scholarly journals WWII VICISSITUDES OF THE INSIGNIA OF KING AUGUSTUS III

Muzealnictwo ◽  
2021 ◽  
Vol 62 ◽  
pp. 132-142
Author(s):  
Jarosław Robert Kudelski
Keyword(s):  
Soviet Regime ◽  
National Museum ◽  
Cultural Goods ◽  
Public And Private ◽  
Ww Ii ◽  
Art Works ◽  
General Government ◽  
Maria Josepha ◽  
Private Collections

During WW II, numerous precious art works from Polish public and private collections were looted, displaced and taken out of Poland. In view of the value of some of those pieces, the invaders’ authorities decided to have them transferred to German museums, and this is what happened to the coronation insignia of King Augustus III and his spouse Maria Josepha. German officials took over the regalia which were property of the National Museum in Warsaw already in 1939. Some time after, they were transferred to Cracow, the capital of the General Government. Several months later the insignia returned to Warsaw. In 1941, Dr Hans Lammers, Chief of the Reich Chancellery, requested them. On Adolf Hitler’s decision they were to be transferred to Dresden’s Grünes Gewölbe; in order to be transported there they were taken from Warsaw in 1942. By the end of the war, they were evacuated to a repository of artworks in the cellars of the Königstein Fortress. After WW II had ended, they were relocated, together with other cultural goods, to Moscow. It was only in 1960 that the Soviet regime returned the precious regalia to Poland.

scholarly journals A FORGOTTEN HERO: JAN MORAWIŃSKI (1907–1949)

Muzealnictwo ◽  
2021 ◽  
Vol 62 ◽  
pp. 220-226
Author(s):  
Roman Olkowski
Keyword(s):  
National Museum ◽  
Cultural Goods ◽  
Museum Exhibits ◽  
Ww Ii ◽  
Nazi Occupation ◽  
Historic Monuments ◽  
The Times

Notes of a Curator at the National Museum published in 1970 in the second volume of the book Struggle for Cultural Goods is the only generally available testimony to saving the Wilanów historic monuments by Jan Morawiński, a forgotten hero from the times of WW II. Additionally priceless because of Morawiński documenting the looting of 137 paintings belonging to the pre-WW II Branicki collection at Wilanów. The above-mentioned Notes were published by the Państwowy Instytut Wydawniczy after the manuscript kept in the private archive of the author’s daughter Agnieszka Morawińska. The notes, however, resemble pieces of paper torn from a notebook in which an earlier chapter is missing. The missing chapter does exist, yet for unknown reasons was omitted in the two-volume Struggle for Cultural Goods. Warsaw 1939–1945 edited by Prof. Stanisław Lorentz. The present paper is based on Morawiński’s hand-written testimony, supported by archival sources and recollections of his colleagues from the National Museum in Warsaw (MNW). From August 1939 to August 1944, Jan Morawiński, together with others, was involved in saving precious museum exhibits in the Museum building, but also throughout Warsaw. He was involved in packing the historic monuments into crates which were to help them survive the toughest times, and he helped to put out fires at the Museum, risking his own life. Moreover, he rescued the Royal Castle collections during the hardest bombing of Warsaw, transporting them to the storages in Warsaw’s Jerozolimskie Avenue. For his dedication he was awarded the Virtuti Militari Cross of the 5th class by Gen. Juliusz Rómmel. After Warsaw’s surrender, he was assigned Head of MNW’s storerooms and inventories: when Director Lorentz was absent, he acted as his deputy. In the first period of the Nazi occupation he courageously faced German officials. Furthermore, he headed the clandestine action of inventorying and documenting German destructions and plundering. The knowledge amassed in this way was extremely helpful in the restitution of the looted historic monuments, not only museum ones. He also contributed to documenting the destruction of the Warsaw Castle. Imprisoned by the Nazis, he went through Gestapo’s hands at Daniłowiczowska Street in Warsaw. Later on, he became manager of the Museum of Old Warsaw in the Old Town, at the same time acting as a guardian of the Wilanów collection. Following the defeat of the Warsaw Uprising, he participated in the so-called Pruszków Action in whose course he was badly injured.

