with curved fragments (roundels) at the edges. In the context of Ukrainian architectural and art history, this ensemble is an impressive example of European Art Nouveau stained glass. It has since been dismantled and is awaiting further scientific study. In addition to their collecting activities, Bohdan and Varvara Khanenko also studied the works of art they had acquired. In consultation with a number of scholars, they scientifically processed the data. In 1896, 1899 and 1911–1913, the Khanenkos published catalogues of paintings, and in 1899–1907 album catalogues of archaeological monuments and church antiquities. Bohdan Khanenko left written memories of the history of the art collection he built up with his wife Varvara. His manuscript provides valuable information for research and was published in 2009 under the title Memories of an Art Collector (Спогади колекціонера).2 However, in Bohdan Khanenko’s memoirs, which are mainly devoted to the acquisition of paintings and sculptures, there is not a single word about the acquisition of stained glass. Instead, there are three other documents in the museum’s archives that contain some fragmentary information about the creation and first inventory of this part of the collection. One of the documents is a handwritten note by Bohdan Ivanovych indicating the value and, for some objects, the origin. Twelve objects are listed under the heading ‘Glass’: ten are described as ‘window glass’ and two as ‘glass painting’ (églomisé). The document does not contain a complete inventory, but rather a brief personal summary. It is therefore difficult to compare the objects mentioned with those that actually exist. No. 6 ‘Window glass, Switzerland, 16th century, sacred scene; 2000’ probably refers to the glass pane The Miracle of Pentecost (inv. no. 301 БР МХ), and nos. 2–3 ‘Window panes, German masters of the 14th century, with representations of sacred scenes; 300’ refer to the panes Christ Appearing to Mary Magdalene and Christ on the Mount of Olives (inv. nos. 137, 138; cat. no. 4). The origin of only one object, a stained-glass window depicting the Archangel Gabriel, is indicated: ‘Pirri’, cat. no. 426. This entry can be interpreted as a reference to the auction of the Filippo Pirri collection in Rome in 1889. The illustration and description of the object published under lot no. 426 in the Pirri catalogue confirm this assumption beyond doubt. The second document is a 1919 catalogue description of the items in the Khanenko collection, written during Varvara Nykolivna’s lifetime, and probably with her consent, by the first staff of the newly established museum. Only six panes are mentioned in this description: The Miracle of Pentecost and five small objects with coats of arms and images of saints. On the page describing The Miracle of Pentecost, the column labelled ‘Provenance’ reads: ‘Collection Tolin’. This means that the stained-glass window was acquired at an auction in Paris in 1897, as part of the collection of Adolphe Tollin, as confirmed by the detailed description of the object under lot no. 76 in the auction catalogue. Unfortunately, this is the only written information that is available today on the provenance of the stained glass in the Khanenko collection. The only assumptions that can be made in this context concern the panes Christ Appearing to Mary Magdalene Fig. 8 ‘Delft Dining Room’, photo before 2022 Fig. 7 ‘Italian Hall’, photo before 1919 2 Ханенко 2008. 19 18
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