"Vaitkuškis": Grafas Stanislovas Kazimieras Kosakovskis (1837-1905) ir XIX amžiaus mėgėjų fotografija
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| Other Authors: | , |
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| Format: | Book |
| Language: | Lithuanian |
| Published: |
Vilnius
Lietuvos Kultūros tyrimų institutas
2015
Kaunas Nacionalinis M.K. Čiurlionio dailės muziejus |
| Subjects: | |
| Online Access: | Inhaltsverzeichnis Abstract Literaturverzeichnis Register // Personenregister |
| Physical Description: | 302 Seiten |
| ISBN: | 9789955471530 |
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Record in the Search Index
| _version_ | 1820595937246969856 |
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| adam_text |
turinys
9 Jbristi j t3 paci$ upç
12 Pradzia
15 Zmogus su fotoaparatu.
Profesionalai ir mégèjai
19 Draugesu seima
27 Kasautorius?
32 Privati geografija
34 |darbintaszvilgsnis
40 Objektai ir subjektai
52 Grozio optika
57 Albumas kaip pasaulis,
pasaulis kaip albumas
61 Pabaiga
63 Apie fotografijos noem^
67 Summary
74 Katalogas
77 Moterys
127 Vyrai
145 Sutuoktiniai
159 Vaikai
189 Namai
207 Kiti
237 Apylinkès
267 Kelionés
Pr i ed a i
295 Iliustracijostekste
296 Rinktinè bibliografija
297 Nuorodos
298 Santrumpos
298 Asmenvardziq rodyklè
SUMMARY
"Wojtkuszki"
Count Stanislaw Kazimierz Kossakowski (1837-1905)
and 19th Century Amateur Photography
Stanislaw Kazimierz Kossakowski is an extraordinary
figure in the history of photography of Poland and
Lithuania. A traditionally minded aristocrat, he was
fascinated by the democratic invention of bourgeois
culture. Although being an amateur, he organised his
activity according to the standards of a professional
photographic enterprise. In ten years of intense
photographic activity he amassed approximately
8,000 negatives, but after his death went into total
oblivion, and his huge collection of glass plates
disappeared without a trace during World War I1. It
was not until the beginning of the 21st century that
Kossakowski's work was presented to the public
more thoroughly2. An album published at that time
included several dozen prints from more than 6,000
held at the M. K. Ciurlionis National Museum of Art.
Thus, the present book continues our acquaintance
with this unique collection of amateur photographs.
Kossakowski bought his first camera in 1894.
It is not clear if there was any concrete person or
event that encouraged him to do it. Count Stanisfaw
Kazimierz knew quite many photography enthusiasts.
One of them was Henryk Sienkiewicz, not only a
famous novelist, but also an amateur photographer
who for some time frequented a sumptuous literary
salon that Kossakowski ran on Fridays in Warsaw;
another of his guests was the pioneer of Polish
ethnographic photography and the author of several
articles on the new medium, artist Marcin Olszynski.
Kossakowski photographed in various locations in
Poland, Lithuania and Belorussia, but mainly worked
in Warsaw where he lived in the wintertime, and in
his native estate in Vaitkuskis, Lithuania, where he
used to spend the warm seasons of the year from
1 Kossakowski’s collection has survived only in the form of paper
prints preserved in various cultural institutions in Lithuania,
Poland and Belarus as well as in family archives.
1876. It was Vaitkuskis that was bound to become the
basic location for Kossakowski’s creative work. There
the count founded a laboratory, which he simply
called Fotografía amatorska „Wojtkuszki" (Amateur
photographic studio "Wojtkuszki"). Each year
hundreds of photographs were made in Vaitkuskis.
The scale of work of the estate’s laboratory equalled
that of a small commercial photographic studio.
However, Kossakowski never sold a single print. He
collected photographs in his albums or gave them as
gifts to relatives, friends and the estate’s employees.
At the time when the lord of Vaitkuskis took
interest in the new means of image production,
amateur photography was already quite widespread
in Lithuania. Artists, teachers, clergymen, physicians,
lawyers and engineers dabbled in photography in
their spare time; quite often women and girls from
well-off families also immersed themselves in this
hobby. In particular, photography was cultivated
in Lithuanian estates. It was practiced by Count
Benedykt Henryk Tyszkiewicz in Raudondvaris
(Czerwony Dwór) and Viala, by Johann Hiksa in
Verkiai, by artist Tadas Daugirdas (Tadeusz Dowgird)
in Plemborg, by Count Jan Przezdziecki in Rokiskis,
by Count Aleksandr Choiseul-Gouffier in Plateliai, and
by Wandalin Szukiewicz in Nocia. Before World War
I, the Römers in Janapolis, the Gorscy in Birzuvénai,
the Tyszkiewiczs in Kretinga, Palanga, Uztrakis
(Zatrocze) and Lentvaris, the Pac-Pomarnackis in
Alanta [Owanta], and Varvara Pushkina in Markuciai
had a hand in amateur photography.
The movement of amateur photography in
Lithuania was hardly different from those widespread
across Europe in the number of followers and the
2 Grafy Kosakovskitf albumas, sud, Eglè Lukaseviciüté [ Vie
Album of Counts Kossakowski, ed. Eglè Lukaseviciüté], Kaunas:
Nacionalinis M. K. Ciurlionio dailès muziejus, 2004.
social structure. However, in this country it developed
in a scattered and spontaneous manner. Although in
the late 19th century amateur photographic societies
operated not only all over Western and Central
Europe, but also in the majority of regional centres
of the Russian Empire, a specialised association
of amateur photographers was never formed in
Lithuania. It had to do with political restrictions -
after the uprising of 1863-1864, the founding of
professional organisations was banned in the so-
called North-Western Region. Besides, in Russia
photography was attributed to the domain of the
press, which was politically and morally sensitive
and thus closely watched by censorship, whereas,
e.g., in the Prussian law it was treated as a craft, and
in the legal practice of Austria-Hungary - as a free
profession. From 1862, the activity of photographers
in Russia was regulated by the Provisional Rules for
Censorship and the Press, according to which not
only businessmen, but also private individuals had
to acquire a permit for buying a camera. True, the
ban on organised activity introduced in the times
of Mikhail Muravyov was lifted in 1906, and from
1907 the regulations for press organisations ceased
to be applied to photography. However, even after
the liberal reforms neither commercial nor amateur
photographers managed to unite into an organisation,
although in 1908 there were attempts to prepare a
statute for a society. Thus, it comes as no surprise
that the Russian historian of photography Anatoly
Popov who collected a great deal of information about
the imperial period mentions the only gathering
that operated in Lithuania - the Circle of Vilnius
Railway Employees, whose members also included
photography enthusiasts.
The lack of organisational structure as well as
a common aesthetic programme and ideological
guidelines prevented local amateur photographers
from developing a more conceptual artistic vision.
Many of them limited themselves to simple domestic
interests. Their attention was mainly focused on
topics related to family and private environment.
Kossakowski was also guided by the wish to
commemorate his family. For him, photography
became a means of familial communication and a tool
of symbolic possession of his living space.
As soon as a photographic camera appeared
in Vaitkuskis, along with the count many of his
relatives also indulged in the new pastime. That is
why Kossakowski’s collection is partly a result of
collective efforts (sometimes it is too complicated to
establish who is the author of a certain photograph).
However, quickly the goal of professionalism became
predominant in this activity. The count found a
nineteen-year-old assistant to help him with this
occupation. It was Jozef Krajewski, a descendant of
petty nobles from the Volhynian Governorate who
was previously employed as the estate’s accountant.
Before long the count acquired several cameras,
began to mount his photographs on letterhead
cards of his studio obligatory for commercial
photographers, started a registry book of his works,
and in 1900 acquired the props used by serious
professional studios - two painted screens for
making portraits. In 1901, together with others, the
lord of Vaitkuskis established the first organisation
in the Russian Empire that united Polish amateur
photographers - the Warsaw Photographic Society.
In the same year he began to take part in exhibitions
and seek public recognition.
The beginning of the 20th century was a period of
fragile and short-lived success in the field of amateur
photography. On the other hand, it was the time when
the count’s health rapidly deteriorated. He often
remained confined to bed for weeks or spent his days
in a wheelchair. When Kossakowski suffered from
physical ailments, his assistant made photographs
and sent prints to exhibitions in the name of his
employer.
The fates of a rich aristocrat and his humble
assistant remained closely intertwined for twelve
years, and therefore it would be inaccurate to
attribute the authorship of Vaitkuskis photographs to
Kossakowski only. More likely, they both, so dissimilar
in their social position and appearance, formed a
paradoxical double creative individuality. At first the
initiative was in the count's hands. However, his loyal
assistant increasingly became more independent. He
alone would roam the estate’s environs with a camera
and, at the wish of the count’s family, captured the
residents of the Vaitkuskis, Pajuostis and Vyalikaya
Byerastavitsa as well as the Warsaw palace. Yet, his
late activity could hardly be called independent work.
He never crossed the line of duty assigned to him,
did not try to rebel, seek personal honour or make
profit from his craft. He always worked only with
his employer’s consent and under his supervision.
The relations between Kossakowski and Krajewski
apparently were formed within the confines of a
double model of a feudal estate and a capitalist
commercial enterprise, in which the status of master
and servant, owner and hired employee was strictly
defined. There was no space for the assistant’s free
self-expression in this hierarchical social reality. He
was destined to remain anonymous.
Thousands of photographs made in the Vaitkuskis
laboratory meticulously capture private daily life: the
count's family, friends, acquaintances, servants, hired
hands, craftsmen and vendors arriving at the estate,
as well as the exterior and interior of the manor,
auxiliary buildings, the park and the nearest environs.
Local daily life provided inexhaustible material for
portraits. Frequent guests of the manor were owners
of the neighbouring estates on friendly visits, close
and distant relatives, physicians and priests, tutors of
the Kossakowski children and tsarist officials. Being
faithful to the ancient custom of hospitality, the hosts
accommodated their guests for weeks and months.
This custom helped them create and maintain an
autonomous community in a provincial peasant
milieu. It was a constantly changing heterogeneous
microsociety consisting of Poles, Lithuanians and
Russians of both noble and common origin. For
example, among the guests of Vaitkuskis were the
future president of the Republic of Lithuania Antanas
Smetona and the linguist Jonas Jablonskis after his
return from deportation to Russia; frequent visitors
were the bishops of peasant origin Mecislovas
Paliulionis and Gasparas Cirtautas, the wife-to-be of
the lawyer and Lithuanian social figure Jonas Vileisis,
Anna Kozakowska, and the daughter of a poor local
nobleman Felicia Powicka who soon changed her
name by marriage to Bortkeviciene and joined the
Lithuanian national movement. On the other hand,
the Kossakowski estate was visited by the chief of
police of the Vilkmerge district and the head of the
local noblemen of that time, Piotr Veriovkin, officers
of Russian units stationed in the town, and the
Kaunas Governor, Sergey Sukhodolsky.
Many guests of Vaitkuskis were photographed.
However, photography was not the only means to
capture the locals and newcomers. In addition to
3 Johann Caspar Lavater, Physiognomische Fragmente. Zur
Beförderung der Menschenkenntnis und Menschenliebe, Bd. 1-4,
Leipzig, Winterthur: Weidmanns Erben und Reich, und Heinrich
photography, an earlier and more traditional means -
a silhouette portrait - was practiced up until the early
20th century.
Although the concept of the shadow as the
"primary image" symbolising the beginnings of
painting was formed already in the period of classical
antiquity, it was not until the 18th century that the
silhouette genre won universal recognition. The
capital work Essays on Physiognomy3 by the Swiss
pastor, theologian and poet Johann Caspar Lavater
(1741-18 01] made a fundamental contribution to the
success of the silhouette. As soon as it was published
in four luxurious large-size volumes, it was translated
into English, French and Dutch and soon became
known in all Europe.
