Search results

1

Pottery Samples Recovered From Abu Erteila (Sudan) – Correlation of Macroscopically Identified Fabrics With Laboratory-defined Raw Material Groups

100%

Daszkiewicz M., Malykh S.

Studia Europaea Gnesnensia

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2017

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issue 15

9-36

EN

This article reports on the use of laboratory analysis to examine whether pottery recovered from excavations at Abu Erteila includes wares made at the same workshops as pottery found at other Meroitic sites in the region. It also examines whether wares deemed typical of the Abu Erteila ceramic assemblage were made of the same raw materials as pottery at neighbouring sites or clay used at other workshops. Particular attention was paid to assessing whether samples with fabrics which macroscopically resemble the Musawwarat fabrics were indeed made at workshops in Musawwarat or whether this macroscopic similarity is deceptive.

2

Pozostałości księgozbioru prymasa Stanisława Karnkowskiego w Archiwum Archidiecezjalnym w Gnieźnie

88%

Bartoszak M.

Roczniki Biblioteczne

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2017

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vol. 61

35-65

PL

Księgozbiór prymasa Stanisława Karnkowskiego jako przedmiot badań naukowych. Analiza fragmentu jego księgozbioru znajdującego się w Archiwum Archidiecezjalnym w Gnieźnie pod kątem tematyki, proweniencji i opraw. Nieznane lub niereprodukowane warianty wykorzystywanych superekslibrisów.

EN

The book collection amassed by Primate Stanisław Karnkowski and regarded as one of the wealthiest Polish libraries in the late 16th and early 17th century comprised 322 books, according to Stanisław Rybandt’s estimates from 1992. 22 more books from the second interrex’s collection were found during a search conducted in the Archdiocesan Archives in Gniezno in 2012–2017. A thematical analysis of the books, which points to the primate’s interest in legal and theological literature, is complemented in the second part of the article by a presentation of the types of ownership marks as well as a discussion of binding-related questions. The author pays particular attention to unknown or never reproduced variants of the supralibros used in the books.

3

Śląski właściciel zagadkowego ekslibrisu. Postscriptum do artykułu Josefa Hejnica

88%

Karlak W.

Roczniki Biblioteczne

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2014

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vol. 58

27 - 48

EN

Over forty years ago the Czech scholar Josef Hejnic tried to establish how incunabula from the collection of a well known humanist and bibliophile, Václav of Rovné (1448–1531), had come to Silesia and in 1721 to an insignificant library, that of the Franciscan Monastery in Środa Śląska. A handwritten note found in a book with the initials of the owner, referring to himself as M.F.C.N.SS.T.C., suggested to Hejnic that the person who may have had a hand in the transfer had been a clergyman from Silesia, Franciscus Carolus Nentwig (1620–1667). More recent studies have made it possible to verify that supposition and to demonstrate that the person behind the initials was someone else: Ferdinandus Constantinus Niering (1636–1720). He was the man whose books carried an ex libris with the mysterious inscription “FINDENS DVRA,” which can also be found in the incunabula belonging to the Franciscans from Środa Śląska.

4

BADANIA PROWENIENCYJNE W EUROPIE I STANACH ZJEDNOCZONYCH

75%

Romanowska-Zadrożna M.

