[KOSSAK Wojciech]. A collection of documents and letters by Wojciech Kossak regarding a series of his oil sketches for the panorama "Somosi...

[KOSSAK Wojciech]. A collection of documents and letters from Wojciech Kossak regarding a series of his oil sketches for the panorama "Somosierra" from the early 20th century.
After the success of the panorama "Berezina" Wojciech Kossak, commissioned by a group of Warsaw capitalists, began work on another work of this type - "Somosierra". The four-part oil sketch was created in 1899-1900 in Berlin, after a previous field reconnaissance in Spain. The landscape parts were done by Kossak's associate, Michal Wywiórski. The paintings were 150x287 cm in size. Transported and presented in Warsaw, the work received positive artistic and historical reviews. Despite this, Russian censors did not agree to work on a full-size panorama. Kossak sold the sketch in V 1900 to the Czarnowski brothers for 7,000 rubles. At the end of II 1901, the author of the paintings and a landowner from Lykoszyn, Czeslaw Swiezawski, formed a two-person partnership "for the purpose of acquiring and exploiting Samo-Sierra sketches." The partners agreed to purchase the paintings for 8,800 rubles (the amount was transferred in installments in 1901 by Swiezawski himself), financing the venture in equal shares. The agreement stipulated the sale of the sketches for at least 12,000 rubles. Since attempts to monetize "Somosierra" for this sum failed, a new agreement was made on March 1, 1903, according to which Kossak "takes a series of paintings for sale," the price set at 10,000 rubles. This, too, proved too high, although there were "serious amateurs" who offered slightly less. The problem that divided the partners was Kossak's unpaid debt, who failed to fulfill the conditions imposed on him by the contract and did not transfer the 4,400 rubles due to Swiezawski. Kossak repeatedly assured his partner in his letters that despite some difficulties, he would not lose out on the business. He also wrote: "I would like to erase the unpleasant impressions of my co-partnership with Czesio." The venture did not bring the expected profits, as indicated by the fact that the paintings remained in the possession of Czeslaw Swiezawski's heirs until 1968. That year, thanks to a state subsidy and a public collection, they became the property of the National Museum of the Przemysl Region and remain there to this day.
The offered set of documents are:
1. two contracts between C. Swieżawski and W. Kossak dated 23 II 1901 in Warsaw and 1 III 1903 in Vienna, both signed by Wojciech Kossak (the earlier agreement with corner loss and rubbing on the bends, the later one written on Swieżawski's letterhead as the owner of the łykoszyn and Rokietnice estates)
2. handwritten commitment by C. Swieżawski to transfer 8,800 rubles to Ludwik Czarnowski in four equal installments, dated. 24 II 1901 in Warsaw and - on the same sheet - a receipt from L. Czarnowski's receipt of the entire amount (XII 1901)
3. account of the Commercial Bank in Warsaw for C. Swiezawski confirming the transfer of "payment due" in the amount of 15.5 rubles to W. Kossak, dated. 25 II 1901
4. eight letters from W. Kossak to C. Swiezawski concerning almost entirely their common "business" related to sketches for "Somosierra". Letters written in Berlin, Krakow and Vienna, generally without annual date (e.g. January 4, Fri., Mar. 28, Feb. 18), volumes from 1 to 4 pages. Kossak presents the idea of staging "Somosierra" in Kyiv in Zamarayev's salon (he soon backs out of this), at the Działyński Palace in Lviv, in Lviv, also in Chicago ("there are rich Poles there who have long been clamoring for paintings of national-historical content"), reports on the show in Warsaw ("Ejsmond is really invaluable [...]. It is so clever, so elegant, and so beneficial to the paintings that it could not be better"). Believing in the success of the project, he writes: "I do not regret for a moment that we have done this business, and I have the deepest conviction that it is a good one", and even: "thanks to me, the gates of immortality have opened for you and in the Pantheon of the deserving we will one day walk hand in hand". Over time, financial issues emerge in the letters: Swiezawski "does not allow the paintings to move" until Kossak pays his share of the capital. With no cash at his disposal, the artist tries to change the terms of the agreement. Theoretically he agrees to Swiezawski's proposal to buy the paintings back from him for 7,000 rubles, the obstacle is the lack of funds. Kossak also explains himself from the political charges against him: "As a favorite of the Emperor, I denounced by resigning as court painter the anti-Polish policy. The Emperor told me to say that he is not bothered by my beliefs [...] and asks me to stay [...]. The result of this is that everyone in Berlin today knows that I am a Pole." Two letters incomplete - the ending phrase of the letter is missing and the signature is missing, the rest in good and very good condition
5. two letters from W. Kossak to Zofia Swiezawska, wife of Czeslaw, both two pages long. In one he informs that there is a client in Warsaw ready to pay 10,000 crowns "with a small concession," he is worried about Swiezawski's correspondence silence, and mentions ready frames for paintings "at Sapieha in Warsaw." The second letter is mainly about the painting commissioned by Swiezawska and includes a drawing of two pairs of oxen, to be chosen. The artist is willing to paint the picture at a lower price to "erase the unpleasant impressions of my coexistence with Czesio." Corner folds of one letter, good condition
6. letter from Franciszek Ejsmond of the Society for the Encouragement of Fine Arts to C. Swieżawski inquiring about the possibility of staging "Somosierra" in Cracow, such permission having been previously given by Kossak, dated. 14 X 1902 in Warsaw
7. letter from Tadeusz Kossak (Wojciech's twin) to C. Swieżawski, trying to alleviate the conflict: "please, Dear Czesław, not to think too badly of Wojtek. He is a noble and good-hearted peasant, but a scatterbrain and still a little lethargic [...] be relatable that it is business with the artist (who are always more or less in the clouds)".
The assemblage contains interesting material on many aspects of the painter's work, although it focuses mainly on sketches for the planned grand panorama "Somosierra."
W. Kossak (1856-1942) - an artist-painter who practiced historical and battle paintings. Co-author with Jan Styka of "Panorama Raclawicka". His paintings were very popular, they hit the patriotic feelings glorifying the Polish army. Son and pupil of Juliusz, father of Jerzy, Maria Pawlikowska-Jasnorzewska and Magdalena Samozwaniec.
C. Swieżawski h. Paprzyca (1867-1933) - son of Eustachy and Emma née Jeżewska, landowner, owner of the Łykoszyn and Rokietnica estates.
Z. Swiezawska née Rakowska h. Trzywdar (1872-1941) - wife of Czeslaw, daughter of Adolf and Kamila of Jaruntowski h. Prus, owner of Ostrów estate near Przemyśl.