Grafų Pšezdzeckių meno kolekcija: Centriniame Ukrainos valstybės istorijos archyve saugomo rankraštinio katalogo duomenys

LTStraipsnyje analizuojamas Centriniame Ukrainos valstybės istorijos archyve išlikęs Pšezdzeckių galerijos katalogo antras tomas, atskleidžiantis papildomų duomenų apie grafų Pšezdzeckių meno kolekciją, kuri buvusi išsklaidyta po įvairius jiems priklausiusius dvarus, pagrindiniai centrai - Varšuva Lenkijoje, Tyzenhauzas Latvijoje, Rokiškis Lietuvoje, Čornyj Ostrivas Ukrainoje. Rankraštis, nors ir neaprėpiantis visos kolekcijos, yra vertingas dokumentas, suteikiantis žinių apie neišlikusias kolekcijos vertybes, ypač apie portretus, atskleidžiantis nemažai netik Pšezdzeckių, bet ir bendrųjų XIX a. kolekcionavimo ypatumų - savininkų požiūrį į jiems priklausiusias vertybes saugojimo, atminties, menotyrinio vertinimo, viešinimo aspektais. Dokumentas svarbus Rokiškio Pšezdzeckių kolekcijos istorijos kontekstui, taip pat papildo jau turimas žinias apie grafų rinkinius už Lietuvos ribų. Esminiai žodžiai: Pšezdzeckiai, Tyzenhauzai, meno kolekcija, katalogas, Rokiškio dvaras. [Iš leidinio]

ENThe article analyses a manuscript catalogue (second volume) kept at the Central State Historical Archives of Ukraine, which provides additional information about count Przeździecki art collection that was dispersed across various owned manors, among which the main ones were Warsaw, Tyzenhaus, Rokiškis, Chornyi Ostriv in Ukraine. It is a valuable source of information about the lost valuables, especially the portraits; the document reveals many aspects of Przeździecki family - and more broadly of the 19th century - collecting, such as the owner's attitude towards the artefact preservation, memory, artistic evaluation, and promotion. The document is relevant to the context of Rokiškis' collection history and contributes to the existing knowledge of the count collections beyond the Lithuanian border. The structure of the catalogue consists of three volumes (presuming that the number is finite); the second volume has two parts: the second part titled "Count Przeździecki Family Ordination Portraits" and the third part "Historical Portraits and Other Various Works of Art." The 98-page notebook has 145 marked positions, starting from number 55 (the starting number of the second volume), but not all positions are filled; overall, 80 works have descriptions - mostly paintings, pastels, and watercolours. The descriptions vary in length, there are blanks. The catalogue editor is unknown, presumed to be Rajnold Przeździecki. The catalogue suggests that Tyzenhauz and Przeździecki family members were mostly portrayed by the German painters F. X. Winterhalter and L. Horowitz; the depicted personalities essentially belonged to the family circle of Aleksander and Maria's son Konstanty Przeździecki. Family portrait copies were commonly commissioned. The catalogue also refers to the works that were appreciated less for their artistic value but more as family relicts. The larger part of set was comprised of mostly historically themed depict.The collection contained works from various art schools, including Italian (J. Amigoni, M. Bacciarelli, B. Goya, Austro-ltalian G. B. Lampi); French (L. de Silvestre, M. Vigee-Lebrun); Saxon (J. G. Stamm); German (J. L. Giesel); Dutch (C. Netscher); Flemish (Rubens' school); Spanish; Russian (A. Orlovski); Belarussian (J. Suchodolski). Surely, a large portion of the works were made by the Polish painters: M. Zaleski, J. Matejka, J. Kossak, F. Brzozowski, K. Wojniakowski, J. Szermentowski, Fr. Wartko wski, et al. Przeździecki family members collected the works that had artistic value and were significant historically; the collection contained 17-I9th century portraits of such historical personalities as Barbara Radziwiłł, Catherine of Austria (Polish: Katarzyna Habsburżanka; Lithuanian: Kotryna Habsburgaitė; the third wife of Sigismund II Augustus), Jan III Sobieski, Stanisław August Poniatowski, Karol Stanisław Radziwiłł "Panie Kochanku", T. Kościuszko, Aleksander I, and other portraits. This is just a small selection ofthe sets. The catalogue descriptions frequently contain artistic evaluation that is sometimes critical but essentially romanticizing. Przeździeccy critical reflection indicates a good understanding ofthe arts. In addition, the collection owners consulted the specialists, for example J. Mycielski. Aligned to the dominating tendencies and following the example set by other noblemen, Przeździecki family members were engaged in the promotion of their collection and participated in the exhibitions. The catalogue refers to two public displays: 1883 exhibition in Krakow dedicated to Sobieski's jubilee; and 1887 antiques exhibition held in Hotel Europejski (Warsaw). The analysis.of the exhibition catalogues printed in Poland indicates that there were more exhibits from the Przeździecki family collection.Przeździecki family took great care ofthe collection documentation and preservation. From the collecting history point of view, it is significant that next to the fundamental artwork metrics, the historical data, the critical insights, frequently there was information about the work's previous location, inheritance, gifting, and acquisition. The artefacts mentioned in the catalogue were mostly acquired by Konstanty Przeździecki, his father Aleksander and father's brother Mieczysław. The collection items were documented in writing and photography; there was also a file directory. Attention was paid to the restoration and framing. It is evident that during the catalogue creation period - i.e., from the early 20th century until the World War I and beyond - the families of brothers Rajnold and Jan Przeździecki took care of the artworks. The items in the family collection for one reason or another "migrated" from manor to manor, hence the connection to Rokiškis emerged: part ofthe recorded paintings was taken to Rokiškis manor, although their later destiny is unknown. Przeździecki family viewed their collection wholistically, seeking to care for the valuables in the possession of the extended family, regardless of its location or direct owner. This tradition was started by A. Przeździecki who established the Przeździecki Library; in 1913, R- Przeździecki established the Count Przeździecki Ordination that was active until 1921. Hence, when Tyzenhauz family member married into Przeździecki, the history of Lithuania's Rokiškis manor legacy merged with a culturally and geographically wider context. [From the publication]

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