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DOI Artikel:Sinkowska, Anna: The Flemish school in the drawings collection of Henryk Lubomirski (1777-1850)
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.34475#0099
93
ANNA SINKOWSKA
H/ LAzzvers'zYy, ^M/ezYAz/??
TAc FA/77/'.s77 vcAoo/ /// Ae ć//Y/w//7g.s' co/Acńo//
qf77e///yłLMńu///A^A f7777-705d)
r ] ihe collection of drawings previously belonging to Prince Henryk Lubomirski
(1777-1850) has been preserved in the National Institute of the Ossoliński Mu-
seum of the Princes Lubomirski, known as the Ossolineum, which was originally
founded in Lwów (now L'viv) to be reestablished after 1945 in Wroclaw (formerly
Breslau). Lubomirski was a lover of art and in all likelihood built up his collection between
the end of the 18th and the beginning of the 19th centuries.* * For Poland, the Ossolineum
contains one of the most important drawings collections of this period to have remained
intact. This article represents the first published research focusing on the collection's
arrangement.^ In the tradition of collecting, the aim behind the drawings' inventory was to
reveal the history of art alongside the growth and decline of a given artist. It used to be a
collector's business to organise works of art in accordance with the system of regionalised
schools. This article thus discusses the order of the drawings amassed by Lubomirski with
particular regard to the position and ranking that Netherlandish (i.e. Flemish and Dutch)
drawings occupy in the overall collection^ On the basis of analysis and sequence of this
collection, an attempt will be made to reveal the possible considerations taken into
account by the Polish art collector, while providing a degree of reliable indication of his
preferences for particular Flemish and Dutch masters. The arrangement of the Lubomirski
collection of drawings will be explained on the basis of 19th-century sources, including an
inventory from 1869, with the original mountings of the drawings placed in the Ossolineum
' Until now no proof has been found about the provenance of this collection. That is why some scholars believe Lubo-
mirski inherited this collection from his patroness, Izabella Lubomirska (1736-1816); cf.: Anna KOZAK, Joanna
A. TOMICKA, TA/Aog TAz/zAm/gA zyu/zzA i /ycz'/zy w zAzozY/cA pońłzcA, Warszawa 2009, p.16; Bożena FIGIELA,
„Zbiory sztuki książąt Lubomirskich z Przeworska" [w] TAzea -TAzyAz/g/g w TMAcg. Ma/gnaTy sv-yz naałowg/'
zo7"ga7n'zowaae/ w Tfzzzgz-zz/z Zrzmoy^AzcA w AozAwce, Kozłówka 2004, pp. 253-269. In this essay, Figiela implies the
collection was built up by Lubomirski himself.
* CL: A. SINKOWSKA, Dg Haa/zMg svAocF A/ A /gAg/zz'zrggzz ygrzazz/gA/zg vaa 77g7Z7yALz.zAoz//z7^Az' (7777-7&50), master
thesis under the supervision of dr. Ingrid Vermeulen at the VU University Amsterdam (August 2008), pp. 9-18, VU
University Library (Amsterdam). The first chapter discusses the progress of Henryk LubomirskFs own personal scho-
larly research and his art collection until 2008, the second chapter discussing influences which stimulated his evolving
art connoisseurship.
^ 7Az'<7, pp. 35-47 (chapter three), The arrangement of this drawing collection, as well as the 19th-century inventory
(including the inventory of paintings, engravings and books) were scientifically considered for the first time in this, the
author's master thesis. The inventory of paintings drawings, and prints consisted of objects from number 162 to 5412,
(drawings 299-773), the inventory of books included 5048 objects.
ANNA SINKOWSKA
H/ LAzzvers'zYy, ^M/ezYAz/??
TAc FA/77/'.s77 vcAoo/ /// Ae ć//Y/w//7g.s' co/Acńo//
qf77e///yłLMńu///A^A f7777-705d)
r ] ihe collection of drawings previously belonging to Prince Henryk Lubomirski
(1777-1850) has been preserved in the National Institute of the Ossoliński Mu-
seum of the Princes Lubomirski, known as the Ossolineum, which was originally
founded in Lwów (now L'viv) to be reestablished after 1945 in Wroclaw (formerly
Breslau). Lubomirski was a lover of art and in all likelihood built up his collection between
the end of the 18th and the beginning of the 19th centuries.* * For Poland, the Ossolineum
contains one of the most important drawings collections of this period to have remained
intact. This article represents the first published research focusing on the collection's
arrangement.^ In the tradition of collecting, the aim behind the drawings' inventory was to
reveal the history of art alongside the growth and decline of a given artist. It used to be a
collector's business to organise works of art in accordance with the system of regionalised
schools. This article thus discusses the order of the drawings amassed by Lubomirski with
particular regard to the position and ranking that Netherlandish (i.e. Flemish and Dutch)
drawings occupy in the overall collection^ On the basis of analysis and sequence of this
collection, an attempt will be made to reveal the possible considerations taken into
account by the Polish art collector, while providing a degree of reliable indication of his
preferences for particular Flemish and Dutch masters. The arrangement of the Lubomirski
collection of drawings will be explained on the basis of 19th-century sources, including an
inventory from 1869, with the original mountings of the drawings placed in the Ossolineum
' Until now no proof has been found about the provenance of this collection. That is why some scholars believe Lubo-
mirski inherited this collection from his patroness, Izabella Lubomirska (1736-1816); cf.: Anna KOZAK, Joanna
A. TOMICKA, TA/Aog TAz/zAm/gA zyu/zzA i /ycz'/zy w zAzozY/cA pońłzcA, Warszawa 2009, p.16; Bożena FIGIELA,
„Zbiory sztuki książąt Lubomirskich z Przeworska" [w] TAzea -TAzyAz/g/g w TMAcg. Ma/gnaTy sv-yz naałowg/'
zo7"ga7n'zowaae/ w Tfzzzgz-zz/z Zrzmoy^AzcA w AozAwce, Kozłówka 2004, pp. 253-269. In this essay, Figiela implies the
collection was built up by Lubomirski himself.
* CL: A. SINKOWSKA, Dg Haa/zMg svAocF A/ A /gAg/zz'zrggzz ygrzazz/gA/zg vaa 77g7Z7yALz.zAoz//z7^Az' (7777-7&50), master
thesis under the supervision of dr. Ingrid Vermeulen at the VU University Amsterdam (August 2008), pp. 9-18, VU
University Library (Amsterdam). The first chapter discusses the progress of Henryk LubomirskFs own personal scho-
larly research and his art collection until 2008, the second chapter discussing influences which stimulated his evolving
art connoisseurship.
^ 7Az'<7, pp. 35-47 (chapter three), The arrangement of this drawing collection, as well as the 19th-century inventory
(including the inventory of paintings, engravings and books) were scientifically considered for the first time in this, the
author's master thesis. The inventory of paintings drawings, and prints consisted of objects from number 162 to 5412,
(drawings 299-773), the inventory of books included 5048 objects.