According to the art historian Martin Kemp,
Lavater’s study was "a highly popular blend of
rudimentary medical science, classical learning,
Christian moralizing, philosophical commonplaces,
and instinctive prejudice"4. The book lacked scientific
systematisation. However, it attracted a wide
circle of readers due to its eloquent language and
visuality created by ample illustrations. Referring
to the ideas of Giovanni Battista della Porta, Charles
Le Brun, Albrecht Dürer and other predecessors,
Lavater sought to build the science of physiognomy
adapted for daily life and based on direct observation
of human appearance. The Swiss theologian was
convinced that the body is formed by the spirit, and
an individual’s face and figure betrays his or her
character features. According to Lavater, physical
data allows reading human nature like an open book,
as the body build and posture is totally congruent
with an individual’s intellect and morals, and the
most objective type of portrait - a profile image and,
above all, a silhouette - is best suited for this kind of
reading.
Having meticulously described various shapes of
faces and parts of the body as symptoms of different
spiritual constitutions, Lavater prepared an incredibly
extensive "anthropological" visual dictionary,
which made an impact on the views of many 19th
century artists, writers in particular. It appears that
Kossakowski was familiar with Lavater’s "theory" and
Steiner und Compagne, 1775-1778.
4 Martin Kemp, The Human Animal in Western Art and Science,
Chicago, London: The University of Chicago Press, 2007, p. 68.
put it to practical application. It is implied not only
by an entire gallery of silhouette portraits seen in the
photographs of the manor interiors, but also by an
antique French two-volume work on physiognomy -
an abstract of Lavater’s teaching supplemented by
statements by various authors - held in the Vaitkuskis
library5.
Count Stanislaw Kazimierz must have been
impressed both by the vividness of the work on
physiognomy and Christian moralisation with which
the text was imbued. It was most probably from the
Essays on Physiognomy that the count borrowed
the objectivist concept of the portrait based on
the firm epistemological approach. He realised
portrait making as a methodical rational exploratory
action. Trying to remain impartial, Kossakowski
referred to universal schemes widely applied in
commercial studios. In the portraits made by the
lord of Vaitkuskis, figures are most often captured
in full or three quarter view. The model is directed
to stand or sit in the centre of the field of vision at
a neutral distance from the camera; his or her gaze
is often turned to an indefinite direction, as if "the
victim" were immersed in himself and did not even
notice an attempt to capture him. This kind of optics
turns an individual into a pure object of observation
and, alongside, creates an illusion that the sitter
and the photographer are two persons independent
of one another. It seems that a person simply is
there in front of the camera rather than is sitting
for the photographer, opening himself to a viewer’s
gaze without any premeditated intention. The
rhetoric of many portraits by Kossakowski is thrifty,
straightforward and even "technical”, subjected to
the function of a intent look. For that purpose the
photographer chooses a plain background - the
light-coloured wall of the Vaitkuskis manor, a sheet
of paper or a piece of drapery. In the 19th century a
similar means was used by travelling photographers,
and in the first half of the 20th century photographs
for identity documents would be produced in this
way. However, in Vaitkuskis the photographer has
5 Physiologie, ou l'art de connaître les hommes sur leur physionomie.
Ouvrage extrait de Lavater et de plusieurs autres excellents
auteurs, avec des observations sur les traits de quelques personages,
gui ont figuré dans la révolution Française. Par J. M. Plane,
Meudon: L’imprimerie de P. S. C. Demailly, 1797.
6 Francis Galton, Hereditary Genius: An Inquiry into Its Laws and
Consequences, London: Macmillan, 1869. This study became
no intention to conceal the background drapery by
cropping the image or the print. Thus, sometimes
witnesses of the event hidden behind the screen
find themselves in the field of vision. The open "set
design" and extraneous participants of the action
emphasise the logic of the image construction: in fact,
the photographing takes place in a kind of improvised
laboratory, where an observation experiment is being
conducted in artificial conditions. The only imperative
requirement is to aim for optimal visibility. The object
must be seen as clearly as possible and maximally
reveal itself to the viewer. Visibility is a necessary
and sufficient condition for image reception, and
alongside, a precondition to identify and get to know
the model.
Therefore, Kossakowski often composes a
portrait as a purposeful and functional workspace
for a gaze. He applies the principle of juxtaposition
to keep the viewer’s sight active or prevent it from
light-minded entertainment. The count was fond of
photographing twins or close relatives in the same
shot. For the same purpose he often juxtaposed
two similar images of the same person or different
persons having some feature in common. A similar
approach in the research of kinship problems was
followed by Francis Galton, the author of the widely
acclaimed work Hereditary Genius6. Exploring how an
individual’s development is influenced by his genes
and living environment, the father of the eugenics
theory statistically processed a great many empirical
data describing the physical and mental features of
people related by kin. Photographic means occupied
a particularly important place among his methods.
In the long run the photographer developed an
entire system of manipulation of photographs and,
having published Life History Album7 in 1884, tried
to instil his ideas of behaviourist genetics into the
daily practices of common people. It is quite possible
that Galton's ideas might have attracted the attention
of the lord of Vaitkuskis, particularly bearing in
mind the fact that at that time physical and mental
heredity issues became the basic topics of family
known quite early in the Russian Empire. See OpsHcuc TajibTOH,
Hacnedcmeemocmb mananma, ee3aKomt u nocnedcmeun, C.-
ITeTepôypr: 3Hamie, 1875.
7 Life History Album, prepared by direction of the Collective
Investigation Commitee of the British Medical Association, ed.
by Francis Galton, London: Macmillan, 1884.
71
pedagogy in the Polish cultural space. However, while
discussing the tentative sources of Kossakowski’s
"comparativist” imagination, Lavater’s above-
mentioned opus magnum should be remembered
first.
Comparison was the basis of the Swiss
theologian’s thinking. A great many engravings
illustrating the Essays on Physiognomy were
arranged according to the principle of contrast or
similarity. The Swiss theologian turned the analysis
of opposites and similarities into a method of training
the viewer’s eye, as he was convinced that such
exercises help develop a sensibility for the slightest
nuances of physiognomy. A similar approach was
taken by Kossakowski who constructed a great many
portraits referring to comparison. In this respect,
photography, unlike any other visual medium, had
unlimited possibilities. A modern technological
invention allowed combining a wide variety of objects
in a single shot or obtaining an entire collection of
similar but at the same time slightly different images
by repeating the same shot. Moreover, as a form of
archiving photographic prints, an album allowed
juxtaposing these shots, creating composite, most
often binary, visual structures and forming a new
extended visual narrative with their help.
Therefore, Kossakowski's expectations were
spurred by the conviction typical of the eras of
Enlightenment and Positivism that a close look can
help get to the core of things, if properly controlled.
Photography was considered a perfect prosthesis for
an attentive look, surpassing the natural possibilities
of the human sight in its optical powers. It was the
period of thriving of the ideology of scientism, when
vision was understood as a simple action providing
reliable information, and the scientific research of
its multi-faceted psychological, social and historical
nature was just beginning. However, those who
regarded visual perception as an uncomplicated
and efficient instrument of world cognition
were in for surprises. This is what happened to
Kossakowski who sought to base photography on
the objectivist approach characteristic of science, but
underestimated the effect of chance and the impact
of co-authorship, when the scenario envisioned by
the photographer is corrected or even ruined by the
portrayed.
Rather than limiting oneself to the imposed role
of a passive object of observation, a person in front
of Kossakowski’s camera tries to interpret oneself.
It is only in rare cases that self-interpretation
manifests itself as an alternative, when the sitter
refuses to obey the imposed rules. An individual’s
self-creation replacing the original idea more often
takes place as an unintentional error of the model’s
actions or, on the contrary, as excessive efforts to
implement the assigned task as precisely as possible.
The subjectivity dimension, which is revealed
by the discrepancy between the photographer’s
expectations and the model’s behaviour, is the most
distinct in women’s portraits and almost invisible
in photographs portraying persons belonging to the
lower classes.
In the portraits of Lithuanian peasants, Jewish
craftsmen, manor servants of various nationalities
and travelling businessmen, the photographer
optimally implements his positivist method. In
historiography it is customary to relate these images
to Kossakowski's ethnographic interests. However,
the eye of the lord of Vaitkuskis in these images is
focused on social and physical rather than ethnic
individuality. Above all, the photographer focuses
on the physical “map” of his models: body build,
posture, complexion and the traces of time visible
on the surface of the body. He takes particular
interest in individuals of distinguished age and
anatomy, and observes aged people or persons of
unusual appearance with great curiosity. In front
of his camera lens the photographer manipulates
such models instrumentally, as if they were proofs
of anomalies occurring among humans. The matter-
of-fact optics of his portraits is close to the forms of
photography practiced in the medical institutions
of that time. Alongside, it is reminiscent of Lavater’s
work and the panoptical gaze of the individual of
the Age of Enlightenment collecting curiosities of
nature. However, despite these obvious relations, it
would be imprecise to explain Kossakowski’s strategy
only as a historical rudiment of vision, which began
to thrive again in the propitious soil of Positivism.
The anthropologic perspective opening in the
count's photographs has a personal psychological
motivation, which is far deeper and stronger than
cultural influences. By choosing the anthropological
approach and ignoring the ethnographic vision,
Kossakowski distances himself from the nationalist
discourse that antagonized his contemporaries. He
photographs local servants and peasants without
emphasising their ethno-cultural individuality. Except
for Roma and Jews, who are distinguished by their
pronounced racial features, all the others are just
“people" living on the count’s domains, i.e. those who
are traditionally differentiated by social status rather
than ethnic dependency. This approach helps the
count retain a consistent worldview and territorial
identity on which his intimate self is based. Due to
the anthropological technique, Kossakowski’s own
living space (something that Gaston Bachelard once
termed as espaces de possession] can continue to
exist without interruption. This both imaginary and
real medium, this extraordinary spot on the map
of the Kaunas Governorate can still be filled with
the meanings of Home and Nest. It can still remain
the same private universe, the same beloved "little
homeland" protecting one from the harsh winds of
daily life and history.
However important Kossakowski considered
photography as a family ritual, a means of family
communication and an instrument of constructing
a living space, its artistic qualities cannot be left
without mention. The aesthetic aims of the lord
of Vaitkuskis above all manifested themselves in
the landscape genre. In Kossakowski's collection,
views of nature are second in number to portraits.
Kossakowski is a typical representative of agrarian
culture, an old-school landowner whose daily life
is still closely related to the rhythm of the natural
world, and to whom this natural world serves as a
platform of activity, a source of living and an object
of constant observation. In particular, the count
loved to photograph the forest. However, unlike the
wood in Polish and Lithuanian literature of that
time, in his photographs the forest does not bear
a symbolic meaning - it is merely a trace of visual
experience captured by means of a camera, serving
as a memory of pleasure experienced in nature and
allowing one to enjoy the optical effects created in a
photographic print. The representation of nature in
Kossakowski’s photographs is not related either to
the literary canons or artistic traditions. Unlike the
pioneers of photography or the adepts of Pictorialism
of the late 19th century, the count captures nature
without referring to the visual models elaborated in
painting. Kossakowski’s camera delves into the very
thicket of vegetation, filling the viewer's entire field
of vision with unstable chaotic forms. Sometimes
the "eye" of the camera slices through the landscape
momentarily, along with the diagonal of the road
cutting into the depth of the image, and sometimes
it hits an empty space in the landscape - an empty
field or a patch of water, soil or snow. A 19th century
graduate from an art academy might find fault
with the fact that in Kossakowski’s photographs
something is either present in excess or constantly
missing. Their foregrounds, backgrounds and details
often seem to coexist all at the same intensity, and
in this polyphonic visual field the viewer's gaze is
forced to move feverishly, convulsively or experience
the impression of an undifferentiated whole all of
a sudden and at once. In other words, due to its
characteristic fluctuation between order and entropy,
when only the photographer’s intuition helps retain
the coherence of an image, and the superiority of
sensual experience over the semantic content, the
perception of these photographs occurs almost on
an everyday level. The beauty of landscape views is
born from the flickering and glimmering of shadows
and the reflexes created by pulsating waves of light
on a glass plate, much like in the human retina. This
beauty is purely optical and customary, devoid of
any literary, moral or philosophical undertones, and
besides, determined by the possibilities offered by
the construction of the camera lens and the chemical
materials used in the photographic practice of that
time.
