Search results - CEJSH

1

The Organological Archive – a scientific and research institute at the Karol Szymanowski Academy of Music in Katowice

100%

Gembalska-Krym A.

Folia Organologica. International yearbook of organ and organ music

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2021

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issue 4

52-71

EN

The article presents a scientific and research institute at the Academy of Music in Katowice, which aims at collecting, compiling and making available materials concerning Silesian organs and organ music in Silesia. The text presents the genesis of the institute along with the context of its establishment, the scope of its activities and the actions it undertakes. In the following section, the system of the gathered collections are presented with a brief discussion. The article also addresses the issue of the acquisition of collections by the Archive, pointing to the collections of the founder, the archive materials acquired through cooperation with the Church and the collections donated by private individuals. In conclusion, the significance of the institution for the study of organs and organ music, its current functioning and prospects are presented.

2

Materialien zu tschechisch-österreichischen Kunsthistorikern im Archiv des Instituts für Kunstgeschichte der Universität Wien

100%

Polleross F.

Umění (Art)

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2019

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vol. 67

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issue 6

565-586

EN

The article offers an overview of the material to be found in the archive of the Department of Art History at the University of Vienna relating to art historians of the ‘Vienna School of Art History’ who were born or were active in what is today the Czech Republic. In the ‘Department Archive’ proper, files on Max Eisler and Hans Tietze have been preserved. The archive of students’ files contains material on Karla Biehlolawek, Fr. Hadmar Anton Borowan, Hedwig Gollob, Felix Horb, Heinrich Klapsia, George Saiko, Heinrich Schwarz, and Magda Starkenstein. In the ‘Collection of Bequests Made to the Department’ there are some individual documents referring to the activities of Alois Riegl, Josef Strzygowski, and Hans Sedlmayr in Prague and Brno. The bequests left by Wolfgang Kallab, Oskar von Kutschera-Woborsky, and Oskar Pollak are presented in greater detail. The biography of Max Dvořák can be supplemented by information on his early life found in the archive. Of particular interest are photos and letters from his childhood, details about his studies in Prague, and documents relating to a so far unknown dispute on plagiarism with the Berlin literature specialist Konrad Burdach concerning work on Bohemian manuscript illumination. The documents relating to the activity of Karl M. Swoboda at the University in Prague in 1936–1945 confirm that he had a good relationship with his Czech colleagues and fellow-students, but also that he cooperated closely with representatives of the Nazi academic world. Thus for example Swoboda supported and propagated their ideology of the primacy of art by Germans in the Slavic lands.

CS

Předložená stať poskytuje přehled o materiálech týkajících se historiček/historiků umění narozených na území dnešní České republiky, respektive tam působících příslušníků „Vídeňské školy dějin umění“. Ve vlastním univerzitním archivu se zachovaly jednotlivé spisy o Maxi Eislerovi a Hansi Tietzovi. Archiv spisů o studujících obsahuje materiály o Karlu Biehlolawekovi, P. Hadmaru Antonu Borowanovi, Hedvize Gollobové, Felixi Horbovi, Heinrichu Klapsiovi, Georgu Saikovi, Heinrichu Schwarzovi a Magdě Starkensteinové. Ve sbírce pozůstalostí se nacházejí jednotlivé dokumenty poukazující na aktivity Aloise Riegla, Josefa Strzygowského jakož i Hanse Sedlmayra v Praze i v Brně. Zevrubné výklady jsou věnovány pozůstalostem Wolfganga Kallaba, Oskara von Kutschera-Woborského a Oskara Pollaka. Biografii Maxe Dvořáka můžeme doplnit z vídeňského archivu o informace z jeho raného období. Za zmínku stojí fotografie a dopisy z dětství, upřesnění o průběhu studií v Praze i podklady k zatím neznámému sporu o plagiátorství s berlínským literárním vědcem Konrádem Burdachem v rámci studií české knižní malby. Doklady o činnosti Karla M. Swobody na pražské univerzitě z let 1936–19945 potvrzují shodu s českými kolegy (z dob studií), ale také úzkou kooperaci s reprezentanty nacistické vědy. V tomto duchu i Swoboda hájil a propagoval jejich ideologii o primátu umění Němců ve slovanských zemích.