Muzealnictwo

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2015

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vol. 56

230-243

EN

The term „provenance” which describes the history of the ownership of works of art, etymologically originated from Latin, and in Polish meant „origin” or „income”. When it comes to art objects, both terms have a certain correlation – the better-documented the origin, the higher the value of the object, which influences its market price and academic significance. The deliberate falsification of provenance was the result of the desire to make a profit, interest potential buyers in the subject for sale, raise prices or disguise the true fate of the object. Misreading ownership titles led to its unconscious falsification. Provenance studies gained great importance in cases related to war confiscations, plunder, thefts and interiors, as a result of which works were deprived of their origin. Painstaking research is often required in order to restore their history to them. Partially unresolved cases as a consequence of World War II of cultural goods returned in the 1990s under pressure from the Jewish lobby. During conferences in Washington (1998), Vilnius (2000) and Prague (2009), declarations urging museums to review their collections for exhibits of unknown origin or which had gaps in their histories between 1933-1945 were adopted. In 2000, the American Association of Museums [now the American Alliance of Museums - translator’s note] published a handbook of provenance studies, and since 2003 the website The NaziEra Provenance enables American museums to publish the results of such studies. Centres for registering, analysing and seeking war losses and carrying out provenance studies have been founded in Europe, including in Poland. The complicated fate of Polish collections during and after World War II impinge on the scope and need of such studies. Objects transported from German repositories which remained unidentified lost their provenance. Works lent to decorate governmental offices and relocated without the consent of the proprietor were also covered. Recently published catalogues of museum and private collections are examples of reliable provenance studies.

PL

Słowo „proweniencja” określające dzieje własności dzieł artystycznych, etymologicznie wywodziło się z łaciny i przyswojone w języku polskim oznaczało „pochodzenie” lub „dochód”. W kontekście dzieła sztuki oba te znaczenia wykazują swoistą korelację – im lepiej udokumentowane pochodzenie, tym większa wartość dzieła, wpływająca na jego cenę rynkową i znaczenie naukowe. Celowe fałszowanie proweniencji wypływało z chęci zysku, zainteresowania potencjalnego nabywcy przedmiotem sprzedaży, podbicia ceny, lub ukrycia prawdziwych losów dzieła. Błędne odczytanie znaków własnościowych zafałszowywało ją nieświadomie. Badania proweniencyjne zyskały ogromne znaczenie w przypadkach dotyczących wojennych konfiskat, grabieży, kradzieży i przemieszczeń, w wyniku których dzieła zatraciły swoje pochodzenie. Potrzeba często żmudnych badań, by przywrócić im ich historię. Nierozwiązane w pełni sprawy likwidacji skutków II wojny światowej w zakresie dóbr kulturalnych powróciły w latach 90. XX w., pod wpływem nacisków lobby żydowskiego. Podczas konferencji w Waszyngtonie (1998), Wilnie (2000) i Pradze (2009) uchwalono deklaracje wzywające muzea do przejrzenia zbiorów pod kątem muzealiów o niejasnym pochodzeniu lub mające lukę w swojej historii w latach 1933–1945. W 2000 r. Stowarzyszenie Muzeów Amerykańskich wydało podręcznik badań proweniencyjnych, a od 2003 r. na portalu internetowym The Nazi-Era Provenance muzea amerykańskie mogły zamieszczać wyniki tych badań. W Europie, w tym także w Polsce, powstały ośrodki rejestrujące, opracowujące i poszukujące straty wojenne oraz prowadzące w tym kontekście badania proweniencyjne. Skomplikowane losy polskich zbiorów w czasie II wojny światowej i po niej rzutują na zakres i potrzebę takich badań. Przywożone z niemieckich składnic rewindykowane przedmioty, nierozpoznane, zatracały swoją proweniencję. Dotykało to również dzieł wypożyczanych do dekoracji urzędów i przemieszczanych bez zgody właściciela. Przykładami rzetelnych badań proweniencyjnych są ostatnio wydawane katalogi zbiorów muzealnych i kolekcji prywatnych.

5

A preliminary study on the Indian Grammar manuscripts of the Āmer Śāstrabhand in Jaipur

75%

Kragh U. T., Jain A.