In Kossakowski’s eyes, the beautiful is what
is technically immaculate and what he manages
to implement seamlessly. The image must be
clear, visually uniform and devoid of any random
defects appearing in the work process. At the end
of the 19th century, the photographic technique was
far from perfection, which would have allowed
photographers not to bother about it. Kossakowski
and his contemporaries constantly struggled with
their equipment, particularly when photographing
nature. Due to the changing weather conditions and
different reactions of chemicals to the chromatic
spectre (it was not until the turn of the 19th and 20th
centuries that an emulsion for glass negatives more
sensitive to the green and red colours was invented],
73
the photographing of nature was a real challenge.
Photographers often had to resort to various tricks,
e.g. colour filters or double exposure. When working
in plein air, the concepts of "aesthetics”, "optics",
"technique" and "experiment" become synonymous.
Therefore, the new - mechanical - medium
necessarily dictates a new artistic paradigm, where
beauty is pragmatic and the technique is poetic.
The lord of Vaitkuskis is primarily concerned
about "pure" visuality. He is interested in reflections
and consistently develops the motif of "an image
within an image". In his landscapes the function of a
natural reflector is performed by the surface of water,
and in his portraits a mirror repeats the shapes of
reality. Reflections allow expanding and multiplying
the image and imbuing it with visual information
and pictorial effects. Besides, being able to convey
an ephemeral reflection in high quality is equal to
passing a test of professional skills.
Hence, it would be erroneous to assert that
Kossakowski is just a naive amateur who does not
rationalise his actions. Rather, the count combines an
amateur's freedom and a professional's ambitions.
Being not limited by the status of commercial
photographer, he can afford to try, to risk and to be
mistaken. In many cases his relation to photography
could be defined as exploratory or experimental. Here
we encounter an unexpected change in Kossakowski’s
mentality: despite his conservative worldview, the
lord of Vaitkuskis obeys the logic of the medium and
submits to the rules imposed by the new technology.
While assimilating the "photographic", i.e. democratic,
daily vision, he condemns to degradation the
principles of elitism, symbolic hierarchy and optics
imposed by historical art styles, which are typical of
aristocratic visual culture.
Kossakowski’s death coincided with a
transmutation of history that the count perceived
as the disastrous prevalence of chaos. After the
revolution of 1905-1907, both the socio-political and
cultural situation radically changed in the former
lands of the Polish-Lithuanian Commonwealth. In
addition to other things, the photographic principles
changed as well. The visual paradigm of Positivism
became obsolete. A different aesthetics of portrait
than the one professed by Kossakowski appeared
on the agenda. Naturalness and freedom as well as
individual features unconsciously revealed by the
model began to be valued; it was recommended
to avoid artificial environment and, in particular,
an abstract background idealising the portrayed;
the spontaneity and dynamics of the image were
encouraged. The new criteria heralded the arrival of
the era of Henri Cartier-Bresson.
As the historical context changed, Kossakowski’s
collection of photographs remained in oblivion for
several decades, which was caused not only by the
change in aesthetics, but also by political upheavals,
when the count’s visual and documentary heritage
found itself in the territory of two newly formed
states. However, today we can open the count’s
photographic archive anew. Its close analysis
reveals his contradiction-ridden modernity. In this
respect, Kossakowski is reminiscent of the German
photographer August Sander who started creating
a monumental cycle "People of the Twentieth
Century" in 1911. Although incomparable in their
creative scope and professionalism, they seem
similar in many respects. Both held conservative
social views and kept distance from the ideas of the
artistic avant-garde. Both relied on simple technical
equipment and did not avoid conventional directorial
solutions established in the practice of commercial
studios. Above all, both did not doubt the objectivity
of a direct gaze and understood photography
positivistically, as the visual cataloguing of the world.
Both were convinced that if you look closely, you can
see the profound truth on the surface of reality - you
only have to look hard. And, finally, both managed
to go against their limited personal convictions
and capture the time they lived in. It is a paradox of
photography.
What makes Kossakowski’s photographs
attractive today? Their "laboratory" modelling of
vision. Social observation. Sometimes - theatricality.
A combination of a learned stereotypical gesture and
a free authentic movement. Mistakes. The patience
of looking. And, finally, the belief in the positive
constructive powers of sight.
KATALOGAS
Fotografié aprasus sudaro inventorinis alburno
numeris, originalus, t. y. kolekcijos autoriaus suteik-
tas, alburno numeris, alburno puslapis, muziejinis
ir (skliausteliuose) originalus fotografijos numeris1
bei atspaudo matmenys centimetrais. Visi albumai
yra panasaus dydzio: 20-23,8 cm aukscio, 29-34,3 cm
plocio ir 3,2-5,8 cm storio, todél aprasuose ji{ ismata-
vimai nepaminéti. Aprasant atskiras (ne albumuose
jklijuotas) fotografijas, nurodomas muziejaus inven-
torinis numeris ir atspaudo bei pasporto formatas.
Apie Stanislovo Kazimiero Kosakovskio ir Józefo
Krajewskio taikytp technik^ ir metodus tiksliij duo-
rnentj isliko nedaug. Kai kuriose fotografijose matyti
didelis aparatas ant trikojo stovo, kurio objektyvas
atidaromas ranka arba pneumatiniu jtaisu (spau-
dziant gumin^ kriaus^). Kartais tamsioje patalpoje
naudota magnio milteliij blyksté. „Vaitkuskio" fotostu-
dijos gaminiij kataloge pasitaiko jrasij, kad fotogra-
fuota vokiska technika: „Goerzu" t. y. firmos „Optische
Anstalt C. P. Goerz" aparatu, ir „Voigtländeriu", taip
pat „tripletu" - trigubij l^siq objektyvu, padedanciu
sumazinti aberacijq ir gauti ryskesnj vaizdq. Ilgainiui
Vaitkuskyje atsirado nedidelitj gabaritij vadinamasis
momentinis aparatas su automatiniu uzraktu: bütent
tokiu padarytos kai kurios dvaro buities ir apylin-
kiij nuotraukos (zr. kat. nr. 146-150,184-190). Kai
1904 m. Mykolui Stanislovui Kosakovskiui ruosiantis
revizuoti Rusijoje esancias seimos valdas tévas pra-
se Maskvoje nupirkti naujq prietaisq, J. Krajewskis
pataré issirinkti lengvg ir paprastq naudoti 9 x 12 cm
„Goerz-Anschütz"1 2. Turbüt toks ir buvo jsigytas, nes
1 S. K. Kosakovskis ir J. Krajewskis albumuose (kiijuotas fotogra-
fijas kruopsciai sunumeravo. Taciau nuotraukos, saugomos SK
raidémis (grafo inicialais) pazymétame albume, neturi nei datu,
nei numeradjos, todéi jij aprasuose pateikiami tik muziejaus
numeriai ir, jei nepavyko surasti datuoto dubleto, nenurodomas
sukürimo laikas.
2 Tikriausiai grafo pagalbininkas rasé apie 1890 m. pradét^ gaminti
vokisk^ momentinj fotoaparat^ „Goerz-Anschütz" su aukstos
kokybés objektyvu, pritaikyt^ 9 x 12 cm stiklo ploksteléms. Zn:
Józefo Krajewskio 1904 07 02 laiskas is Varsuvos Mykolui Stanis-
lovui Kosakovskiui, VUB RS, f. 1, b. F 528,1.4.
75
momentines fotografijos is 1904-1905 m. keliones i
Italijqyra palyginti geros kokybes (zr. kat. nr. 201-221}.
Sioje kelioneje fotografuota ne tik stabilioje pozici-
joje, kruopsciai nusitaikius, bet ir pro vaziuojancio
traukinio langq (taip jamzinti Alpiij peizazai3} arba
is süpuojancios gondolos. Be to, ismegintas anuomet
jej^s i madq nakties fotografavimas, taciau naktinio
Neapolio vaizdas S. K. Kosakovskiui ir jo padejejui
nepavyko4.
S. K. Kosakovskis fotografavo ant 18 x 24,13 x 18 ir
9 x 12 cm formato bromo zelatinos emulsija padengtij
sausq stiklo ploksteliq. „Vaitkuskio" fotostudijoje nau-
dotos nuo 1880 m. Miunchene veikusios Otto Perutzo
jmones (Otto Perutz Trockenplattenfabrik} ploksteles
„Perorto" ir Berlyno firmos AGFA (Aktiegesellschaft
fuer Anilinfabrikation) stiklo negatyvai „Isolar"5. Ve-
liau J. Krajewskis tvirtino, kad patys geriausi nega-
tyvai yra „Imperial special rapid"6, matyt, turedamas
omeny apie 1900 m. pasirodziusius Londono firmos
„Imperial Dry Plate Company Limited" gaminius.
Atspaudai gaminti kontaktiniu büdu. S. K. Kosa-
kovskio sünus Jonas Eustachijus prisimine: „Foto-
grafijas atspausdavo remeliuose saules sviesoje - tai
uztrukdavo valandas ir buvo labai primityvu.7" Tarn
tikslui Vaitkuskio rümij languose buvo jtaisyta specia-
li karkasine konstrukcija. Jauniausio grafo sünaus at-
mintyje jstrigo spalvoti - raudoni ir melyni - tevo ka-
bineto langq stiklai, kuritj reikejo fotografijas spausdi-
nant sauleje8. Is siq nuotrupq galima speti, kad dvare
naudotas menko jautrumo „dieninis" t. y. albuminu
dengtas, fotopopierius. Greta jo, grafas tikriausiai rin-
kosi ir kitas tuo metu pramones siülomas medziagas,
3 Ta-5247, alb. 66, p. 35-36, fot. 6439-6444.
4 Ta-5243, alb. 62, p. 54, fot. 4830.
5 Fotoploksteles „Isolar" vienos pirmijjt) turejo specialtj chemini
sluoksnj, apsauganti nuo nepageidaujamo sviesos demitj ir ra-
tili! (hallt] efekto. Prekyboje pasirod? nuo 1895 m., tokios rüsies
negatyvai AGFA firmai atnese didziul? komercin^ sekm^.
pavyzdziui, aristotipinj popieriq, padengt^ sidabro
chlorido zelatinos emulsija. Pastarasis, taip pat skir-
tas spausdinti natüralioje sviesoje, buvo brangesnis,
taciau pasizymejo didesniu jautrumu ir geresnemis
vaizdo fiksavimo galimybemis, todel XIX a. pabaigoje
itin ispopuliarejo tarp megejij. Tai, kad „Vaitkuskio"
dirbtuveje ismegintos ir modernesnes priemones,
rodo Utenos krastotyros muziejuje saugomas „Misko
prie vandens" (kat. nr. 178} egzempliorius, ant kurio
ranka uzrasyta: „Chloro-bromosrebrny papier"9.
Taigi manytina, kad dauguma grafo archyve islikusitj
nuotraukij yra arba albumino, arba sidabro druskg
atspaudai. Tikriausiai po 1900 m. pastarieji jsivyravo,
nes XX a. pradzioje atspaustose „Vaitkuskio" studijos
fotografijose pastebimas technines kokybes suolis.
