DOI Artikel:
Danielewicz, Iwona: The Collection of Gabriela Zapolska
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18947#0127
the Zapolska decided, together with a group of friends, to open a patisserie in
Lwów named Dworek, which she personally designed, hanging on its walls
a few of the paintings from her collection. Until her death in 1921, the art
works remained in Lwów; she also changed apartments several times, taking
them with her. Czachowski maintains that upon Zapolska’s death, her art
works fell into the hands of her sister Konstancja Bielska, and were taken to
Warsaw.4” It has been discovered that the writer’s sister as well as her hrother,
Kazimierz Korwin-Piotrowski, the second heir, put the items of the deceased
up for auction.39 40 41 42 43 Józef Rurawski States that “these great origmal works of art
fell very cheaply into the hands of people who had no idea of what exactly they
had received. Janowski, Zapolska’s ex-husband, had preyiously relinąuished
rights of inheritance. He himself received from Kocia Bielska (Gabriela’s sister)
a woodcut by Gauguin from the Tahitian period.”4~ In 1923 Bielska and
Janowski began an attempt to sell the remaining works of art in connection
with the planned construction of a monument on the Zapolska’s grave in
Łyczakowski Cemetery in Lwów. That same year they sold paintings by
Pissarro and Pankiewicz in Warsaw, probably through the intermediary of
the Dom Sztuki Gallery auction house.4' It was there that according to
Czachowska, that the two studies by Boznańska were sold,44 45 46 47 48 and where
paintings by van Mois and Ranson were put on auction, but which probably
did not find buyers.4' In July of that year a few of the works from the collection
were again announced for sale in the Warsaw Pałac Sztuki, but without results.
The efforts of Zapolska’s sister to sell some works to the Paris gallery of
Bernheim Jeune also ended unsuccessfully, when the gallery answered her that
there was no interest in works by Anąuetin, Ranson and Serusier.44 Janowski
next attempted to sell four works by Serusier in Paris through the intermediary
of friends, but after two years the canvasses returned to Poland. In the
beginning of 1930 they were exhibited again in the Cracow Union of Polish
Artists. Part of the works were in the possession of JanowskPs sister, the pamter
Bronisława Rychter-Janowska, and then her two foster children. It is known
that certain works were in Cracow during the war, and others in Warsaw.44
The works by Serusier offered after the war for purchase to the National
Museum in Cracow did not receive the approval of the director. As a result,
in 1959 and 1961 Jan Białostocki purchased four paintings by Serusier for the
National Museum in Warsaw, while Władysława Jaworska acąuired two.
39 Ibid., p. 482.
40 Ibid., p. 333.
41 Ibid., p. 496.
42 J. Rurawski, Gabriela Zapolska. W 60 rocznicę śmierci pisarki. Warszawa 1981, p. 389.
43 Czachowska, Gabriela Zapolska, op. cit., p. 33; Biuletyn Domu Sztuki, II, June 15, 1923,
no. 9-12.
44 Czachowska, Gabriela Zapolska, op. cit., p. 333.
45 Biuletyn Domu Sztuki, II, April 1, 1923, no. 7, items 52 and 61.
46 Czachowska, Gabriela Zapolska, op. cit., p. 333.
47 Ibid.
48 Ibid.
121
Lwów named Dworek, which she personally designed, hanging on its walls
a few of the paintings from her collection. Until her death in 1921, the art
works remained in Lwów; she also changed apartments several times, taking
them with her. Czachowski maintains that upon Zapolska’s death, her art
works fell into the hands of her sister Konstancja Bielska, and were taken to
Warsaw.4” It has been discovered that the writer’s sister as well as her hrother,
Kazimierz Korwin-Piotrowski, the second heir, put the items of the deceased
up for auction.39 40 41 42 43 Józef Rurawski States that “these great origmal works of art
fell very cheaply into the hands of people who had no idea of what exactly they
had received. Janowski, Zapolska’s ex-husband, had preyiously relinąuished
rights of inheritance. He himself received from Kocia Bielska (Gabriela’s sister)
a woodcut by Gauguin from the Tahitian period.”4~ In 1923 Bielska and
Janowski began an attempt to sell the remaining works of art in connection
with the planned construction of a monument on the Zapolska’s grave in
Łyczakowski Cemetery in Lwów. That same year they sold paintings by
Pissarro and Pankiewicz in Warsaw, probably through the intermediary of
the Dom Sztuki Gallery auction house.4' It was there that according to
Czachowska, that the two studies by Boznańska were sold,44 45 46 47 48 and where
paintings by van Mois and Ranson were put on auction, but which probably
did not find buyers.4' In July of that year a few of the works from the collection
were again announced for sale in the Warsaw Pałac Sztuki, but without results.
The efforts of Zapolska’s sister to sell some works to the Paris gallery of
Bernheim Jeune also ended unsuccessfully, when the gallery answered her that
there was no interest in works by Anąuetin, Ranson and Serusier.44 Janowski
next attempted to sell four works by Serusier in Paris through the intermediary
of friends, but after two years the canvasses returned to Poland. In the
beginning of 1930 they were exhibited again in the Cracow Union of Polish
Artists. Part of the works were in the possession of JanowskPs sister, the pamter
Bronisława Rychter-Janowska, and then her two foster children. It is known
that certain works were in Cracow during the war, and others in Warsaw.44
The works by Serusier offered after the war for purchase to the National
Museum in Cracow did not receive the approval of the director. As a result,
in 1959 and 1961 Jan Białostocki purchased four paintings by Serusier for the
National Museum in Warsaw, while Władysława Jaworska acąuired two.
39 Ibid., p. 482.
40 Ibid., p. 333.
41 Ibid., p. 496.
42 J. Rurawski, Gabriela Zapolska. W 60 rocznicę śmierci pisarki. Warszawa 1981, p. 389.
43 Czachowska, Gabriela Zapolska, op. cit., p. 33; Biuletyn Domu Sztuki, II, June 15, 1923,
no. 9-12.
44 Czachowska, Gabriela Zapolska, op. cit., p. 333.
45 Biuletyn Domu Sztuki, II, April 1, 1923, no. 7, items 52 and 61.
46 Czachowska, Gabriela Zapolska, op. cit., p. 333.
47 Ibid.
48 Ibid.
121