DOI Heft:
Nr. 4
DOI Artikel:Michałowski, Maciej Piotr: The Raczyński of Rogalin
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18940#0143
Francisco.'15 We must regard the five remaining Dutch works of unknhwn origins dating from
the eighteenth csntury as lost; these were mainly genre paintings.
The paintings housed at Rogalin also included a Spanish Work by an imjtator of Murillo,
Boy with a Rooster and a Basket of Eggs, and two French pictures — Battle by Bourguignon
and (Vesta's ?) Tempie in Ruins by Hubert Robert.
There are also reports of German and Austrian paintings at Rogalin: a work by Lucas Cra-
nach, Head of Venus, two canvases dcpicting animals by Philippo Peter Roos (Rosa da Tivoli),4c
and also two "landscapes with figures" (one of them signed Inncker ? 1763) which came from
the collections of the wife of Heliodor Skórzewski of Zaniemyśl.
Nineteenth century painters were represented (apart from mentioned above Portrail of the
Italian peasant Girl by C. W. Wach), by works by the Austrian Friedrich von Amerling and
i work from 1816 by the Russian painter of battle scenes, Alexander Sauerweid.
The most noteworthy examples of Polish paintings were the two pictures by Marcello Baccia-
relli, which came from the former collections of the Mniszechs in Wiśniowiec and were bought
by Edward Aleksander Raczyński at an auction in Paris in 1910. The first of these, a portrait
of the Primate Michał Poniatowski, is to be seen today in the collections of the National Museum
in Poznań47, while the second, Portrait of Stanislaus Augustus with an Hour-glass from 1793 (the
only known signed example of a so-called allcgorical portrait) turned up in America after the
isecond world War; sińce 1961 it has been in the collection of the National Museum in Warsaw.48
Other Works in Rogalin included paintings by Norblin, Orłowski (Cossacks Resting in a
Wood, 1798, sepia, 11x12 cm), Smuglcwicz, Lampi the Younger, Amelia Bronikowska49 (Por-
trait of a Lady, 1819), Suchodolski (The Christianization of Lithuania, 1836 ?), Michałowski
(Man in a Top-hat on Horseback, watercolour, 34.5X32 cm), S. Jasieński, E. Krasińska ("Mile
Bisia"), J. Czajkowski, S. Popowski, T. Rychter (two pictures) and J. Bąkowski (four works).
In all probability there were also works in Rogalin in 1939 (mainly it seems on paper) which
had been withdrawn from the first display in the Gallery (they are not mentioned in the second
guide to the Gallery dating from 1938). These consisted of about twenty works by foreign artists
(for example Celos, de Feure, Gerbault, Helleu, Robbe, F. Valloton, Canella, Keller-Reutlinger,
Zorn), and sixty by Polish artists (for example, Krudowski, two works by L. Kochanowski,
13 by Rubczak, four by Rychter-Janowska, eight by Wyczółkowski, two by Wyspiański, and
others).
Edward Aleksander Raczyński began to collect works by contemporary artists, especially
Polish ones, as far back as the 1880's.50 This effort gathered special momentum in the next
ten years as the situation as regards his property began to clarify itself and Rogalin started to
gradually recover its former affluence. This was mainly due to Róża Raczyński, a person of
broad education, exccptionally cnergetic and hardworking, totally given over to running the
houschold and to a wide rangę of other matters.51 One can state without a shade exaggeration
that it was Róża who directed her husband's interests towards art, by her understanding of
his predilections and her skillful exploitation of his talents and intelligencc. She also enabled
her husband to become a collector and patron, by allocating him appropriate sums of money
-45. C. Ilofstede de Groot .passim, 1,1907, na 157a; E. Raczyński,passim, p. 20; P. C. Sutton, A Guide to Dutch Art in America
Grand Rapids, Mich., 1986, pp. 132 and 276—277, Fig. 416.
46. These were undoubtedly two of the four pictures by Roos purchased by Atanazy Raczyński in Dresden in 1806 and late,
given to Edward. The other two, Goals and Sheep (each 87 X 101 cm) renlained in Atanazy's collection and were incor-
porated into the Gallery in 1856, cf. Galeria..., op. cii., nos. 105 and 106.
47. A. Chyczewska, Marceli Bacciarelli 1731—1818. Życic—Twórczość—Dzielą, I, Poznań, 1968, no. 102, Fig. 59; II, Poznań
1970, no. 158.
48. A. Chyczewska, passim, I, no. 122; II, no. 184.
-49. Amelia Bronikowska, later Załuska, held an exhibiticn in Warsaw in 1821. She was the love of the poet Zygmunt.Kra-
siński in his youth. Krasiński's correspondence with Bronikowska remained in the Rogalin archives until 1939; cf. E. Ra-
czyński, Rogalin..., op. cit., pp. 11—12.
