DOI Artikel:
Winiewicz, Joanna: Wiedeńskie zbiory Karola Lanckorońskiego przed stu laty
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20620#0166
John Paul Getty Museum, Los Angeles), The Annunciation,
ascribed to the artist now referred to in the literaturę as Mas-
ter of the Lanckoroński Annunciation, which Lanckoroński had
bought as a work of Fra Angelico (nowadays in the Museum of
Fine Arts, San Francisco) and a tondo from Botticellfs work-
shop, featuring Our Lady with Child and St. John the Baptist,
not found until today. In the Dutch Room Lanckoroński placed
famous portraits painted by Rembrandt (at present in the Royal
Castle, Warsaw) and other works of Dutch masters: Portrait of
a Woman signed by Aert de Gelder (today missing, possibly
destroyed in the fire at Hohenems), Portrait of a Woman signed
by Caspar Netscher, Landscape with a Slide by Barent Avercamp,
Landscape by Jan van Goyen, described in the artist’s mono-
graph as a view of the town Thiel, and Genre Scene by Barent
Graat (at present in the Rijksmuseum, Amsterdam). Some
Flemish and Dutch compositions were on show in other rooms:
two landscapes by Jan Griffier — in the Green Salon, two Land-
scapes by Cornelis Huysmans (which had passed for Johannes
Glauber’s works) — in the staircase. In the Old German Cabi-
net Lanckoroński created a smali gallery of German, Flemish
and Spanish paintings, with such works as: Portrait of the Man
in a Fur Hat by Hans Holbein the Elder (now in the Offentliche
Kunstsammlung, Basel), Portrait ofa Woman, nowadays ascribed
to an English painter from Hans Holbein the Youngers circle
(at present in the Metropolitan Museum, New York), Portrait
ofa Woman, purchased at the auction of Makart’s collection and
ascribed to Bartholomeus Bruyn the Elder (The Ackland Art
Gallery, University of North Carolina, Chapel Hill) and Lot (to-
day missing) - a replica painted by Hans Baldung Grien after
his composition from the Berlin collections (Gemalde-galerie,
Staatliche Museen Preusischer Kulturbesitz). The dining-room
was decorated with the series of six Flemish tapestries, woven
according to Ludwig van SchooFs design in the 17th century.
In turn, the Frescos Room, which housed also ancient art (a. o.
the sarcophagus with a representation of Eroses, from late antiq-
uity, now in the Virginia Museum of Art, Richmond), had as its
main display Domenichino’s frescos, transferred onto canvas,
from the Aldobrandini Villa at Frascati (at present in the Na-
tional Gallery, London).
Lanckoroński owed also sever-al paintings by his contempo-
raries, to mention only family portraits by Carl von Blaas (Por-
trait of Leonia Lanckorońska, nee Potocka, with son Karol, at
present at the Osterreichische Galerie, Oberes Belvedere, Vi-
enna), Franz Schrotzberg, Karl Sterrer, and Josef Kriehuber. A
certain part of his collections included old copies, a. o. Christ
Carrying the Cross after Giorgione, The Disciples at Emaus, after
Alessandro Bonvivino, called Moretto da Brescia, Portrait of
Cardinal Bentivoglio after Anton van Dyck from the Pitti
Pałace in Florence, an image of Daniele Barbaro after Tintoretto
and a likeness of Pope Paul III after Titian. From the Count’s
study a splendid view, with a panorama of Yienna, opened to-
wards the Belvedere pałace and gardens, which he proudly
showed to his guests as the most beautiful “picture” in his col-
lection.
ascribed to the artist now referred to in the literaturę as Mas-
ter of the Lanckoroński Annunciation, which Lanckoroński had
bought as a work of Fra Angelico (nowadays in the Museum of
Fine Arts, San Francisco) and a tondo from Botticellfs work-
shop, featuring Our Lady with Child and St. John the Baptist,
not found until today. In the Dutch Room Lanckoroński placed
famous portraits painted by Rembrandt (at present in the Royal
Castle, Warsaw) and other works of Dutch masters: Portrait of
a Woman signed by Aert de Gelder (today missing, possibly
destroyed in the fire at Hohenems), Portrait of a Woman signed
by Caspar Netscher, Landscape with a Slide by Barent Avercamp,
Landscape by Jan van Goyen, described in the artist’s mono-
graph as a view of the town Thiel, and Genre Scene by Barent
Graat (at present in the Rijksmuseum, Amsterdam). Some
Flemish and Dutch compositions were on show in other rooms:
two landscapes by Jan Griffier — in the Green Salon, two Land-
scapes by Cornelis Huysmans (which had passed for Johannes
Glauber’s works) — in the staircase. In the Old German Cabi-
net Lanckoroński created a smali gallery of German, Flemish
and Spanish paintings, with such works as: Portrait of the Man
in a Fur Hat by Hans Holbein the Elder (now in the Offentliche
Kunstsammlung, Basel), Portrait ofa Woman, nowadays ascribed
to an English painter from Hans Holbein the Youngers circle
(at present in the Metropolitan Museum, New York), Portrait
ofa Woman, purchased at the auction of Makart’s collection and
ascribed to Bartholomeus Bruyn the Elder (The Ackland Art
Gallery, University of North Carolina, Chapel Hill) and Lot (to-
day missing) - a replica painted by Hans Baldung Grien after
his composition from the Berlin collections (Gemalde-galerie,
Staatliche Museen Preusischer Kulturbesitz). The dining-room
was decorated with the series of six Flemish tapestries, woven
according to Ludwig van SchooFs design in the 17th century.
In turn, the Frescos Room, which housed also ancient art (a. o.
the sarcophagus with a representation of Eroses, from late antiq-
uity, now in the Virginia Museum of Art, Richmond), had as its
main display Domenichino’s frescos, transferred onto canvas,
from the Aldobrandini Villa at Frascati (at present in the Na-
tional Gallery, London).
Lanckoroński owed also sever-al paintings by his contempo-
raries, to mention only family portraits by Carl von Blaas (Por-
trait of Leonia Lanckorońska, nee Potocka, with son Karol, at
present at the Osterreichische Galerie, Oberes Belvedere, Vi-
enna), Franz Schrotzberg, Karl Sterrer, and Josef Kriehuber. A
certain part of his collections included old copies, a. o. Christ
Carrying the Cross after Giorgione, The Disciples at Emaus, after
Alessandro Bonvivino, called Moretto da Brescia, Portrait of
Cardinal Bentivoglio after Anton van Dyck from the Pitti
Pałace in Florence, an image of Daniele Barbaro after Tintoretto
and a likeness of Pope Paul III after Titian. From the Count’s
study a splendid view, with a panorama of Yienna, opened to-
wards the Belvedere pałace and gardens, which he proudly
showed to his guests as the most beautiful “picture” in his col-
lection.