3

Shakespeare in purgatory: (re)writing the history of the post-war reception

100%

Cetera-Włodarczyk A.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2021

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vol. 24

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issue Special_Issue

17-32

EN

The aim of the essay is to reflect on the current substantial and ethical complexity of the research into the history of Shakespeare reception in the post-war period, both within the Polish national context and, by parallel, within a wider context of post-Communist countries. This refers in particular to the large-scale release of documents, testimonies, and archives which cast light on the operation of Communist authorities in respect of artists and men of letters, revealing a variety of manipulative mechanisms such as censorship or selective patronage. Secondly, the essay proceeds to scrutinise the contents of the Archives of Jan Kott, showcasing the traces of Kott's continuous preoccupation with Shakespeare's themes and productions. The (un)finished projects (such as 1973 Hamlet) elucidate Kott's understanding of history and his compelling ability to endow drama with a contemporary and universal appeal.

4

Splot czasów: Teatr, performans i odtworzenia

100%

Ratajczakowa D.

Pamiętnik Teatralny

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2021

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issue 3(278)

189-202

EN

This article presents the discussion on performance, the archive, and the relations between them, based on Polish translations of Rebecca Schneider’s book Performing Remains: Art and War in Times of Theatrical Reenactment (Routledge 2011; Polish edition: Pozostaje performans, Kraków 2020) and Diana Taylor’s Performance (Duke University Press 2016; Polish edition: Performans, Kraków 2018). The central theme of the article is a reflection on Schneider’s treatment of time and corporeality, which makes it possible to highlight the differences between the approaches to the ontology of performance proposed in the two books.

5

Figuring Atlantic Legacies: Impossible Archives, Missing Histories, Literary Counter-Memories

100%

Iuli C.

Review of International American Studies

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2017

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vol. 10

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issue 1

EN

Cristina IuliUniversità degli Studi del Piemonte Orientale, Dipartimento di Studi UmanisticiFiguring Atlantic Legacies: Impossible Archives, Missing Histories, Literary Counter-MemoriesAbstract: This paper considers how neo- or trans- Atlantic studies conceives of the Atlantic and its legacies in relation to the idea of the archive, that is, of a body of works related to traces of a trans-Atlantic American past, to its principle of organization and analysis for literary studies, and to the critical descriptions of American Cultures in the context of a long trans-Atlantic network. It addresses how recent works on critical race studies and decoloniality, on performativity and memory and on comparative circum-Atlantic spectrality frame an original way to address how the literary imagination challenges the historical voids produced by modern Western amnesia. Keywords: trans-Atlantic; archive; critical memory; American literature

6

Nadarchiwum

100%

Franczak L.

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2018

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vol. 72

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issue 4(323)

316-318

PL

Za każdym razem kiedy jestem w Archiwum, rozmawiam z jego pracownikami o kształcie kolekcji, sposobach jej pozyskania i utrzymywania. Z rozmów tych wyłania się obraz Archiwum, jako miejsca podlegającego ciągłej kreacji przez ludzi je budujących. Decyzje o tym, co pozostawić, czego się pozbyć, jakie materiały umieścić w obszarze pierwszej dostępności, a które schować głęboko w piwnicy, zapadają w wąskim gronie zespołu archiwistycznego składającego się czasem z jednej osoby. Co więcej, im bardziej subiektywny jest to twór, tym bardziej wydaje się być interesujący – nakreślając swą narracją nie tylko ślad wybranego tematu, ale również postać archiwisty, czy twórcy zespołu materiałów. Jest tak np. w wypadku archiwum Mariusza i Karola Tchorków. Dzieje się tak w prywatnych zbiorach, budowanych często z potrzeby chwili, nagłego impulsu, który owocuje wieloletnią pracą przerwaną śmiercią twórcy, która z perspektywy zbioru zawsze wydaje się nagła – pozostawiając rozległe obszary tematyczne nieuporządkowane i niepełne. Całe szczęście jeśli – jak ma to miejsce w wypadku archiwum Tchorków – znajdą się kontynuatorzy dzieła twórcy. Gorzej, gdy archiwum zostanie porzucone. Wtedy czeka je los całkowitego zapomnienia, zmarginalizowania, a w najgorszym wypadku – rozproszenia. Miejsce, które ono wykreowało rozpada się, a pozostałe po nim materiały są jedynie, zawsze niepełnym, śladem utopijnego zamysłu. Rodzajem rejestracji, która wymaga przemyślenia i interpretacji. W toku tej interpretacji i późniejszej nadbudowy tworzy się kolejny byt – coś, co można by nazwać Nadarchiwum.