Przegląd Orientalistyczny

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2019

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issue 1 (269)

3-21

EN

The study of language and grammar is one of the most fundamental parts of an education, and India has a long and sophisticated tradition of language and grammar teaching (vyākarana) that is as old as the Indian scripts and writing themselves. Starting around the fourth century BCE with the grammatical treatises by Pānini and his commentators, the Indian grammarian tradition developed through several distinct schools of grammar and language study. A historical study of these traditions done on the basis of a normal literary history focused on the places and dates of textual composition yields a chronological overview, where certain major traditions are seen as remaining popular over time through a steady production of new texts, whereas other minor systems become replaced by the development of new schools. In contrast, a microhistorical study that assesses the popularity of the different traditions of grammar by examining their concrete textual representations in a particular manuscript collection reveals a local historical record of the popularity of each system within a specific educational community. The present essay provides a microhistorical study of the Digambara manuscript collection Āmer Śāstrabhandār from Āmer and Jaipur in Rajasthan dating from the seventeenth to the nineteenth centuries. It contributes to the educational history of India by revealing an unexpected continued popularity of the late medieval Sārasvata grammar tradition in the Jaipur area long after this minor grammatical system otherwise has been thought to have gone out of vogue.

6

Stare druki pochodzące z klasztorów skasowanych w Wielkopolsce w zbiorach Biblioteki Uniwersyteckiej w Warszawie

71%

Czapnik M.

Biblioteka

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2020

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issue 24 (33)

9-45

EN

The University Library in Warsaw houses 3,091 volumes in its collection that originally belonged to a number of monastic libraries located in Greater Poland. This article traces and identifies the successive stages in which individual sections of these collections come into possession of the Library in the early years of the nineteenth century. The first batch of books came from the library of the Warsaw Lyceum (Polish: Liceum Warszawskie) (1806) and the so-called the Library of the Appellate Court (1810). An analysis of the proprietary marks and records (book-plates, stamps, marks of ownership and inventory numbers) pasted into the surviving copies allows us to establish that the latter libraries held volumes that had previously belonged to Cistercian monasteries in Bledzew, Obra, Paradyż and Wągrowiec, and to the Benedictines from Lubiń and the monks of the Trinitarian Order in Krotoszyn. The Dissolution Act of 1819 was followed by an influx of large sections of the book collections from the libraries of the Jesuit and Canons Regular of the Lateran from Kalisz, the Cistercians from Ląd, the Camaldolese monks from Bieniszewo and the Pauline monasteries at Brdów and Wielgomłyny. Over time, the Warsaw library also accommodated volumes from the libraries of the Jesuits and the Discalded Carmelites in Poznań. The books from the latter two batches were incorporated to the Library’s book collection either alongside early books from other book collections, or in some other way yet to be researched, following a procedure that has not yet been clearly established. The article also includes an overview of the bookplates and other proprietary marks that make identification of the copies from the above mentioned libraries possible, i.e. library stamps, monastic inscriptions, labels with library shelf numbers and characteristic markings placed on book spines.

PL

W zasobach Biblioteki Uniwersyteckiej w Warszawie dotychczas zarejestrowano 3091 woluminów należących do historycznych wielkopolskich bibliotek klasztornych. W artykule omówiono poszczególne etapy napływu fragmentów kolekcji, które zasiliły zbiory biblioteczne warszawskiej książnicy uniwersyteckiej w początkowych latach XIX wieku. Pierwsze z nich pochodziły z biblioteki Liceum Warszawskiego (1806) i tzw. Biblioteki przy Sądzie Apelacyjnym (1810). Analiza znaków i zapisów własnościowych zachowanych egzemplarzy pozwala stwierdzić, że w obu bibliotekach znajdowały się księgi należące uprzednio do klasztorów cysterskich z Bledzewa, Obry, Paradyża i Wągrowca, benedyktynów z Lubinia oraz trynitarzy z Krotoszyna. Akt kasacyjny z 1819 roku spowodował napływ znacznych partii księgozbiorów z bibliotek jezuitów i kanoników regularnych laterańskich z Kalisza, cystersów z Lądu, kamedułów z Bieniszewa oraz paulinów z Brdowa i Wielgomłynów. W zbiorach Biblioteki Uniwersyteckiej w Warszawie znalazły się także woluminy z bibliotek jezuitów i karmelitów bosych z Poznania, włączone z fragmentami innych kolekcji lub w sposób dotychczas niewyjaśniony. Przedstawiono pokrótce zapisy i inne znaki własnościowe umożliwiające identyfikację egzemplarzy z wymienionych bibliotek: pieczątki, typowe zapiski klasztorne, nalepki z sygnaturami bibliotecznymi oraz charakterystyczne oznaczenia na grzbietach opraw.