scholarly journals WILANÓW WORKS OF ART IN THE GERMAN CATALOGUE SICHERGESTELLTE KUNSTWERKE IM GENERALGOUVERNEMENT

Muzealnictwo ◽  
2019 ◽  
Vol 60 ◽  
pp. 189-198
Author(s):  
Jarosław Robert Kudelski
Keyword(s):  
Married Couple ◽  
Third Reich ◽  
Cultural Goods ◽  
German Occupation ◽  
Ww Ii ◽  
Private Collection ◽  
Art Works ◽  
The Third Reich ◽  
Charles Le Brun ◽  
Lower Silesia

Before the outbreak of WW II, the works of world art collected at the Wilanów Palace were considered to be the largest private collection in the Polish territories. Just the very collection of painting featured 1.200 exhibits. Apart from them the Wilanów collection contained historic furniture, old coins, textiles, artistic craftsmanship items, drawings, and prints, pottery, glassware, silverware, bronzes, sculptures, as well as mementoes of Polish rulers. Already in the first weeks of the German occupation, assigned officials selected the most precious art works from the Wilanów collections, and included them in the Sichergestellte Kunstwerke im Generalgouvernement Catalogue. The publication presented the most precious cultural goods secured by the Germans in the territory of occupied Poland. It included 76 items: 29 paintings and 47 artistic craftsmanship objects. In 1943, the majority of the works included in the quoted Catalogue were transferred to Cracow. A year later, the most valuable exhibits from Wilanów were evacuated to Lower Silesia. What remained in Cracow was only a part of the collection relocated from Wilanów. The chaos of the last weeks preceding the fall of the Third Reich caused that many art works from the Wilanów collection are considered war losses. Among many objects, included in the above Catalogue, there are several Wilanów paintings: Portrait of a Man by Bartholomeus van der Helst, Portrait of a Married Couple by Pieter Nason, Allegory of Architecture, Painting, and Sculpture by Pompeo Batoni, Allegorical Scene in Landscape by Paris Bordone, and The Assumption of Mary by Charles Le Brun.

New Data on the Luster Tiles of ʿAbd al-Samad’s Shrine in Natanz, Iran

2021 ◽  
Vol 38 (1) ◽  
pp. 331-356
Author(s):  
Anaïs Leone
Keyword(s):  
Central Iran ◽  
Public And Private ◽  
Available Information ◽  
Private Collections

Abstract This essay offers new data for identifying and reconstructing the original luster tilework decoration of the tomb chamber of the ʿAbd al-Samad shrine in Natanz, central Iran. The decorated complex around the tomb was likely built during the Ilkhanid period. The removal of Ilkhanid-period luster tiles from their original location has left very few buildings with their original decoration. Moreover, the stripping of an important number of monuments led to the arrival of thousands of tiles of unidentified or incomplete provenance in public and private collections. By cross-referencing available information about preserved revetments (e.g., dimensions, inscriptions, provenance, designs) with verifiable data collected at surviving monuments, it is possible to bridge the gap and unite formerly isolated elements. This study formulates new proposals about the luster tilework in the shrine of ʿAbd al-Samad, especially with regard to the complex ensemble of the mihrab. By locating and detailing the different zones of its decorative scheme, the ensemble becomes more coherent as a whole despite its remaining gaps.

scholarly journals The photo in the Ffilm: public and private collections in video-portrait

2012 ◽  
Vol 9 (2) ◽  
pp. 344-360
Author(s):  
Clarice E. Peixoto
Keyword(s):  
Public And Private ◽  
Photographic Images ◽  
Ethnographic Films ◽  
Public Archives ◽  
Private Collections

This article discusses the inclusion of photographs in ethnographic films, particularly in the genre video portrait. In the reconstitution of an individual's history, photographic images play an important role in the evocation of past facts that often remain only as fragments of memory. When examining personal collections and public archives, we prospect for photographic and iconographic images that allow usto construct possible relationships between collective and individual memories.