124
the eighteenth csntury as lost; these were mainly genre paintings.
The paintings housed at Rogalin also included a Spanish Work by an imjtator of Murillo,
Boy with a Rooster and a Basket of Eggs, and two French pictures — Battle by Bourguignon
and (Vesta's ?) Tempie in Ruins by Hubert Robert.
There are also reports of German and Austrian paintings at Rogalin: a work by Lucas Cra-
nach, Head of Venus, two canvases dcpicting animals by Philippo Peter Roos (Rosa da Tivoli),4c
and also two "landscapes with figures" (one of them signed Inncker ? 1763) which came from
the collections of the wife of Heliodor Skórzewski of Zaniemyśl.
Nineteenth century painters were represented (apart from mentioned above Portrail of the
Italian peasant Girl by C. W. Wach), by works by the Austrian Friedrich von Amerling and
i work from 1816 by the Russian painter of battle scenes, Alexander Sauerweid.
The most noteworthy examples of Polish paintings were the two pictures by Marcello Baccia-
relli, which came from the former collections of the Mniszechs in Wiśniowiec and were bought
by Edward Aleksander Raczyński at an auction in Paris in 1910. The first of these, a portrait
of the Primate Michał Poniatowski, is to be seen today in the collections of the National Museum
in Poznań47, while the second, Portrait of Stanislaus Augustus with an Hour-glass from 1793 (the
only known signed example of a so-called allcgorical portrait) turned up in America after the
isecond world War; sińce 1961 it has been in the collection of the National Museum in Warsaw.48
Other Works in Rogalin included paintings by Norblin, Orłowski (Cossacks Resting in a
Wood, 1798, sepia, 11x12 cm), Smuglcwicz, Lampi the Younger, Amelia Bronikowska49 (Por-
trait of a Lady, 1819), Suchodolski (The Christianization of Lithuania, 1836 ?), Michałowski
(Man in a Top-hat on Horseback, watercolour, 34.5X32 cm), S. Jasieński, E. Krasińska ("Mile
Bisia"), J. Czajkowski, S. Popowski, T. Rychter (two pictures) and J. Bąkowski (four works).
In all probability there were also works in Rogalin in 1939 (mainly it seems on paper) which
had been withdrawn from the first display in the Gallery (they are not mentioned in the second
guide to the Gallery dating from 1938). These consisted of about twenty works by foreign artists
(for example Celos, de Feure, Gerbault, Helleu, Robbe, F. Valloton, Canella, Keller-Reutlinger,
Zorn), and sixty by Polish artists (for example, Krudowski, two works by L. Kochanowski,
13 by Rubczak, four by Rychter-Janowska, eight by Wyczółkowski, two by Wyspiański, and
others).
Edward Aleksander Raczyński began to collect works by contemporary artists, especially
Polish ones, as far back as the 1880's.50 This effort gathered special momentum in the next
ten years as the situation as regards his property began to clarify itself and Rogalin started to
gradually recover its former affluence. This was mainly due to Róża Raczyński, a person of
broad education, exccptionally cnergetic and hardworking, totally given over to running the
houschold and to a wide rangę of other matters.51 One can state without a shade exaggeration
that it was Róża who directed her husband's interests towards art, by her understanding of
his predilections and her skillful exploitation of his talents and intelligencc. She also enabled
her husband to become a collector and patron, by allocating him appropriate sums of money
-45. C. Ilofstede de Groot .passim, 1,1907, na 157a; E. Raczyński,passim, p. 20; P. C. Sutton, A Guide to Dutch Art in America
Grand Rapids, Mich., 1986, pp. 132 and 276—277, Fig. 416.
46. These were undoubtedly two of the four pictures by Roos purchased by Atanazy Raczyński in Dresden in 1806 and late,
given to Edward. The other two, Goals and Sheep (each 87 X 101 cm) renlained in Atanazy's collection and were incor-
porated into the Gallery in 1856, cf. Galeria..., op. cii., nos. 105 and 106.
47. A. Chyczewska, Marceli Bacciarelli 1731—1818. Życic—Twórczość—Dzielą, I, Poznań, 1968, no. 102, Fig. 59; II, Poznań
1970, no. 158.
48. A. Chyczewska, passim, I, no. 122; II, no. 184.
-49. Amelia Bronikowska, later Załuska, held an exhibiticn in Warsaw in 1821. She was the love of the poet Zygmunt.Kra-
siński in his youth. Krasiński's correspondence with Bronikowska remained in the Rogalin archives until 1939; cf. E. Ra-
czyński, Rogalin..., op. cit., pp. 11—12.
124