DOI issue:
Nr. 4
DOI article:Michałowski, Maciej Piotr: The Raczyński of Rogalin
DOI Page / Citation link: https://doi.org/10.11588/diglit.18940#0141
5. The Raczyński Palące in Rogalin: The interior of the Armoury iii the former ballroom, as
it was before 1939 (photo Muzeum Narodowe, Poznań)
The collection also included the "picture in the style of Titian of Lavinia who is depicted as
Salome holding the head of St. John the Baptist on a tray; it seems that this came from what
were once the Lubomirski collections".38 This was described by Batowski as Judith with the
Head of Holofernes on a Platter ("Veronese... when cleaned may turn out to be Titian... afirst-
-class work", oil on canvas, c. 117x 96 cm). There were also the smali painting of the Carracci
school The Holy Family with Saint John and two pictures by Carlo Dolci: Ecce Homo (panel)
and Boy (Cupid ?) with an Arrow. Later painters are represented by Guardi's (or Canaletto'sT
in the opinion of Raczyński)39 View of Venice (from the collection of Niemcewicz, according
to Batowski), and Landscape by Giorgio Fidanza (oil on canvas, signed Gregorio Fidanza in vento
1781 Roma).i0 The second painting preserved in the National Museum in Poznań is Mary Magda-
lenę, an old copy of the well-known picture by Pompeo Batoni in the Dresdcn Gallery.41 We
38. E. Raczyński, Rogalin..., op. eit., p. 20; the picture was traditionally known as Herodias. Only the original frame of the-
picture has survived in the National Museum in Poznań. This has the following mark on its back: „Herodias. Big Salon
Room no. 1". That would seem to conlirm the conjecture that in 1939 the picture remained in Rogalin or Poznań and
was taken out of the country later, almost certainly to Germany (a paltry number of pictures were later found in Germany
and returned to Poland in 1849). ; ' i-.:'! n i I r F
39. E. Raczyński, Rogalin..., passim, p. 20. 1
40. Batowski notes: "Landscape in imitation of Salvator'Rosa — proofs that many 'Pseudo-Salvator Rosas' may be in faet
the work of Fidanza", cf. note 33. .i
41. E. Raczyński, Rogalin..., op. cif., p. 22; T. S. Jaroszewski, op. cit., p. 113. -i rrTjjhlw ni
122
it was before 1939 (photo Muzeum Narodowe, Poznań)
The collection also included the "picture in the style of Titian of Lavinia who is depicted as
Salome holding the head of St. John the Baptist on a tray; it seems that this came from what
were once the Lubomirski collections".38 This was described by Batowski as Judith with the
Head of Holofernes on a Platter ("Veronese... when cleaned may turn out to be Titian... afirst-
-class work", oil on canvas, c. 117x 96 cm). There were also the smali painting of the Carracci
school The Holy Family with Saint John and two pictures by Carlo Dolci: Ecce Homo (panel)
and Boy (Cupid ?) with an Arrow. Later painters are represented by Guardi's (or Canaletto'sT
in the opinion of Raczyński)39 View of Venice (from the collection of Niemcewicz, according
to Batowski), and Landscape by Giorgio Fidanza (oil on canvas, signed Gregorio Fidanza in vento
1781 Roma).i0 The second painting preserved in the National Museum in Poznań is Mary Magda-
lenę, an old copy of the well-known picture by Pompeo Batoni in the Dresdcn Gallery.41 We
38. E. Raczyński, Rogalin..., op. eit., p. 20; the picture was traditionally known as Herodias. Only the original frame of the-
picture has survived in the National Museum in Poznań. This has the following mark on its back: „Herodias. Big Salon
Room no. 1". That would seem to conlirm the conjecture that in 1939 the picture remained in Rogalin or Poznań and
was taken out of the country later, almost certainly to Germany (a paltry number of pictures were later found in Germany
and returned to Poland in 1849). ; ' i-.:'! n i I r F
39. E. Raczyński, Rogalin..., passim, p. 20. 1
40. Batowski notes: "Landscape in imitation of Salvator'Rosa — proofs that many 'Pseudo-Salvator Rosas' may be in faet
the work of Fidanza", cf. note 33. .i
41. E. Raczyński, Rogalin..., op. cif., p. 22; T. S. Jaroszewski, op. cit., p. 113. -i rrTjjhlw ni
122