Vis delto daznai konkreci^ popieriaus rüsj nustatyti
sudetinga, todel fotografijt} aprasuose fotoprocesas ir
medziagos nejvardijami.
Kai kurios fotografijos publikuojamos kartu su
paaiskinimais. Komentuojant nuotraukas, remiamasi
„Rinktines bibliografijos" sqrase pateiktais enciklo-
pediniais leidiniais ir Kosakovskitj gimines narig
prisiminimais. Daugiausia informacijos semta is Sta-
nislovo Kazimiero ir Jono Eustachijaus Kosakovskiq
bei Valerijono Meistoviciaus memuarij. Taciau del
vietos stokos sie pagrindiniai archyviniai rankrasciai
ir spaudiniai nenurodomi. Paminimi tik smulkesni
pavieniai dokumentai ir j minetq sqrasq nejtrauk-
tos publikacijos - tokiais atvejais komentarij tekste
skliausteliuose jrasomas atitinkamos „Nuorodq" sky-
riaus pozicijos numeris (zr. knygos dalyje „Priedai").
6 Jözefo Krajewskio 1904 07 02 laiskas iä Varäuvos Mykolui
Stanislovui Kosakovskiui, 1. 4V.
7 Notatki z lat dzieci^cych 1903-1910 Jana Eustachego
Kossakowskiego, in: Zofia Kossakowska-Szanajca, Zapiski dla
wnuköw, Warszawa: Biblioteka „Wi^zi", 2009, p. 122.
8 Ten pat, p. 75.
9 Ukmerges krastotyros muziejus, UK KM 4641, F. 2273.
296
44. Is S. K. Kosakovskio alburno: Kazimieros
Wofowskos portreto reprodukcija;
Vilkmergés teismo tarnautojo Selakino
fotografija, CDM, Ta-5219, alb. 36, p. 55,
fot 62 (2369], 12,6 x 8,3; fot. 63 (2370),
14,1 x 10,1.
45. Is S. K. Kosakovskio alburno: zurnalo
iliustracijos, vaizduojancios kapitono
Alfredo Dreyfuso degradavím^,
reprodukcija; Edmundo Bower Saint
Clairo su nezinomu asmeniu fotografijos
kopija. CDM, Ta-5221, alb. 38, p. 49,
fot. 55 (2518), 15,8 x 10,9; fot. 56 (2518),
13,5x10,1.
46. Is S. K. Kosakovskio alburno: Jadvygos
Kosakovskos, Helenos Krajewskos ir
Antoninos Zdybickos fotografija; Johanno
Baptisto Lampi (vyresn.) portreto,
vaizduojancio Stanislovq Feliks^ Potockj
su sünumis, reprodukcija.
CDM, Ta-5206, alb. 18, p. 23, fot. 30 [1194],
14,4 x 10,6; fot. 31 [1195]. 15.5 x 11,5.
47. Atvirukas su Vaitkuskio dvaro parko
vaizdu. fózefo Krajewskio fotografijos
jmoné „Vaitkuskis“. 1906-1908.
Recto, verso. LMAVB RSS, Atv-88/3,
9,2 x 14.
48. Ludwika Salminówna. Vaitkuskis,
apie 1895. CDM, Ta-5194, alb. 5, p. 11,
fot. 20 (308), 15,9 x 12.
RINKTINÉ BIBLIOGRAFIJA
ARCHYVINIAI SALTINIAI
Jano Eustachijaus Kossakowskio fondas,
Varsuva / Fundacja Jana Eustachego
Kossakowskiego, Warszawa (FF)
Wspomnienia z przeszfosci spisane dla dzieci
i wnukow przez Stanisfawa Kazimierza
Kossakowskiego. Od r. 1837 do 1905,1.1,2
Lietuvos mokshj akademijos Vrublevskiy
bibliotekos Rankrasciy skyrius (LMAVB RS]
f. 110 Stanislovas Kosakovskis
Lietuvos nacionalines Martyno Mazvydo
bibliotekos Retij knygy ir rankrasciy skyrius
CLNB RKRS] f, 99 Kosakovskiij seimos
archyvas
Lietuvos valstybes istorijos archyvas (LVIA j
f. 1279 Kosakovskiai
Varsuvos nacionaline biblioteka / Biblioteka
Narodowa w Warszawie [BNW]
Rps BN II.8795 Aleksandros de Laval
Kosakovskos korespondencija, 1.1,1827-1860;
t. 4,1876-1885
Rps BN II.9598 Aleksandros de Laval
Kosakovskos korespondencija, 1867-1875
Rps BN IV.9743 jadwiga Gorska, Notaty i
materiafy do geneaiogii rodziny Gorskich
Vilniaus universiteto bibliotekos Rankrasciy
skyrius jVUB RS]
f. 1 Kauno Vytauto Didziojo universiteto
bibliotekos rankrasciij rinkinys (b. F 631,
F 639 ir kt.: Mykolo Stanislovo Kosakovskio
Lyduokig dvaro archyvo dokumentai]
PUBLIKUOTl SALTINIAI
Katinaite-Navickiene, Albina, Katinaite,
Palmira, Lyduokiai, 1499-1999, Vilnius:
Eugrimas, 1999.
Katinaite-Navickiene, Albina, Lyduokiy dvaras:
istorijos frag mentai ir prisiminimai, redagavo
ir parenge spaudai Palmyra Katinaite,
Ukmerge: Valdo leidykla, 2013.
Kossakowski, Michaf Stanisfaw, Diariusz,
1.1, cz. 1:21 maja-31 sierpnia 1915,1.1, cz. 2:1
wrzesnia 1915- 4 lutego 1916, red. nauk. Marek
Mqdzik, przedm. i oprac. Krzysztof Latawiec,
Mariusz Korzeniowski, Dariusz Tarasiuk,
Lublin: Wydawnictwo Uniwersytetu Marii
Curie-Skfodowskiej, 2010.
Kraszewski, Kajetan, Silva rerum.
Wspomnienia i zapiski dzienne zlat 1830-1881:
kronika domowa, oprac. i wst^pem poprzedzit
Zbigniew Sudolski, wspolpr. Irena Najda,
Warszawa: Ancher, 2000.
Meysztowicz, Walerian, Gawqdy 0 czasach i
ludziach, Londyn: Polska Fundacja Kulturalna,
1983 (leidimas liet. k.: Meysztowicz, Walerian,
Pasnekesiai apie laikus irzmones, is lenkq
k. verte Rasa Drazdauskiene, Vilnius: Aidai,
2004}.
Notatki z lat dzieci^cych 1903-1910
Jana Eustachego Kossakowskiego, in:
Kossakowska-Szanajca, Zofia, Zapiski dla
wnukow, Warszawa: Biblioteka „Wi^zi", 2009,
p. 64-134.
Puzynina z Güntheröw, Gabrjela, W Wilnie
i w dworach litewskich: pamiqtnikzlat
18IS-1843, wydali Adam Czartkowski, Henryk
Moscicki, Wilno: nakiadem i drukiem Jozefa
Zawadzkiego, [1928] (leidimas liet. k.:
Giunteryte Puziniene, Gabriele, Vilniuje ir
Lietuvos dvaruose: 1815-1843 mety dienorastis,
is lenkij k. verte Irena Aleksaite, Vilnius:
Regiong kultürinii) iniciatyvij centras, 2005].
Stanisfaw hr. Kossakowski, Tygodnik
Illustrowany, 1905, nr 52, p. 923.
Sz. [Szalay, Stanisfaw], [Stanislovo Kazimiero
Kosakovskio nekrologas], Fotograf
Warszawski, 1906, nr 1, p. 2-3.
Wspomnienia z przeszlosci spisane dla dzieci
i wnuköw przez Stanislawa Kossakowskiego:
wyjqtki, wybrat, wst^pem i przypisami
opatrzyf Krzysztof Görski, Buenos Aires,
Paryz: Komitet Redakcyjny, 1974.
ZODYNAI IR INFORMACINIAI LE1DINIAI
Aftanazy, Roman, Dzieje rezydencji na
dawnych kresach Rzeczypospolitej, wydanie
drugie, t. 4: Wojewödztwo wileriskie, Wroclaw,
Warszawa, Krakow: Zakfad Narodowy im.
Ossolinskich, 1993.
Cieslak, Tadeusz, Kossakowski Michaf
Stanisfaw, Polski stownik biograficzny, t. XlV/2,
zesz. 61, Wrocfaw, Warszawa, Krakow: Zakfad
Narodowy im. Ossolinskich, Wydawnictwo
PAN, 1969, p. 274-276.
Dworzaczek, Wlodzimierz, Kossakowski
Stanisfaw Kazimierz Aleksander Wfadystaw
Alojzy, Polski siownik biograficzny, t. XlV/2,
zesz. 61, Wrocfaw, Warszawa, Krakow: Zakfad
Narodowy im. Ossolinskich, Wydawnictwo
PAN, 1969, p. 287-288.
f. Krz. [Krzywicki, [ozef], Wojtkuszki, Siownik
geograficzny Krolestwa Polskiego i innych
krajow slowianskich, wydany pod redakcjq
Bronisfawa Chlebowskiego, wedtug planu
Filipa Sulimierskiego, 1.13, Warszawa: Wiek,
t893. 767-768
Homola, Irena, Kossakowski Jözef Dominik,
Polski siownik biograficzny, t. XlV/2, zesz.
61, Wrocfaw, Warszawa, Krakow: Zakfad
Narodowy im. Ossolinskich, Wydawnictwo
PAN, 1969, p. 282.
Kossakowski, Stanisfaw Kazimierz,
Monografie historyczno-genealogiczne
niektorych rodzin polskich, z przypisami
Juliana Bfeszczynskiego, 1.1,2, Warszawa:
nakfadem autora w Drukarni Gazety
Codziennej, 1859, i860; t. 3, Warszawa: w
Drukarini Jozefa Bergera, 1872.
NUORODOS
Reychman, Jan, Kossakowski Stanisiaw
Szcz^stny Fortunat, Polski stownik
biograficzny, t. XIV/2, zesz. 61, Wroclaw,
Warszawa, Krakow: Zaklad Narodowy im.
Ossolihskich, Wydawnictwo PAN, 1969,
p. 286-287.
Bojibiiiaa EepecTOBHpa, in: A[HaTOJiHÜ]
OeflopyK, CmapuHHbieycadbSbi
rpodHemifUHbi: Bepecmoeupmü - MebeecKUÜ
paüoHbi, Mhhck: Bejiapycb, 2014, p. 69-80.
LITERATURA
Basow, Siergiej, Album hrabiego
Kossakowskiego, Echa Polesia, 2008, nr 2,
p. 10-13.
Grafij Kosakovskig albumas, sudaryt. ir
teksto autoré Eglé Lukaseviciüté, Kaunas:
Nacionalinis M. K. Ciurlionio dailés muziejus,
2004.
Jaroszewski, Tadeusz Stefan, Palac
Kossakowskich, Warszawa: Panstwowe
Wydawnictwo Naukowe, 1977.
Klempert, Mateusz, Podróze hrabiów
Kossakowskich z linii wojtkuskie) po Europie
przedstawione w rodzinnych wspomnieniach,
Meritum: Rocznik Kola Naukowego
Doktorantów-Historików w Olsztynie, 2013, t. 5,
p. 89-106.