7

Odkryty księgozbiór nutowy Friedricha Wilhelma Jünckego (1842-1897) jako początek badań nad odtworzeniem dawnego inwentarza muzycznego

63%

Walkusz M.

Z Badań nad Książką i Księgozbiorami Historycznymi

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2023

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vol. 17

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issue 3

445-470

EN

This article is an attempt to determine the function of discovered a small collection of 19 pieces of music, owned by Friedrich Wilhelm Jüncke (1842-1897) stored in the Library of the Stanisław Moniuszko Academy of Music in Gdańsk. In view of the little knowledge about the life of this merchant from Gdańsk, and then from Sopot, the discovery that, apart from numismatic items and so-called Gdansk door, he also collected musical items was a big surprise for the employees of the current Art Inkubator, an institution that, since 2019, has been taking care of e.g. Jüncke's villa and cherishes the memory of the former owner of the building. The musical and bibliological characteristics of the music prints showed that Jüncke collected them rather for collecting purposes than for utilitarian purposes. Provenance entries, which were found in two prints proving that Jüncke was not the first owner. In addition, the entries found in the next five prints may prove that after Jüncke's death some items were in the possession of the Gdańsk NSDAP, and after the war they ended up in the Academy of Music Library. Undoubtedly, finding this small book collection contributes to supplementing the information about Jüncke, and - indirectly - to expanding knowledge about the musical culture of Gdańsk in the period 1939-1945.

8

Discovered music collection of Friedrich Wilhelm Jüncke (1842-1897) as the beginning of research into the reconstruction of the old musical inventory

63%

Walkusz M., Kisilowska-Szurmińska M.

Z Badań nad Książką i Księgozbiorami Historycznymi

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2023

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vol. 17

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issue 3

471-494

EN

This article attempts to determine the function of the discovered small collection of 19 pieces of music, owned by Friedrich Wilhelm Jüncke (1842-1897) stored in the Library of the Stanisław Moniuszko Academy of Music in Gdańsk. In the face of limited knowledge about the life of this merchant from Gdańsk, and then from Sopot, the discovery that, apart from numismatic items and so-called Gdansk door, he also collected musical items was a big surprise for the employees of the Art Inkubator, an institution that, since 2019, has been taking care of, e.g. Jüncke's villa and cherishes the memory of the former owner of the building. The musical and bibliological characteristics of the music prints showed that Jüncke gathered them for collecting rather than for utilitarian purposes. The provenance entries found in two prints prove that Jüncke was not their first owner. In addition, the entries found in the next five prints may prove that after Jüncke's death some items were in the possession of the Gdańsk NSDAP, and after the war they ended up in the aMuz Library. Undoubtedly, finding this small book collection contributes to supplementing the information about Jüncke and - indirectly - to expanding knowledge about the musical culture of Gdańsk in the period 1939-1945.

9

WILLI DROST: THE LAST DIRECTOR OF THE STADTMUSEUM (CITY MUSEUM) IN GDAŃSK

63%

Kramer-Galińska I.