The Archaeological Collection of the Yalta Historical-Literary Museum

1996 ◽  
Vol 2 (1) ◽  
pp. 112-123
Author(s):  
Nataliya G. Novichenkova
Keyword(s):  
Middle Ages ◽  
Fold Increase ◽  
Ww Ii ◽  
Late Middle Ages ◽  
The Crimea ◽  
Important Addition ◽  
The Subject ◽  
Burial Grounds ◽  
Private Collections ◽  
Glass Metal

AbstractFounded in 1892 and now containing ca. 11,000 pieces, the Yalta museum draws on pre-Revolutionary private collections, especially of Classical objects obtained locally and abroad, as well as on objects associated with the Mountain and Southern regions of the Crimea, acquired more systematically as a result of archaeological excavations and chance finds in the region. The most important pre-Revolutionary collection, that of Grand Prince Alexander Mikhajlovich, still contains-despite the destruction of WW II-more than 50 amphoras and 500 other ceramic pieces, especially of Archaic Corinthian and Samian ware. The museum houses many finds from pre-War excavations, e.g. from the Balim-Kosh site (ca. 20,000 Neolithic artefacts) and from the Roman legionary fortress at Charax. The creation after WW II of an Archaeological Department of the Museum has led to a 5-fold increase in the size of its collection. This now includes finds from late classical and early medieval burial grounds (Aj-Todor, Alushta, Druzhnoe, Verkhynaya Oreandal, the Gothic necropolis near Goluboj Zaliv, and the Mesolithic complex of Cape of Trinity I. The most important addition has been of more than 5000 objects from the sanctuary excavated in the past decade at the pass of Gurzufskoe Sedlo, which was in use from the Stone Age to the late Middle Ages. Its heyday was 1st cent. B.C.-1st cent. A.D. and from this period date the overwhelming majority of finds of bronze and silver statuettes, glass, metal instruments, ceramics, arms and coins. Such material provides a rare insight into all of the main phases of Crimean history and coins and other objects from the site have formed the subject of a recent exhibition in the museum.

Nationalism and preserving Korea's buried past: the Office of Cultural Properties and archaeological heritage management in South Korea

Antiquity ◽  
1999 ◽  
Vol 73 (281) ◽  
pp. 619-625 ◽  
Author(s):  
Hyung Il Pai
Keyword(s):  
South Korea ◽  
Korean Peninsula ◽  
Heritage Management ◽  
National Museum ◽  
Art Exhibitions ◽  
Archaeological Heritage ◽  
General Government ◽  
Cultural Properties ◽  
Taisho Era ◽  
Archaeological Heritage Management

The origins of Korean archaeological heritage management can be traced to 1916, when Japan's Resident-general Government in Korea (Chōsen Sōtokufu: 1910-1945) promulgated the first comprehensive laws of historical preservation called the ‘Regulations for the Preservation of Korea's Remains and Relics’. They reflected a combination of late Meiji and early Taishō era laws tailored to the Korean peninsula such as Lost and Stolen Antiquities (1909); Temples and Shrines Protection Laws (1911); the Preservation of Stone and Metal Inscriptions (1916); and most significantly, the establishment of an administrative apparatus, the Committee on the Investigation of Korean Antiquities (1916). The Chōsen Sōtokufu Museum laws governing art exhibitions and display were compiled from Imperial Museum laws (Tokyo National Museum 1976) dating from 1890-1907 (Chōsen Sōkufu 1924: 215-30).