Klempert, Mateusz, Mi^dzy Warszaw^ a
Petersburgiem. Kariery czlonków rodziny
Kossakowskich w XIX w., in: Litwa i jej sqsiedzi
w relacjach wzajemnych (XVII-XIX w.), pod
red. Iwony Janickiej, Anny Kolodziejczyk,
Olsztyn, Gdansk: Instytut Historii i
Stosunków Mi^dzynarodowych Uniwersytetu
Warmiñsko-Mazurskiego w Olsztynie, 2014,
P-135-151-
Lukaseviciüté, Eglé, Fotografía amatorska
„Wojtkuszki" Stanislawa Kazimierza
Kossakowskiego, Dagerotyp, 2000, nr 9,
p. 3-20.
Lukaseviciüté, Eglé, Grafij Kosakovskip meno
vertybiij likimo pédsakais, Eskizai, 2001, nr. 11,
p. 58-64.
Mackevic, Teresa, Saltinii} liudijimai apie
Kosakovskip bibliotekas ir archyvus,
prieiga per internet^: http://eprints.rchs.
org/i893o/i/Saltiniu%2oliudi]imai%20
apie%20Kosakovskiu%20bibliotekas_T.
Mackevic.pdf.
Sarcevicius, Saulius, Vaitkuskio rümai,
Kultüros paminkiai, 1995, nr. 2, p. 39-55.
1. Apie bajorij Krupek-Kozakovskiij gimin§
Lietuvoje (XVH-XX a.J, publikacija parengta
pagal istorikes Kornelijos Gureckaites
informacij^, Eskizai, 2013, nr. 23, p. 72-76;
Ramune Lebedyte, Salkavos koplycia, ten
pat, p. 81-88; Keli Kurenij ir Salkavos dvarij
istorijos faktai, ten pat, p. 89.
2. Jonas Anicas, Jonas Vileisis, 1872-1942:
gyvenimo ir veikios bruozai, Vilnius: Alma
litera, 1995, p. 536-553.
3. Gabrieles Kosakovskos 1900 laiikai is
Vaitkuskio broliui Mykolui Stanislovui,
VUB RS, f. 1, b. F 516,1.18-193.
4. Ponia Urbanoviciene maudosi Vaitkuskyje.
1900 IX. Pozityvo fotomontazas, Ta-5221,
alb. 38, p. 2, fot. 2 (2495J, 10 x 13,8.
5. Algimantas Miskinis, Lietuvos urbanistikos
paveldas ir jo vertybes, t. 4: Vidurio Lietuvos
miestai ir miesteliai, Vilnius: Savastis, 2009,
p. 454-455-
6. Gabrieles Kosakovskos 1900 09 11 laiskas
is Vaitkuskio broliui Mykolui Stanislovui,
VUB RS, f. 1, b. F 516,1. 6-6a.
7. Antaninos Bower Saint Clair laiskas Mykolui
Stanislovui Kosakovskiui, b. d., VUB RS, f. 1,
b. D1055,1.2l-2ic.
8. WJilliam] HJenry] Langhorne,
Reminiscences of a sojourn in Lithuania
half a century ago. Proceedings of the Anglo-
Russian Literary Society, 1904,
May-June-July, p. 21.
9. Is M. K. Ciurlionio laisko Halinai Volman.
1907 m. gruodzio pradzia, in: Mikalojus
Konstantinas Ciurlionis, Laiskai Sofijai,
vertimas, sudarymas, pratarme ir
komentarai Vytauto Landsbergio, 2-as
isplestas leidimas, Vilnius: Baltos iankos,
2011, p. 50-51.
10. Aleksandros Kosakovskos 1881 0104 (16]
laiskas is Varsuvos dukrai Aleksandrai
Broel-Platerienei, BNW, Rps BN IL8795,
1. 265-267.
11. Felicijos Bortkevicienes fotografijn albumas,
LNB RKRS, f. 68, b. 589.
12. Arunas Astramskas, Ukmerges dumos
veikla ir pilietiskumo raiskos savivaldoje
lygmuo, Istorija, Lietuvos edukologijos
universitetas. Mokslo darbai, 2013, nr. 3 (91J,
P- 36-37-
13. Gabrieles Kosakovskos 1900 m. laiskas is
Vaitkuskio broliui Mykolui Stanislovui,
VUB RS, f. 1, b. F 516,1.20-20a.
14- Elenos Bower Saint Clair laiskai seseriai
Sofijai Kosakovskai, LVIA, f. 1279, ap. 1,
b. 89,1.29-35; Elenos Bower Saint Clair
1911-1915 m. laiskai Gabrielei Kosakovskai
ir Mykolui Stanislovui Kosakovskiui,
VUB RS, f. 1, b. F 753,1. u-28a.
15. A. Dzukas, Vaitkuskis, Lietuvos aidas,
1933 09 23.
16. Dvarininkij Konciij Lukine, Eskizai, 2008, nr.
18, p. 6-9; 1831 m. sukilelio Medardo Koncios
gyvenimo ir veikios portretas, ten pat, p.
10-13.
17. Medardo Koniios dienorascio fragmental,
Eskizai, 2008, nr. 18, p. 22-62.
18. Mykolo Stanislovo Kosakovskio 1909 m.
laiskas is Lyduokiij Nicolas Camille’iui
Flammarionui, LNB RKRS, f. 99, b. 268,1.1.
19. AjHaTonnii] f eflopyK, CmapuHHbieycadbdbi
rpodHeumuHbt: Bepecmoeuiinuu - MebeecKuu
pauoHbi, Mhhck: Eenapycb, 2014, p. 76-79-
20. Mieczysfaw Jafowiecki, Na skraju ¡mperium,
wybor i uktad tekstu Michaf Jafowiecki,
Warszawa: Czytelnik, 2003, p. 110-111.
21. Alfredo Romerio 188108 03 laiskas is
Karalinavo pamotei Sofijai Rdmerienei, BNW,
Rps BN II.8746, t. 2,1.76.
22. Zigmas Toliusis, Mano gyvenimo kelias.
Atsiminimai, 1948-1949, LMAVB RS, f. 29,
b. 1233,1.21.
23. Stanislovo Kazimiero Kosakovskio 19021110
laiskas is Vaitkuskio sunui Mykolui
Stanislovui, VUB RS, f. 1, b. F 524,1. i6-l6a.
24. Faustyno Olejarczyko 1915 0101 laiskas
Mykolui Stanislowui Kosakovskiui, VUB RS, f.
1, b. F 639,1. 251.
25. Stanislovo Kazimiero Kosakovskio 1905 m.
dienorastis, LMAVB RS, f. 110, b. 82,1. 4v.
26. LlaMamHan khuucko KoeeHCKoii eySepHuu Ha
1894 eod, COCT. K[0HCTaHTHH] TyKOBCKHH,
KoBHa: Tunorpaijuia Fy6epHCKoro
IlpaBjieHHH, 1893, p. 78-79 (Oiyteji 11].
27. IlaMamHaa khuxko KoeeHCnou eySepuuu Ha
190S eod, COCT. KfOHCTaHTHH] TyKOBCKHH,
KoBHa: Tnnorpa(j)HH L'yGcpucKoro
IlpaBJieHHH, 1904, p. 66-67 (Orffen II).
28. Stanislovo Kazimiero Kosakovskio 1905 m.
dienorastis. LMAVB RS, f. 110, b. 82,1. 5.
29. Arunas Astramskas, Ukmerges dumos veikla
ir pilietiskumo raiskos savivaldoje lygmuo,
Istorija, Lietuvos edukologijos universitetas.
Mokslo darbai, 2013, nr. 3 [91), p. 38-39.
30. IlaMamHaa khuxko KoeeHCKOu ey6epHuu ho
1905 eod, COCT. KjoHCTaHTHH] TyKOBCKHH,
KoBHa: TunorpafjiHii TyGepHCKoro
IlpaBJieHHH, 1904, p. 25 (OTflen IV).
31. Zr.: Sfawomir Gorzyhski, Jolanta Grala,
Wtodzimierz Piwkowski, Violetta Urbaniak,
Teresa Zielihska, Radziwitiowie herbu Trqby,
Warszawa: Wydawnictwo DiG, 1996.
SANTRUMPOS
ASMENVARDZIl) RODYKLÉ*
BNW
BUW
CDM
FK
KAA
KM
Biblioteka Narodowa w Warszawie
(Varsuvos nacionalinè biblioteka)
Biblioteka Uniwersytecka w Warszawie
(Varsuvos universiteto biblioteka)
Nadonalinis M. K. Ciurlionio dailés *
muziejus
Fundacja Jana Eustacbego Kossakowskiego,
Warszawa
(Jano Eustachijaus Kossakowskio fondas,
Varsuva)
Kauno apskrities archyvas
Kretingos muziejus
LMAVB RS Lietuvos moksly akademijos Vrublevskiy
bibliotekos Rankrasciy skyrius
LMAVB RSS Lietuvos moksly akademijos Vrublevskiy
bibliotekos Rety spaudiniy skyrius
LNB RKRS Lietuvos nacionalinès Martyno Mazvydo
bibliotekos Rety knygy ir rankrasciy skyrius
LVIA Lietuvos valstybès istorijos archyvas
VUB GK Vilniaus universiteto bibliotekos
Grafikos kabinetas
VUB RS Vilniaus universiteto bibliotekos
Rankrasciy skyrius
Aftanazy, Roman 198
Agramonte, Dolores de 273
Albertas, princas 59
Aleksandras II, imperatorius 197
Andrijauskas, Leopoldas (Leopold Andrzejewski) 14
Auzoux, Louis Thomas Jérome 23
Bachelard, Gaston 52
Bacanskis, Ricardas (Ryszard Baczanski) 18
Baksys 213
Baksys, Pranas 213
Balcevicius, S. (S. Balcewicz) 154
Balzac, Honoré de 46
Baranauskas, Antanas 59
Barthes, Roland 41,42,63, 64
Bausys, Jonas 52
Bausys, Jurgis 52
Beyer, Karol 13,54
Benislavska, Jadvyga (Jadwiga BenisJawska) 43
Benislavskis, Teofilis (Teofil Benistawski) 43
Beresnevicius, Aleksandras Kazimieras 59
Bistramai (Bystramowie) 61,107
Bistramas, Vladislovas (WJadysfaw Bystram) 216
Blanc, Louise Antoinette 273
Bogdanoviciüté, Sofija (Zofia Bogdanowicz) 96,97,119
Bogdanoviciüté, Vanda (Wanda Bogdanowicz) 96, 97,119
Borchai (Borchowie, von der Borch) 276
Bortkeviciené, Felicija, zr. Povicka (Povickaitè), Bortkevicienè,
Felicija
Bouffa}}, Bronis}aw 59,60
Bower Saint Clair, Olga Sofija (Zofia) 22
Bower Saint Clair, Pelagéja, zr. Kosakovska, Bower Saint Clair,
Pelagéja
Bower Saint Clair, Brodowska, Aleksandra (Aleksandra z Bower
Saint Clairów Brodowska) 29,100,105,132,180,275
Bower Saint Clair, Bujakowska, Marija (Maria z Bower Saint
Clairów Bujakowska) 29,41, 48, 90,100,114,120,146
Bower Saint Clair, Kessel, Pelagéja (Pelagia z Bower Saint Clairów
Kessel) 23,29,100,108,166
Bower Saint Clair, Kosakovska, Sofija (Zofia z Bower Saint
Clairów Kossakowska) 22,24, 28,48, 61,85, 90,92,100,101,
105,110,118,147,152,161,166,177,180
Bower Saint Clair, Morawska, Elena (Helena z Bower Saint
Clairów Morawska) 45,100,152,204
Bower Saint Clair, Wôjcicka, Antanina Aleksandra (Antonina
Aleksandra z Bower Saint Clairów Wôjcicka) 91,92,96,100,
101,105,109,113,135
Bower Saint Clairai 22,23,47,100
Bower Saint Clairas, Aleksandras vyresn. (Alexander Bower
Saint Clair) 22,100
Bower Saint Clairas, Aleksandras jaunesn. (Alexander Bower
Saint Clair) 22,100,130
* Istorinès Lietuvos gyventojy asmenvardziai adaptuojami
(perrasomi lietuviskais rasmenimis). Motery asmenvardziuose
SeiminJ statusy rodanti galüné rasoma tais atvejais, jei tokia yra
originaliame (lenkiskame) asmenvardyje. Is kity saliy
kilusiy asmeny, taip pat ty, kuriy tapatybés nepavyko nustatyti,
asmenvardziai rasomi originalia literatüroje ar saltiniuose
sutinkama forma.