Muzealnictwo

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2019

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vol. 60

108-120

EN

As much as the history of the Free City of Danzig (1920–1939) has been dedicated numerous academic studies, the activity of its institutions and people, particularly Gdańsk residents of German nationality who played a significant role in the city’s political, cultural, scientific, educational, and spiritual life until 1945 has been hardly investigated. One of such individuals is Willi Drost born in Gdańsk in 1892. Following his studies and academic work in Leipzig, Marburg, Cologne, and Konigsberg, in 1930 he returned to Gdańsk, where he was offered the position of a custodian and later conservator of monuments of the Free City of Gdańsk; furthermore, as of 1938 he was appointed Director of the City Museum, which he remained uninterruptedly until 1945. Beginning from 1930, he was also professor of art history at the Technischer Hochschule, engineering university, as well as curator of Museum Collections for the whole region of Gdańsk – Western Prussia. His scholarly activity yielded numerous publications in art theory, North European modern painting, and Gdańsk art. Furthermore, Drost takes credit for the inventory of Gdańsk historic churches conducted from 1934 onwards. Resorting to the preserved materials, in 1957–1964, Drost published a 5-volume series titled Art Monuments of the City of Gdańsk (Kunstdenkmäler der Stadt Danzig). During WW II, together with Prof. Erich Volmar, he supervised the action of protecting and evacuating art works from the City Museum, Town Hall’s Red Room, Artus Manor, Uphagen’s House, as well as from churches and other historic facilities. Directly following the end of WW II, Drost stayed on in Gdańsk, helping Polish art historians to recover art works hidden in the city and its vicinity. Having left for Germany in the spring of 1946, he was professor at Hamburg and Tubingen universities. Until his last days he continued to promote the cultural heritage of Gdańsk. In recognition of his merits, Drost was honoured with numerous awards in Germany, while in 1992, on the 100th anniversary of his Birthday, a plaque commemorating him was unveiled in front of the building of the former City Museum (Stadtmuseum), today housing the National Museum in Gdańsk. The paper’s goal is to popularize Drost’s endeavours as a museologist, and to recall all he did for Gdańsk.

10

BADANIA PROWENIENCYJNE W POLSCE (CZĘŚĆ 2.)

63%

Romanowska-Zadrożna M.

Muzealnictwo

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2017

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vol. 58

47-59

EN

This article continues the first part of Provenance studies in Poland published in issue 57 of the “Muzealnictwo” Annual in 2016, and complements the text published two years ago, which was more general and focused on the situation in the USA and Europe. It presents diverse aspects of the topic, through statistical analysis of the situation in our museums and discussing works by Polish authors who tackled the problem of methodology, including first texts on library science and war losses, so-called orphaned works and property of Holocaust victims, and the post-war situation which contributed to the work’s loss of its origin. The article also draws attention to the legal aspects of purchasing artworks without due diligence, as well as to the verification of museum exhibits’ origin before obtaining legal protection for those works which are to be placed under so-called museum immunity. In the literature on provenance studies when examining the provenance of artworks, the increasing role of digital tools, such as the internet or digitisation, has been noted. Attention has also been drawn to the contribution of conservators and their innovative methods which may help determine the origin of an object. Another aspect raised in the text is the issue of the theoretical preparation to conduct provenance studies as well as the education which is already standard in library science faculties, but still a long-awaited subject for students of art history and archiving. Although NIMOZ has already organised day-long workshops for museum professionals, and the University of Warsaw has conducted academic seminars lasting several hours, there is still a long way before reaching the two-term studies offered at the Berlin Open University.

PL

Niniejszy artykuł jest kontynuacją opublikowanej w „Muzealnictwie” 57’2016 części pierwszej Badań proweniencyjnych w Polsce oraz uzupełnieniem tekstu sprzed 2 lat – bardziej ogólnego, skupiającego się na sytuacji w USA i Europie. Prezentuje on różne aspekty tego zagadnienia, zarówno poprzez statystyczne rozpoznanie sytuacji w naszych muzeach, jak i omówienie prac polskich autorów poruszających problemy metodologii, w tym prekursorskich tekstów z dziedziny bibliotekoznawstwa, a także strat wojennych, tzw. dzieł osieroconych i mienia ofiar Holocaustu oraz powojennej sytuacji przyczyniającej się do zatracanie przez dzieła swojego pochodzenia. W tekście zwrócono uwagę na aspekty prawne nabywania dzieł bez zachowania należytej staranności oraz na weryfikację pochodzenia muzealiów przed uzyskaniem ochrony prawnej dzieł, które mają zostać objęte tzw. immunitetem muzealnym. W literaturze na temat badań proweniencyjnych zauważano wzrastającą – w procesie badania proweniencji dzieł sztuki – rolę narzędzi cyfrowych, takich jak internet, czy digitalizacja. Zwrócono także uwagę na wkład konserwatorów i opracowanych przez nich nowatorskich metod, które mogą wspomagać działania mające na celu określenie pochodzenia przedmiotu. Osobnym zagadnieniem poruszanym w tekście jest kwestia przygotowania teoretycznego do prowadzenia badań proweniencyjnych i edukacja, będąca już standardem na kierunkach bibliotekoznawczych, a oczekiwanym przedmiotem w procesie nauczania przez studentów historii sztuki i archiwistyki. Dla muzealników zorganizowane zostały w NIMOZie całodniowe szkolenia, a na Uniwersytecie Warszawskim kilkugodzinne zajęcia akademickie, jednak daleko im jeszcze do dwusemestralnych studiów proponowanych w Berlinie na Wolnym Uniwersytecie.

