in Siedlce to be opened in June

Let's see when we have time to take a look at it.