SANTRUMPOS
ASMENVARDZiy RODYKLÉ*
BNW
BUW
CDM
FK
KAA
Biblioteka Narodowa w Warszawie
(Varsuvos nacionalinè biblioteka)
Biblioteka Uniwersytecka w Warszawie
(Varsuvos universiteto biblioteka)
Nacionalinis M. K. Ciurlionio dailès *
muziejus
Fundacja (ana Eustachego Kossakowskiego,
Warszawa
(Jano Eustachijaus Kossakowskio fondas,
Varsuva)
Kauno apskrities archyvas
KM Kretingos muziejus
LMAVB RS Lietuvos mokslp akademijos Vrublevskip
bibiiotekos Rankrascip skyrius
LMAVB RSS Lietuvos mokslp akademijos Vrublevskip
bibiiotekos Retp spaudinip skyrius
LNB RKRS Lietuvos nacionalinès Martyno Mazvydo
bibiiotekos Retp knygp ir rankrascip skyrius
LVIA Lietuvos valstybès istorijos archyvas
VUB GK Vilniaus universiteto bibiiotekos
Grafikos kabinetas
VUB RS Vilniaus universiteto bibiiotekos
Rankrascip skyrius
Aftanazy, Roman 198
Agramonte, Dolores de 273
Albertas, princas 59
Aleksandras II, imperatorius 197
Andrijauskas, Leopoldas (Leopold Andrzejewski) 14
Auzoux, Louis Thomas Jérome 23
Bachelard, Gaston 52
Bacanskis, Ricardas (Ryszard Baczanski) 18
Baksys 213
Baksys, Pranas 213
Balcevicius, S. (S. Balcewicz) 154
Balzac, Honoré de 46
Baranauskas, Antanas 59
Barthes, Roland 41,42, 63,64
Bausys, Jonas 52
Bausys, Jurgis 52
Beyer, Karol 13,54
Benislavska, Jadvyga (Jadwiga Benislawska) 43
Benislavskis, Teofilis (Teofil Benisfawski) 43
Beresnevicius, Aleksandras Kazimieras 59
Bistramai (Bystramowie) 61,107
Bistramas, Vladislovas (Wladyslaw Bystram) 216
Blanc, Louise Antoinette 273
Bogdanoviciütè, Sofija (Zofia Bogdanowicz) 96,97,119
Bogdanoviciütè, Vanda (Wanda Bogdanowicz) 96,97,119
Borchai (Borchowie, von der Borch) 276
Bortkevicienè, Felicija, zr. Povicka (Povickaitè), Bortkevicienè,
Felicija
Bouffall, Bronislaw 59, 60
Bower Saint Clair, Olga Sofija (Zofia) 22
Bower Saint Clair, Pelagéja, ir. Kosakovska, Bower Saint Clair,
Pelagèja
Bower Saint Clair, Brodowska, Aleksandra (Aleksandra z Bower
Saint Clairow Brodowska) 29, too, 105,132,180,275
Bower Saint Clair, Bujakowska, Marija (Maria z Bower Saint
Clairow Bujakowska) 29,41,48,90, too, 114,120,146
Bower Saint Clair, Kessel, Pelagèja (Pelagia z Bower Saint Clairow
Kessel) 23,29, too, 108,166
Bower Saint Clair, Kosakovska, Sofija (Zofia z Bower Saint
Clairow Kossakowska) 22,24,28,48,61,85, 90,92, too, 101,
105,110,118,147,152,161,166,177,180
Bower Saint Clair, Morawska, Elena (Helena z Bower Saint
Clairow Morawska) 45, too, 152,204
Bower Saint Clair, Wojcicka, Antanina Aleksandra (Antonina
Aleksandra z Bower Saint Clairow Wojcicka) 91, 92,96, too,
101,105,109, U3.135
Bower Saint Clairai 22,23,47,100
Bower Saint Clairas, Aleksandras vyresn. (Alexander Bower
Saint Clair) 22,100
Bower Saint Clairas, Aleksandras jaunesn. (Alexander Bower
Saint Clair) 22,100,130
* Istorinés Lietuvos gyventojp asmenvardziai adaptuojami
(perraäomi lietuviskais rasmenimis). Moterp asmenvardziuose
seiminj statusp rodanti galünè rasoma tais atvejais, jei tokia yra
originaliame (lenkiskame) asmenvardyje. Is kitij salip
kilusip asmenij, taip pat tip kurip tapatybés nepavyko nustatyti,
asmenvardziai rasomi originalia literatüroje ar saltiniuose
sutinkama forma.
?qc
Bower Saint Clairas, Aleksandras Edmundas (Aleksander
Edmund Bower Saint Clair) 5g, 60,100,130
Bower Saint Clairas, [okübas (Jacob Bower Saint Clair) 22
Bower Saint Clairas, Robertas Feliksas (Robert Felix Bower
Saint Clair) 22
Bower Saint Clairas, Stanislovas Grahamas (Stanislaw Graham
Bower Saint Clair) 22
Brandei, Karol 15
Brensteinas, Mykolas (Michal Brensztejn) 14, 50
Brodowska, Aleksandra, zr. Bower Saint Clair, Brodowska,
Aleksandra
Brodowski, Jözef 132
Brodowski, Pawel 132
Broel-Plateriene, Aleksandra (Aleksandra z Kossakowskich
Broel-Plater) 28,54.59,81,96,105,130,275
Broel-Plateris, Zigmantas (Zygmunt Broel-Plater) 81
Broel-Plateryte, Radviliene, Jadvyga Stefanija (Jadwiga Stefania
z Broel-Plateröw Radziwillowa) 113,156
Budnikas 214
Bujakowska, Kazimiera 44,45, 90
Bujakowska, Marija, zr. Bower Saint Clair, Bujakowska, Marija
Bujakowski, Walery 90,146
Bujnowskiai 42
Bulhak, Jan 65
Carrick, William 51
Cartier-Bresson, Henri 65
Ceplinski 253
Chodkeviciai (Chodkiewiczowie) 14
Chodkevicius, Jonas Karolis (Jan Karol Chodkiewicz) 117
Chodkeviciüte, Elzbieta (Elzbieta Cbodkiewiczöwna) 273
Chodkeviciüte, Daugeliene, Ona (Anna z Chodkiewiczow
Dowgiallowa) 117,150,199
Chodkeviciüte, Kosakovska, Aleksandra Karolina (Aleksandra
Karolina z Chodkiewiczow Kossakowska) 19,25,83,115,142,
147,157,273,286
Chodkeviciüte, Kosakovska, Marija (Maria z Chodkiewiczow
Kossakowska) 117,148,200,275
Chodowiecki, Daniel Nikolaus 34
Choiseul-Gouffier, Aleksandras (Aleksander) 18
Chrapovicka, Marija (Maria Chrapowicka), zr. Kosakovska,
Chrapovicka, Marija
Chrapovickiai (Chrapowiccy) 269
Chrapovickis, Vladimiras (Wlodzimierz Chrapowicki) 28,115
Cidikas 232
Cirtautas, Gasparas Feliksas 32,139
Cechovicius, Juozapas (Jözef Czechowicz) 50
Ciurlionis, Mikalojus Konstantinas 111
Dambroviiiüte, Emilija (Emilia Dombrowiczöwna,
Dqbrowiczowna) 43,168
Daugela, Dominykas (Dominik Dowgialto) 117,150,169,199,216
Daugela, Dominykas (Dominik Dowgiallo) 198
Daugela, Stanislovas (Stanislaw Dowgiallo) 169
Daugela, Stanislovas Jaunutis (Stanislaw Jawnut Dowgiallo) 117,
143,198
Daugelos (Dowgiatlowie) 61,143,178
Daugirdas, Tadas (Tadeusz Dowgird) 18
Dauksa, Adomas (Adam Dauksza) 28
Daumantas, Petras (Piotr Dowmont) 13
Diamond, Hugh Welch 37
Dolihska 96
Dostojevskis, Fiodoras 46
Dreyfus, Alfred 24, 59, 60
Dublanska, Eliza 48,114,122
Dudas, Jonas 52,211
Dürer, Albrecht 34
Eastman, George 15
Eydziatowiczowa, Helena 45
Elbowicz, Zygmunt 89
Eliot, George (Mary Ann Evans) 46
Erdberg, Marta 47
Fajans, Maksymilian 13
Falkowska, Oktawia 117
Feuerbach, Anselm 286
Flammarion, Nicolas Camille 185
Freud, Sigmund 65
Frykas 228
Galen-Bisping, Kosakovska, Elibieta (Elzbieta z Galen-Bispingöw
Kossakowska) 185
Gail, Franz Joseph 35
Galton, Francis 39-41
Gardinier, Berta 98
Gersteinas 232
Gierymski, Aleksander 55
Gorskiai (Gorscy) 18
Gounod, Charles 198
Griskaite, Reda 48
Güntheryte, Gabriele (Gabriela Günther) 20
Gutmanas 232
Harrington, Sarah 34
Hartingh, Zofia 25,48, 85
Hiksa, Johann 19,39
Hroch, Miroslav 33
llnicki, Adam 131,141
Ilnicki, Aleksander 49,182
llnicki, Antoni 141
Ilnicki, Leon 141
Ilnickiai 172
Yonge, Charlotte M. 46
Jabionskis, Jonas 32
Jatowiecki, Mieczyslaw2i6
Janusevicius, Povilas 58
Jarosevicius, Antanas 50
Junevicius, Dainius 15
Jungingen, Ulrich von 198
Junker, Carl 23
Kabacinska, Jözefa 94
Karnicki 43
300
Karpiai 62
Kasakauskaite (Kazakauskaite), Ona, zr. Kozakovska,
Vileisiene, Ona Teodora
Kemp, Martin 34
Kerbedis, Viadislovas (Wladyslaw Kierbedz) 216
Kessel, Ferdynand 166
Kessel, Kazimierz 136,137,164,166,270-272
Kessel, Pelageja, zr. Bower Saint Clair, Kessel, Pelageja
Kesseliai 166
Kingston 22, 88
Kirkoras, Adomas Honorijus (Adam Honory Kirkor) 58
Kiseleva, Sofija, zr. Potocka, Kiseleva, Sofija
Klingert (Klinger), Pranciska (Franciszka Klingert) 130
Koltunai 232
Koltuniene 232
Komaras, Konstantinas (Konstanty Komar) 216
Koncia, Edvardas (Edward Koncza) 155
Koncia, Medardas (Medard Koncza) 155
Koncia, Pranciskus (Franciszek Koncza) 133,155,216
Koncios (Konczowie) 34
Koncius, Ignas 50
Kontautaite, Balceviciene, Liudvika (Ludwika z Kontowtöw
Balcewiczowa) 154
Korab-Morawski, Adolf 152
Korbowska, Jadwiga 106
Korvin-Kosakovska, Sofija, zr. Bower Saint Clair, Kosakovska,
Sofija
Korvinai-Kosakovskiai (Korwin-Kossakowscy), zr. Kosakovskiai
Korvinas-Kosakovskis, Jonas Eustachijus Karolis Antanas
Stanislovas (jan Eustachy Karol Antoni Stanislaw Korwin-
Kossakowski), zr. Kosakovskis, Jonas Eustachijus
Korvinas-Kosakovskis, Juozapas Stanislovas Mykoias Viadislovas
Rapolas (Jözef Stanislaw Michal Wtadyslaw Rafal
Kossakowski), zr. Kosakovskis, Juozapas
Korvinas-Kosakovskis, Mykoias Stanislovas Nikodemas (Michal
Stanislaw Nikodem Kossakowski), zr. Kosakovskis, Mykoias
Stanislovas