11

Księgozbiory prywatne zachowane w Bibliotece Kapituły Kieleckiej (XV–XVIII w.)

45%

Kwaśniewski A.

Biuletyn Biblioteki Jagiellońskiej

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2012

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vol. 62

69-95

EN

This article is based on provenance research done on the historical library of the Kielce chapter house. This research has allowed to prepare a list of priests who owned book collections which were subsequently bequeathed to the chapter library. Particular books were matched with their owners and thus catalogues of private libraries came into existence. In some cases these “catalogues” contain only one or two printed books. The private libraries stored in the chapter library contain monuments of printing since the fifteenth century. The priests who owned these books were either members of the chapter house or curates of the Kielce collegiate church in the period from the sixteenth to the eighteenth century. The members of the chapter house as well as the curates owned printed books connected with their sacerdotal activity, such as collections of sermons, handbooks for priests or liturgical books. Some of them owned also works of the Fathers of the Church as well as biblical, theological and legal prints. The contents of the private book collections cast light on the interests and the theological culture of the environment of the Kielce chapter.

12

A knight in the service of art. Hanna Benesz in memoriam (1947–2019)

32%

Romanowska-Zadrożna M.

Muzealnictwo

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2021

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issue 62

13-22

PL

Hanna Benesz była absolwentką Instytutów: Historii Sztuki oraz Lingwistyki Stosowanej Uniwersytetu Warszawskiego. Całe swoje życie zawodowe od 1975 r. związała z Muzeum Narodowym w Warszawie, w którym pracowała w Galerii Sztuki Europejskiej opiekując się kolekcją sztuki flamandzkiej i holenderskiej. Przeszła wszystkie szczeble kariery od asystenta do kustosza. Uważała, że podstawą działań muzealnika jest doskonała znajomość kolekcji. Dzięki badaniom prowadzonym nad obrazami zgromadzonymi w magazynach MNW w przypadku dużej liczby dzieł ustaliła ich atrybucję i proweniencję. Badała ikonografię stosując metody badawcze wypracowane przez ikonologię. Zwracała uwagę na stan techniczny obrazów, dzięki czemu dochodziło do tak spektakularnych „przywróceń”, jak odkrycie – w obrazie zapomnianym i uważanym za kopię – autentycznego dzieła Opłakiwanie Chrystusa Abrahama Janssensa (ok. 1575–1632). Była autorką i współautorką wielu wystaw. Współpracowała z muzealnikami z całego świata. Z wystawą o sztuce baroku dotarła nawet do Japonii. Obrazy z kolekcji MNW starała się prezentować nie tylko poprzez kontakt widzów z dziełami sztuki, ale także przez publikacje, i to głównie anglojęzyczne, oraz internet. Od momentu gdy została kustoszem, rozpoczęła wraz z Marią Kluk opracowywanie katalogu rozumowanego Early Netherlandish, Dutch, Flemish and Belgian Paintings 1494–1983 in the Collections of the National Museum in Warsaw and the Palace at Nieborów. Complete Illustrated Summary Catalogue, który ukazał się w 2016 roku. Rok później został uhonorowany główną nagrodą w konkursie „Sybilli” w dziedzinie „Publikacje”, a król Niderlandów przyznał Hannie Benesz rycerski order Oranje- -Nassau V klasy. Dekoracji nim dokonał ambasador Królestwa Niderlandów podczas 20. kongresu CODART w pałacu łazienkowskim w Warszawie. Hanna Benesz była nie tylko wspaniałym muzealnikiem i naukowcem, ale też wypróbowanym przyjacielem i człowiekiem niezwykle ciepłym, wrażliwym na krzywdy bliźnich.

