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Zbiór dzieł złotniczych i biżuterii Leonarda Lepszego w Muzeum Narodowym w Krakowie

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Myśliński M., Paś M.

Biuletyn Historii Sztuki

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2013

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vol. 75

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issue 1

71-87

EN

The collection of goldsmithery and jewellery at Cracow’s National Museum contains a group of over 40 works donated in 1903-1913 coming from the former collection of Leonard Lepszy, a known researcher into goldsmithery and material culture in Cracow, lover of monuments, author of many publications on history of art. The collection may have been created starting already from the 1880s when Lepszy held the position of the inspector, and later head of the still-then Austro-Hungarian Hallmark Office. It may have been started with the pieces brought to the Office in order to have them melted either to receive the metal or the money in return. Leonard Lepszy tried to purchase as many as he could of the most precious and interesting works, thus saving them from a total destruction. At the same time the works served him as the grounds for pioneer, systematic research into the hallmarks visible in old silver pieces; e.g. hallmarks cut out from the historic pieces brought to the Hallmark Office in Cracow and Lvov and given to Karl Knies who used them to publish a study on Austrian hallmarks. A part of Leonard Lepszy’s collection was presented in Cracow in 1904 at metal craft exhibition; confrontation of the catalogue notes with the Museum’s archival records allowed for a hypothetical reconstruction of the collection from before 1913 as well as identification of respective works in the Museum’s collection.

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Artystka w Sukiennicach

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Sosnowska J.

Biuletyn Historii Sztuki

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2012

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vol. 74

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issue 1

77-83

EN

The article is dedicated to the way of exposing Anna Bilińska’s Self-Portrait, painted in 1887 and awarded with a medal at a Paris Salon, in the newly reopened after the renovation of the Cloth Hall Gallery of the 19 th -Century Polish Painting of the National Museum in Cracow.

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EXPOSING WYSPIAŃSKI

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Haduch B.

Muzealnictwo

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2020

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vol. 61

154-163

EN

The purpose of the paper is to show the designer’s perspective on the story and a broader context of the creation of a monograph exhibition dedicated to the oeuvre of Stanisław Wyspiański at the National Museum in Cracow. Composed of two parts: ‘Wyspiański’ and ‘Wyspiański. Unknown’, the Exhibition held between 28 November 2017 and 5 May 2019 was the largest to-date presentation of the works of the versatile artist, while from the point of view of its arrangement, it served as an attempt at finding adequate contemporary expression means to show the multiple and varied character of his oeuvre. A wide range of inspirations are presented: beginning with carefully selected motifs derived from Wyspiański’s art, up to indirect echoing of the activity of some selected artists, mainly affiliated with minimal art. That temporary implementation is thus not analyzed merely in the local context, but also a broader, global one, taking into account carefully selected pieces of world art and architecture, while the paper itself can be regarded as a completion and perpetuation of the no longer existing Exhibition.

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The Icon of the Holy Unmercenaries (Greek: Άγιοι Ανάργυροι) Cosmas and Damian, as Bequeathed by Zofia Ruebenbauer, in the Collection of the National Museum in Cracow

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Kruk M. P.

Ikonotheka

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2017

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vol. 27

27-54

EN

In 2011 the National Museum in Cracow received a bequest that had been specified in the last will and testament of Zofia Ruebenbauer from Ottawa. The gift was described as a 19th century Russian icon. Comparative stylistic analysis complemented by restoration work and a material study revealed an exquisite paint layer, for which analogies may be found in the mid-14th-century Greek art of the Paleologian period. The icon was probably painted in the third quarter of the 14th century in one of the centres in northern Greece including Kastoria, Veria, Mt. Athos, Thessalonike and Constantinople itself. The collection of the Byzantine Museum in Kastoria includes many icons of the holy physicians depicted in a similar pose. Iconographical details such as the surgical knives in the hands of the physicians and in the open tool case find close analogies in the 14th-century wall paintings in Peloponnese, e.g. in the Church of Saint Paraskevi (Αγία Παρασκευή, Agia Paraskevi) and Saint John Chrysostom (Άγιος Ιωάννης Χρυσόστομος, Agios Ioannes Chrisostomos) in Geraki, as well as in the Orthodox Church of the Holy Unmercenaries (Άγιοι Ανάργυροι, Agioi Anargyroi) in Nomitsi. The conclusions of the analysis regarding the icon’s provenance find indirect corroboration in the recently discovered fact that in the first half of the 19th century the work of art was owned by Haryklia Mavrocordatos-Serini, Sas-Hoszowska (1836–1906), a member of the Lvov line of the Greek princely family of Mavrocordatos. The names of her children with the exact dates of their birth appear on the reverse side of the icon. The work of art was passed down to Jerzy Ruebenbauer, who carried it away from Lvov during the Second World War, taking it first to Warsaw, where he met his future wife Zofia, and after the war to Canada via Belgium.