Korvinas-Kosakovskis, Stanislovas Kazimieras Aleksandras
Viadislovas Aloyzas (Stanislaw Kazimierz Aleksander
Wladystaw Alojzy Kossakowski), zr. Kosakovskis,
Stanislovas Kazimieras
Kosakovska, Aleksandra, zr. Chodkeviciüte, Kosakovska,
Aleksandra
Kosakovska, Aleksandra, zr. Laval, Kosakovska, Aleksandra de
Kosakovska, Eleonora (Eleonora Kossakowska) 59
Kosakovska, Idalija Roze (Idalia Röza Kossakowska) 19
Kosakovska, Jadvyga Marija Pranciska Aleksandra (Jadwiga Maria
Franciszka Aleksandra Kossakowska) 22,24,30, 46,49, 59,
60,88,96, 97, WO, 105,118,171-173,175-177.179,180,183,184,
186,195,212,277
Kosakovska, Kotryna, zr. O'Brien de Lapy, Kosakovska, Kotryna
Kosakovska, Liudvika (Ludwika Kossakowska) 20, 48
Kosakovska, Liudvika (Ludwika z Kossakowskich
Niemcewiczowa) 10,148,162,169
Kosakovska, Liudvika Sofija, zr. Potocka, Kosakovska, Liudvika
Sofija
Kosakovska, Michalina, zr. Zaleska, Kosakovska, Michalina
Kristina
Kosakovska, Sofija, zr. Bower Saint Clair, Kosakovska, Sofija
Kosakovska, Bower Saint Clair, Pelagèja (Pelagia z Kossakowskich
Bower Saint Clair) 22
Kosakovska, Chrapovicka, Marija Jadvyga Aleksandra (Maria
Jadwiga Aleksandra z Kossakowskich Chrapowicka) 38,39,
115
Kosakovska, Gôrska, Gabielé Stanislava Aleksandra (Gabriela
Stanislawa Aleksandra z Kossakowskich Gôrska) 23,24, 46,
101,105,113,168
Kosakovska, Lempicka, Aleksandra Kotryna Stanislava
(Aleksandra Katarzyna Stanislawa z Kossakowskich
Lempicka) 25,29,38,39, 41, 62, 83, 86, 87,102,115,120,123,
149.277
Kosakovska, Meistovicienè, Sofija Pelagèja Aleksandra (Zofia
Pelagia Aleksandra z Kossakowskich Meysztowiczowa) 38,
39, 55,115,157,160,197
Kosakovskiai (Kossakowscy), Korvinai-Kosakovskiai (Korwin-
Kossakowsvy) 9,13,14,19,20-25,28,32,33,46-49,59,64,75,
130,152,178,229,273,276, 277
Kosakovskis, Antanas (Antoni Kossakowski) 59
Kosakovskis, Jonas Eustachijus (Jan Eustachy Kossakowski) 25,
36,48, 61,75, 90, 92,100,110,130,133,139,150,161,190,197,
232.277
Kosakovskis, Juozapas (Jôzef Kossakowski) 10,28, 62,115,117,142,
148,152,162,169,200, 275
Kosakovskis, Juozapas Antanas (Jôzef Antoni Kossakowski) 23,
142
Kosakovskis, Juozapas Dominykas (Jôzef Dominik Kossakowski)
22
Kosakovskis, Mykoias Stanislovas (Michal Stanislaw
Kossakowski) 13,14,23, 24,26,28,37, 62,63,74,101,161,166,
168,177,185,193,229,270-272
Kosakovskis, Pranciskus (Franciszek Kossakowski) 23
Kosakovskis, Stanislovas (Stanislaw Kossakowski) 10,162
Kosakovskis, Stanislovas Feliksas (Stanislaw Szczçsny
Kossakowski) 22,24,79,190,196
Kosakovskis, Stanislovas Kazimieras (Stanislaw Kazimierz
Kossakowski) 9, 11-15,19, 20, 22-34,36,37,39,40-43,45-65,
74, 75, 79, 81, 83, 85,89, 97,100,105,110,111,115,117,118,122,
129,13 0,135,143,147,150,157,168,170,177,185,190,193,
196-198,200,216,229,232,238,249,262,273,277,286,287
Kosakovskis, Viktoras Edvardas (Wiktor Edward Kossakowski)
271
Kossakowska, Barbara 161
Kossakowska-Szanajca, Zofia 25,161
Kossakowski, Eustachy 161
Kosciukevicius, Adomas (Adam Kosciukiewicz) 44
Kosciukeviciüté, Napieralska, Marija (Maria z Kosciukiewiczôw
Napieralska) 44
Kozakovska, Apolonija (Apolonia z Lisieckich Kozakowska) 96
Kozakovska, Benedikta Oktavija (Benedykta Oktawia
Kozakowska) 44,78,79
Kozakovska, Klementina (Klementyna Kozakowska) 165
Kozakovska, Viktorija (Wiktoria Kozakowska) 111
Kozakovska, Viktorija Marija (Wiktoria Maria Kozakowska) 44,79
Kozakovska, Vileisiené, Ona Teodora (Anna Teodora z
Kozakowskich Wilejszowa) 32,79, 96,111
Kozakovskiai (Kozakowscy), Krupekai-Kozakovskiai (Krupek-
Kozakowscy) 79,178
Kozakovskis, Napoleonas Karolis Teofilis (Napoleon Karol Teofil
Kozakowski) 79
Kozakovskis, Petras Aronas (Piotr Aaron Kozakowski] 79
Kozakovskis, Stanislovas (Stanislaw Kozakowski] 216
Kozickaja (Kozicka], de Laval, Aleksandra 20
Krajewska, Helena 63
Krajewska, Helena, zr. Lewicka, Krajewska, Helena
Krajewski, Henryk 14
Krajewski, Józef 14,30-32, 58, 61-62, 65, 74,75, 277,286
Krasirtska, Jadwiga 273
Kraszewski, Józef Ignacy 19, 58, 61,286
Kraszewski, Kajetan 19
Krupekai-Kozakovskiai (Krupek-Kozakowscy), zr. Kozakovskiai
Kruszelnicka, Salomea 103
Kucinskienè, Mato zmona 45
Kurnatowskiai 42
Lampi, Johann Baptist vyresn. 60
Land, Franciszek Maria 196
Laval, Jean Charles François de 20
Laval, Kosakovska, Aleksandra de (Aleksandra z de Lavalów
Kossakowska] 20-22,43,46,48,53,196,197
Laval, Trubeckaja, Jekaterina de 20,122
Lavaliai de 20,21
Lavater, Johann Caspar 34-37,40,52,63
Le Brun, Charles 34
Ley, Vladislovas von der (Wladyslaw von der Ley] 32
Lempicka, Aleksandra, zr. Kosakovska, Lempicka, Aleksandra
Kotryna Stanislava
Lempicka, Kotryna (Katarzyna z Kossakowskich Lempicka] 23, 27,
28,37, 80,81,105
Lempickiai (tempiccyj 83
Lempickis, Stanislovas (Stanislaw tempicki] 81
Lempickis, Vladislovas (Wladyslaw tempicki] 29, 83,149,277
Leonas XIII, popiezius 59
Lewicka, Krajewska, Helena (Helena z Lewickich Krajewska] 14,
60
Lips, Johann Heinrich 34
Liubic-Zaleska, Michalina Kristina (Michalina Krystyna Lubicz-
Zaleska], zr. Zaleska, Kosakovska, Michalina Kristina
Liudvikas XV, karalius 22
Liudvikas XVIII, karalius 20
Lubienieckiai 107
tucewicz 140
Maddox, Richard Leach 15
Maironis (Jonas Maciulis] 53
Makart, Hans 46
Manteuffel-Szoege, Leon 43
Marcinkeviciené, Dalia 43
Marconi, Henryk 196
Marija Magdalietè, sventoji 58
Masiotas, Petras 50
Meistoviciai (Meysztowiczowie] 61, 62,211
Meistoviciené, Sofija, zr. Kosakovska, Meistoviciené, Sofija
Pelagéja Aleksandra
Meistovicius, Aleksandras (Aleksander Meysztowicz] 155,157
Meistovicius, Simonas (Szymon Meysztowicz] 47
Meistovicius, Valerijonas (Walerian Meysztowicz] 75,155,157,170,
211
Meistovicius, Zigmantas (Zygmunt Meysztowicz] 160,170
Meistoviciüté, Marijolé (Mariola Meysztowiczówna] 171
Meistoviciüté, Konciené, Izabelé Marija (Izabela María
z Meysztowiczów Koñcza] 155
Miasnikovas, Ivanas 20
Mieczkowski, Jan 13
Mieszkowski, Bronislaw 13
Milmo, Radviliené, Prudencija 273
Mlynarskis, Emilis (Emil Mlynarski] 58
Mohliai 153
Monckhoven, Désiré van 15
Monkevicius Juozapas (Józef Monkiewicz] 133
Monkeviciüté, Konciené, Marija Teodora (Maria Teodora
z Monkiewiczów Koñcza] 133
Montvila, Stanislovas (Stanislaw Montwill] 216
Montvilos (Montwillowie] 61
Morawska, Elena, zr. Bower Saint Clair, Morawska, Elena
Morzycka, Klementyna 79
Mulock, Dinah María 46
Murauskiené, Elena, zr. Bower Saint Clair, Morawska, Elena
Muravjovas, Michailas 18,58
Napieralska, Marija, zr. Kosciukeviciüté, Napieralska, Marija
Napieralski, Ryszard 44
Napieralskiai 45
Napoleonas Bonapartas, imperatorius 22, 23, 59,142
Nikolajus II, imperatorius 24, 59, 65
Nowicka 167
O’Brien de La^y, Kosakovska, Kotryna (Katarzyna z O’Brien
de Lapy Kossakowska] 23
Olejarczyk, Faustyn 62,211,229, 238
Ollier, Izaak 196
Olszyñski, Marcin 13
OzeSkiené, Eliza (Eliza Orzeszkowa] 45
Pacai-Pomarnackiai 18
Pachulski, Stanislaw 208,209
Paliulionis, Mecislovas 32,139
Paplauskas, Mykolas Benediktas 52,215
Parokas 223
Perutz, Otto 75
Petravicius, Petras (Piotr Piotrowicz] 28
Petuska 232
Piottuch-Kublicka 93
Pnevskis, Piotras 129
Podkowiñski, Wladyslaw 196
Poloniecki, Kazimierz 128
Popovas, Anatolijus 18
Porta, Giovanni Battista della 34
Potapovas, Aleksandras 58
Potocka, Daugéliené, Idalija (Idalia z Potockich Dowgialtowa] 143
Potocka, Kiseleva, Sofija (Zofiaj 22
Potocka, Kosakovska, Liudvika Sofija (Ludwika Zofia z Potockich
Kossakowska] 22
Potockiai 22
Potockis, Stanislovas Feliksas (Stanislaw Szcz^sny Potocki] 59, 60
Pottino, Roberto 55
Povicka (Povickaité], Bortkeviciené, Felicija (Felicja z Powickich
Bortkiewiczowa] 32,111,118
Prus, Boleslaw 55, 56
Psezdzeckis, Jonas (Jan Przezdziecki] 18,58
Pustowska, Leontyna 21
Pusiowski, Wtadystaw 196
Puskina, Varvara 18
Radvila, Albertas Stanislovas (Albert Stanislaw RadziwitlJ 273
Radvila, Dominykas Marija (Dominik Maria RadziwitlJ 273
Radvila, Jonas Karolis (Jan Karol RadziwitlJ 88,134,136,137,156
Radvila, Karolis Vilhelmas Mykolas (Karol Wilhelm Micha!