EN

Hanna Benesz graduated from the Institutes: of Art History and of Applied Linguistics at the University of Warsaw. Her whole career launched in 1975 remained inseparably connected with the National Museum in Warsaw, where she worked at the Gallery of European Art curating the Flemish and Dutch collections. She followed all the promotion steps: from assistant to curator. Benesz strongly believed that museum curator’s job was grounded in a perfect knowledge of the collection. Thanks to her research conducted into the paintings amassed in National Museum’s storerooms, she successfully attributed a substantial number of works and identified provenance of many. She studied iconography applying research methods worked out by iconology. Moreover, she focused on the paintings’ technical condition, this occasionally leading to spectacular ‘restorations’, e.g. the identification of a genuine work by Abraham Janssens (ca 1575–1632) the Lamentation of Christ in a forgotten work, previously considered to be a copy. Author and co-author of many exhibitions, she cooperated with museum curators around the world. Her exhibition on Baroque art reached as far as Japan. Benesz’s intention was not only to present the paintings from the National Museum’s collections through a direct contact of visitors with the works, but also in publications, mainly in English and online. As soon as she became curator, together with Maria Kluk she focused on working out the reasoned catalogue Early Netherlandish, Dutch, Flemish and Belgian Paintings 1494–1983 in the Collections of the National Museum in Warsaw and the Palace at Nieborów. Complete Illustrated Summary Catalogue, published in 2016. A year later, the Catalogue was honoured with the main prize in the Sybilla Competition in the category for publications, while the King of the Netherlands awarded Hanna Benesz with the chivalric Order of Orange-Nassau (Oranje-Nassau) of the 5th grade; she was decorated with it by the Ambassador of the Kingdom of the Netherlands during the 20th CODART Congress held at the Warsaw Łazienki Palace. Not only was Hanna Benesz an outstanding museum curator and scholar, but also a trusted friend and a warm empathetic person, sensitive to other people’s misfortunes.

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Pottery Samples Recovered From Abu Erteila (Sudan) – Correlation of Macroscopically Identified Fabrics With Laboratory-defined Raw Material Groups

Pozostałości księgozbioru prymasa Stanisława Karnkowskiego w Archiwum Archidiecezjalnym w Gnieźnie

Śląski właściciel zagadkowego ekslibrisu. Postscriptum do artykułu Josefa Hejnica

BADANIA PROWENIENCYJNE W EUROPIE I STANACH ZJEDNOCZONYCH

A preliminary study on the Indian Grammar manuscripts of the Āmer Śāstrabhand in Jaipur

Stare druki pochodzące z klasztorów skasowanych w Wielkopolsce w zbiorach Biblioteki Uniwersyteckiej w Warszawie

Odkryty księgozbiór nutowy Friedricha Wilhelma Jünckego (1842-1897) jako początek badań nad odtworzeniem dawnego inwentarza muzycznego

Discovered music collection of Friedrich Wilhelm Jüncke (1842-1897) as the beginning of research into the reconstruction of the old musical inventory

WILLI DROST: THE LAST DIRECTOR OF THE STADTMUSEUM (CITY MUSEUM) IN GDAŃSK

BADANIA PROWENIENCYJNE W POLSCE (CZĘŚĆ 2.)

Księgozbiory prywatne zachowane w Bibliotece Kapituły Kieleckiej (XV–XVIII w.)

A knight in the service of art. Hanna Benesz in memoriam (1947–2019)