His great-grandmother on his father's side was the children's writer Baroness von Wulf, and his grandmother was a sister of mercy and a participant in the Russo-Turkish War, who perished in the Balkans.

His maternal grandfather, Pavlo Nitetskyi, a participant in the Polish January Uprising (1863), was deprived of his estate and noble title by the Russian authorities but enjoyed the respect of the residents of Volodymyr-Volynskyi.

An active member of the Volodymyr section of the All-Ukrainian Society "Prosvita" named after Taras Shevchenko.

[7] With the support of the renowned Polish archaeologist Włodzimierz Antoniewicz, he secured a position at the State Archaeological Museum in Warsaw.

Leading archaelogical experts in this work were Bohdan Janush, Kateryna Antonovych-Melnyk and Volodymyr Antonovych, Yurii Poliansky, Yosyp Pelensky, Yaroslav Pasternak, Yukhym Sitsinsky and Tsynkalovsky.

[9] He wrote scientific and popular science publications in "Ukrayinske Yunatstvo," "Nash Svit," "Zhyttya i Znannia," "Zapysky NTSh," and the Polish-language journal "Wiadomości Archeologiczne."

During the Second World War, he returned to Warsaw and became the head of the Volyn Department of the State Archaeological Museum.

In his professional activities, he never appropriated any valuables during excavations, and in his relationship with himself and those around him, he maintained a high moral standard.

Painfully observing the decline of his native culture and the destruction of historical monuments, he tried to address these issues through his work.

In a letter to his sister Olena Grabarchuk, he wrote, "No one cares, no one's heart aches for the fate of everything that will remain, and what will be lost forever.

He did not overlook scholarly themes related to art—he was one of the first to connect the life and work of the prominent Ukrainian icon painter of the early 18th century, Yov Kondzelevych, with Volyn.