RadziwitlJ 43, 84,156,216,273
Radvila, Konstantinas Mikalojus (Konstanty Mikolaj RadziwitlJ
84,273
Radvila, Konstantinas (Konstanty RadziwitlJ 88,112,156
Radvila, Konstantinas Vincentas (Konstanty Wincenty RadziwitlJ
273
Radvila, Motiejus (Maciej RadziwillJ 273
Radvila, Motiejus Juozapas (Maciej Jözef RadziwitlJ 273
Radvilaite, Celestina Marija Filomena (Celestyna Maria Filomena
RadziwittownaJ 43,84
Radvilaite, Marija (Maria RadziwittownaJ 88,156
Radvilaite, Taida (Taida RadziwittownaJ 88,112,113,156
Radviliene, Jadvyga Stefanija, zr. Broel-Plateryte, Radviliene,
Jadvyga Stefanija
Radviliene, Prudencija, zr. Milmo, Radviliene, Prudencija
Radvilos (RadziwiltowieJ 22, 61, 88,273
Ramanauskas, Jonas 51
Reni, Guido 58
Rybicka, Maria 48,116
Ricchoni, Cesare 103
Rymaszewski 140
Rimkeviciüte, Petronele 43
Romaskevicius, Juozapas (Jözef RomaszkiewiczJ 13
Römeriai 18
Römeris, Alfredas (Alfred RömerJ 227
Rubin, Peisa 232
Salminöwna, Ludwika 48,63,110,116
Sander, August 65
Schellenberg, Johann Rudolf 34
Scott, Walter 22
Siemiradzki, Henryk 45, 46
Sienkiewicz, Henryk 13
Siestrzanek-Karnicka, Adela 84
Skapas 23
Skirmuntas, Romanas (Roman SkirmuntJ 58
Skorulskiai 22
Stugocka Jözefa (Jözefa z Bromirskich StugockaJ 124
Stugocka, Adela 124, 277
Smetona, Antanas 32
Sommer, Robert 37
Sontag, Susan 64
Speicyte, Brigita 53
Starevicius, Petras 210
Steponas Batoras, karalius 198
Strauss, Johann 92
Straussas, Aleksandras (Aleksander StraussJ 28
Suchodolskis, Sergejus 32
Szatay, Stanislaw 12,13
Sapira 231
Sapira, Simelis 262
Sapiriené 232
Selakinas 59,60
Sukevicius, Vandalinas (Wandalin SzukiewiczJ 18, 50
Swiatopelk-Czetwertynski, Emanuel 19
Tarapanijus, Smuilis (SamuilasJ 13
Tiskeviciai (TyszkiewiczowieJ 18
Tiskevicius, Aleksandras (Aleksander TyszkiewiczJ 58
Tiskevicius, Benediktas Henrikas (Benedykt Henryk TyszkiewiczJ
19.50,54
Tiskevicius, Tadas (Tadeusz TyszkiewiczJ 83
Tiskeviciüté, Marija Teresé (Maria Teresa TyszkiewiczöwnaJ 18
Toliusis, Zigmas 227
Trubeckojus, Sergejus 20,122
Twardzicki, Walerian 51
Urbanoviciai (UrbanowiczowieJ 61
Urbanoviciené, Marija (Maria UrbanowiczowaJ 82, 95
Urbanovicius, Dominykas (Dominik UrbanowiczJ 32
Urbanovicius, Vytautas (Witold UrbanowiczJ 82
Valancius, Motiejus 59
Valujevas, Piotras 15,16
Varnas, Adornas 50
Venslavska, Juzefa (jözefa W^stawskaJ 41,42,44,121,125
Veriovkinas, Piotras 32
Vigny, Alfred de 46,53
Viktorija, karaliené 59
Vileisiai 111
Vileisiené, Ona, zr. Kozakovska, Vileisiené, Ona Teodora
Vileisis, Jonas 79
Vileisis, Petras 277
Visinskis, Povilas 50
Vitgensteinai (Wittgenstein} 19
Volmeris, Edvardas (Edward WolmerJ 58
Vrublevskis, Tadas (Tadeusz WröblewskiJ 58
Wieloglowska, Anna 151
Wielogtowski, Wincenty 151
Wolowska, Kazimiera 59, 60
Wöjcicka, Antanina, 2r. Bower Saint Clair, Wöjcicka, Antanina
Wöjcicki, Jan Wincenty 92
Wöjcicki, Kazimierz Wtadystaw 92
Zahorskis, Vladislovas (Wtadystaw ZahorskiJ 17,50,58,59
Zakrzewski 232
Zaleska, Kosakovska, Michalina Kristina (Michalina Krystyna
z Zaleskich KossakowskaJ 25,27,43-45,147,168,185
Zaleskis, Gabrielius (Gabriel ZaleskiJ 46
Zaleskis, Vladislovas Mykolas (Wtadystaw Michat ZaleskiJ 33,274
Zatorskis, Vaciovas (Wactaw ZatorskiJ 31, 59
Zdybicka, Antonina 60,110
Zdybicka, Stanistawa 110
Zi^tkiewicz-Szlendak, Marta 13
Zdzarski, Wactaw 12
Zeligowski, Lucjan 170
Ziogas, Jonas 50 |
| any_adam_object | 1 |
| author2 | Kosakovskis, Stanislovas Kazimieras 1837-1905 Mulevičiūtė, Jolita 1961- |
| author2_role | pht edt |
| author2_variant | s k k sk skk j m jm |
| author_GND | (DE-588)1032806664 (DE-588)138657742 |
| author_facet | Kosakovskis, Stanislovas Kazimieras 1837-1905 Mulevičiūtė, Jolita 1961- |
| building | Verbundindex |
| bvnumber | BV043514176 |
| contents | Englische Zusammenfassung: "Wojtkuszki": Count Stanisław Kazimierz Kossakowski (1837-1905) and 19th century amateur photography |
| ctrlnum | (OCoLC)969828550 (DE-599)BVBBV043514176 |
| era | Geschichte 1880-1905 gnd |
| era_facet | Geschichte 1880-1905 |
| format | Book |
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| genre | (DE-588)4145395-5 Bildband gnd-content |
| genre_facet | Bildband |
| geographic | Litauen (DE-588)4074266-0 gnd |
| geographic_facet | Litauen |
| id | DE-604.BV043514176 |
| illustrated | Not Illustrated |
| indexdate | 2025-01-07T13:13:04Z |
| institution | BVB |
| isbn | 9789955471530 |
| language | Lithuanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-028930284 |
| oclc_num | 969828550 |
| open_access_boolean | |
| owner | DE-12 DE-11 |
| owner_facet | DE-12 DE-11 |
| physical | 302 Seiten |
| publishDate | 2015 |
| publishDateSearch | 2015 |
| publishDateSort | 2015 |
| publisher | Lietuvos Kultūros tyrimų institutas Nacionalinis M.K. Čiurlionio dailės muziejus |
| record_format | marc |
| spelling | Kosakovskis, Stanislovas Kazimieras 1837-1905 (DE-588)1032806664 pht "Vaitkuškis" Grafas Stanislovas Kazimieras Kosakovskis (1837-1905) ir XIX amžiaus mėgėjų fotografija sudarytoja ir teksto autorė Jolita Mulevičiūtė Vilnius Lietuvos Kultūros tyrimų institutas 2015 Kaunas Nacionalinis M.K. Čiurlionio dailės muziejus 302 Seiten sti rdacontent txt rdacontent n rdamedia nc rdacarrier Englische Zusammenfassung: "Wojtkuszki": Count Stanisław Kazimierz Kossakowski (1837-1905) and 19th century amateur photography Kosakovskis, Stanislovas Kazimieras 1837-1905 (DE-588)1032806664 gnd rswk-swf Geschichte 1880-1905 gnd rswk-swf Fotografie (DE-588)4045895-7 gnd rswk-swf Litauen (DE-588)4074266-0 gnd rswk-swf (DE-588)4145395-5 Bildband gnd-content Kosakovskis, Stanislovas Kazimieras 1837-1905 (DE-588)1032806664 p Litauen (DE-588)4074266-0 g Fotografie (DE-588)4045895-7 s Geschichte 1880-1905 z DE-604 Mulevičiūtė, Jolita 1961- (DE-588)138657742 edt wat Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028930284&sequence=000005&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028930284&sequence=000006&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028930284&sequence=000007&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028930284&sequence=000008&line_number=0004&func_code=DB_RECORDS&service_type=MEDIA Register // Personenregister |
| spellingShingle | "Vaitkuškis" Grafas Stanislovas Kazimieras Kosakovskis (1837-1905) ir XIX amžiaus mėgėjų fotografija Englische Zusammenfassung: "Wojtkuszki": Count Stanisław Kazimierz Kossakowski (1837-1905) and 19th century amateur photography Kosakovskis, Stanislovas Kazimieras 1837-1905 (DE-588)1032806664 gnd Fotografie (DE-588)4045895-7 gnd |
| subject_GND | (DE-588)1032806664 (DE-588)4045895-7 (DE-588)4074266-0 (DE-588)4145395-5 |
| title | "Vaitkuškis" Grafas Stanislovas Kazimieras Kosakovskis (1837-1905) ir XIX amžiaus mėgėjų fotografija |
| title_auth | "Vaitkuškis" Grafas Stanislovas Kazimieras Kosakovskis (1837-1905) ir XIX amžiaus mėgėjų fotografija |
| title_exact_search | "Vaitkuškis" Grafas Stanislovas Kazimieras Kosakovskis (1837-1905) ir XIX amžiaus mėgėjų fotografija |
| title_full | "Vaitkuškis" Grafas Stanislovas Kazimieras Kosakovskis (1837-1905) ir XIX amžiaus mėgėjų fotografija sudarytoja ir teksto autorė Jolita Mulevičiūtė |
| title_fullStr | "Vaitkuškis" Grafas Stanislovas Kazimieras Kosakovskis (1837-1905) ir XIX amžiaus mėgėjų fotografija sudarytoja ir teksto autorė Jolita Mulevičiūtė |
| title_full_unstemmed | "Vaitkuškis" Grafas Stanislovas Kazimieras Kosakovskis (1837-1905) ir XIX amžiaus mėgėjų fotografija sudarytoja ir teksto autorė Jolita Mulevičiūtė |
| title_short | "Vaitkuškis" |
| title_sort | vaitkuskis grafas stanislovas kazimieras kosakovskis 1837 1905 ir xix amziaus megeju fotografija |
| title_sub | Grafas Stanislovas Kazimieras Kosakovskis (1837-1905) ir XIX amžiaus mėgėjų fotografija |
| topic | Kosakovskis, Stanislovas Kazimieras 1837-1905 (DE-588)1032806664 gnd Fotografie (DE-588)4045895-7 gnd |
| topic_facet | Kosakovskis, Stanislovas Kazimieras 1837-1905 Fotografie Litauen Bildband |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028930284&sequence=000005&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028930284&sequence=000006&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028930284&sequence=000007&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028930284&sequence=000008&line_number=0004&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT kosakovskisstanislovaskazimieras vaitkuskisgrafasstanislovaskazimieraskosakovskis18371905irxixamziausmegejufotografija AT muleviciutejolita vaitkuskisgrafasstanislovaskazimieraskosakovskis18371905irxixamziausmegejufotografija |