A NATIONAL COLLECTION OF MATERIAL RELATED TO THE HISTORY OF PREMATURE INFANT CARE

PEDIATRICS ◽  
1981 ◽  
Vol 68 (6) ◽  
pp. 762-762
Author(s):  
Audrey B. Davis
Keyword(s):  
Oxygen Consumption ◽  
Perinatal Care ◽  
Smithsonian Institution ◽  
Patient Records ◽  
National Museum ◽  
Hospital Records ◽  
History Of ◽  
Care Technology ◽  
Private Collections ◽  
National Effort

An effort is under way to establish a collection of materials which will trace the development of perinatal-care technology in The National Museum of American History at Smithsonian Institution. Readers of Pediatrics are urged to cooperate in this national effort to locate materials of historical interest in back rooms of hospitals and in private collections. The material of interest ranges from incubators (Lion-type used in incubatorbaby exhibits to the present-day models), resuscitation and ventilating devices (delivery-room apparatus, Bloxom Air-Lock, rocking bed, respirators ...), feeding items (gavage equipment, nasal spoons, indwelling tubes ...), photographs, hospital records (statistical reports, examples of patient records ...) and equipment used in landmark investigations (calorimetry, oxygen consumption ...).

“Literary Heritage” for 80 years: A Guide to Volumes 1–103, yrs. 1931–2011. — Book two: Index of Illustrations

2021 ◽  
Author(s):  
Keyword(s):  
Everyday Life ◽  
Public And Private ◽  
Current Location ◽  
Literary Heritage ◽  
Visual Projection ◽  
Printed Materials ◽  
Unpublished Manuscripts ◽  
First Time ◽  
Private Collections ◽  
Cross Reference

The Index of Illustrations is an integral part of the definitive guide “Literary Heritage For 80 Years. A Guide to Volumes 1–103 yrs. 1931–2011”. There are nearly 12,000 illustrations in 103 volumes of “Literary Heritage”. The search for content spanned small and large museums, archives, and libraries in Russia, with many illustrations published for the first time ever. Other materials were sourced from public and private collections within the country and from abroad. The resulting illustrative content in “Literary Heritage” forms a massive, powerful visual projection of Russian authors, aspects of their family and everyday life, the spectrum of cultural and political professions, and portraits of actors in life and as performers on the stages of domestic and foreign theaters. The authors emphasized reproducing autographs including unpublished manuscripts, letters, and dedications on photographs and in books. Of great importance is the replication of printed materials — illustrations from the works of Russian authors as representative examples of typography. Finally, we should highlight many illustrations that give the viewer an idea about the environment of the authors, including memorials and monuments. The Index of Illustrations serves as a key to this iconic collection of materials, cataloging cutlines in order of their appearance in the volumes and respective location within each book. Cutlines are expanded on the illustrations’ theme — the subjects of the portraits, the groups gathered for specific purposes, the authors of the manuscripts, etc. They indicate the artist or photographer of the original illustration and its current location (museum, archive, etc.). In addition, a cross-reference of over 7,000 names accompanies the Index.

Remixing the Results and Looking Ahead

2020 ◽  
pp. 266-278
Author(s):  
Bennetta Jules-Rosette ◽  
J.R. Osborn
Keyword(s):  
Learning Strategies ◽  
Public And Private ◽  
Museum Learning ◽  
Diverse Communities ◽  
Museum Culture ◽  
Private Collections ◽  
Opening Up

Theories and ideologies of museum culture are collaboratively created by directors, curators, artists, and their audiences. This book examines these processes through the frameworks of five transformational nodes and dialogues with artists and curators. Based on these materials, nine guideposts emerge: creating transparency in curatorial networks; expanding south-north connections and exchanges; (3) reworking and blending artistic genre classifications; marketing and permeability of artworks; connecting museums with other multicultural institutions and frameworks; linking public and private collections; reconfiguring archives and databases; developing new museum learning strategies; and opening up new avenues of connectivity with diverse communities. By adopting and following these strategies, museums may display new works, showcase changing curatorial directions, and attract broader museum audiences.

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