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KORPUS DARU FELIKSA JASIEŃSKIEGO – DWA PIERWSZE TOMY

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de Rosset T. F.

Muzealnictwo

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2017

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vol. 58

138-142

EN

These are the first two volumes out of the ten planned by the National Museum in Cracow, which together will constitute the publication of the body of work donated to the museum by Feliks “Manggha” Jasieński. One volume presents the collector’s creative biography and the history of his various collections. There are also attempts to interpret the nature of the content of his collections, mainly woodcuts and other Japanese objects, as well as modern Polish art, paintings, engravings (together with a set of European engravings) and decorative arts. The second volume is the first part of a monumental catalogue of the collection which covers drawings, watercolours and pastels by Polish artists. The subsequent eight volumes are envisaged to cover particular parts of this extensive collection (of Polish, European and Eastern paintings, drawings, sculpture, engravings and decorative arts). This enormous undertaking marks the 100th anniversary of Jasieński’s donation (1920–2020), and, as Zofia Gułubiew put it, is intended to visualise and fix the extent and variety of the collection in the public’s awareness. The publishing project by the National Museum in Cracow is extremely valuable, and it should be hoped that it will succeed as intended.

PL

Są to dwa pierwsze tomy, podjętej z inicjatywy Muzeum Narodowego w Krakowie (MNK) idei 10-tomowej publikacji – korpusu podarowanej muzeum kolekcji Feliksa „Mangghi” Jasieńskiego. W jednej z tych pozycji zaprezentowana została twórcza biografia zbieracza oraz historia jego różnorodnej kolekcji. Jest w niej także próba interpretacji charakteru zawartości zbiorów, przede wszystkim drzeworytów i innych przedmiotów japońskich, a także sztuki nowoczesnej polskiej, malarstwa, grafiki (wraz z zespołem grafik europejskich), zdobnictwa. Druga stanowi 1. część monumentalnego katalogu kolekcji, która obejmuje rysunki, akwarele i pastele autorstwa artystów polskich. W następnej kolejności przewidziano jeszcze 8 tomów będących katalogami poszczególnych partii tych bogatych zbiorów (malarstwa, rysunku i rzeźby oraz grafiki i rzemiosła artystycznego – polskiego i europejskiego oraz wschodniego). To kolosalne przedsięwzięcie podjęto, aby uczcić setną rocznicę darowizny Jasieńskiego (1920–2020) oraz wedle słów Zofii Gołubiew unaocznić i utrwalić w powszechnej świadomości rozmiar i różnorodność ofiarowanego zbioru. Projekt wydawniczy MNK jest niezwykle wartościowy i należy mieć nadzieję, że z sukcesem zostanie zrealizowany wedle zamierzeń.

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Zbiór dzieł złotniczych i biżuterii Leonarda Lepszego w Muzeum Narodowym w Krakowie

Artystka w Sukiennicach

EXPOSING WYSPIAŃSKI

The Icon of the Holy Unmercenaries (Greek: Άγιοι Ανάργυροι) Cosmas and Damian, as Bequeathed by Zofia Ruebenbauer, in the Collection of the National Museum in Cracow

KORPUS DARU FELIKSA JASIEŃSKIEGO – DWA PIERWSZE TOMY