EN

Each time when I am in the Archive I talk with its staff about the shape of the collection and the ways of obtaining and preserving it. These conversations produce an image of the Archive as a place constantly created by the people establishing it. Decisions about what should be kept and what should be got rid of, what material should be placed in the area of first accessibility and what should be hidden deep in the basement, are made within the narrow group of the archive team, sometimes composed of a single person. In addition, the more subjective the product the more it appears to be interesting - outlining by means of its narration not only a trace of the selected topic but also the archivist or the author of the given complex of material. This is so in the case of, e.g. the archive of Mariusz and Karol Tchorek. This is the also the situation of private collections, often created due to the need of the hour or the outcome of a sudden impulse, which results in years-long work interrupted by the author’s death, which from the perspective of the collection always seems to be unexpected and leaves behind vast thematic realms incomplete and not arranged in order. With good luck - as in the case of the Tchorek archive – someone continues the work of the author. Worse, when the archive becomes abandoned. Then it faces total oblivion, marginalisation, and, in the worse scenario, dispersion. The place, which it created now falls apart and the material left behind is merely a trace, always incomplete, of the utopian conceit, a record of sorts that calls for deliberation and interpretation. In the course of the latter and a subsequent supra-construction there emerges a successive being – something that may be described as the Supra-archive.

7

Kim do diabła jest Mariusz Tchorek?

100%

Krassowski M.

|

2018

|

vol. 72

|

issue 4(323)

99-100

PL

Artykuł wyjaśnia genezę pomysłu na poświęcenie miejsca w „Kontekstach” osobie Mariusza Tchorka – postaci częściowo zapomnianej, twórcy wszechstronnemu i płodnemu, którego dorobek wart jest przypomnienia i ponownego odkrycia. W artykule naszkicowane są rożne dziedziny, w którymi zajmował się Mariusz Tchorek – od krytyki sztuki, poprzez psychologię, aż po tłumaczenia czy filozofię – oraz rysuje strukturę części numeru poświęconej Tchorkowi. Składa się ona z powiązanych ze sobą podrozdziałów, z których każdy naświetla postać Mariusza z innej perspektywy. Pierwsza część poświęcona jest Pracowni przy Smolnej – miejscu pracy Karola Tchorka i szczególnej troski Mariusza. W drugiej części zostaje przedstawiona własna twórczość Mariusza Tchorka z rożnych etapów życia i różnych dziedzin. Znajdują się tam teksty krytyczne, teoretyczne i związane z działalnością terapeutyczną z okresu pracy w Uniwersytecie Wschodniej Anglii. Na część trzecią składają się teksty teoretyczne i osobiste napisane przez znajomych Mariusza oraz przez badaczy z różnych dziedzin, którzy w swojej pracy inspirują się lub zajmują twórczością Tchorka. Integralną częścią numeru są również materiały z stworzonego przez Katy Bental archiwum Mariusza Tchorka, które przy zachowaniu układu pudeł archiwalnych wplecione są pomiędzy inne teksty.

EN

The article explains the origin of the idea of dedicating a fragment of “Konteksty” to Mariusz Tchorek – a partially forgotten versatile and prolific artist, whose oeuvre deserves to be recalled and rediscovered. The article contains an outline of the different domains pursued by Tchorek – from art criticism and psychology all the way to translations or philosophy – and sketches the structure of the part of the “Konteksty” issue about Tchorek composed of connected sub-chapters, each of which casts light on Mariusz from another perspective. The first part is about the Studio in Smolna Street – the place where Karol Tchorek worked and which was the object of Mariusz’s special concern. The second part presents the Mariusz Tchorek oeuvre from assorted stages of his life and domains: critical and theoretical texts and ones associated with the therapy he practised at the time he worked at the University of East Anglia. The last part includes theoretical and personal texts written by Mariusz’s acquaintances as well as researchers representing various disciplines, whose works are inspired by the Tchorek oeuvre or deal with it. An integral part of the issue contains material from the Mariusz Tchorek archive created by Katy Bentall, which, while preserving the configuration of archival boxes, is interwoven with other texts.

8

Szkic o rozdziałach i pudełkach

100%

Krassowski M.

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2018

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vol. 72

|

issue 4(323)

141-145

PL

Artykuł stanowi refleksję nad fenomenem archiwum, w szczególności archiwum Mariusza Tchorka, i relację z pracy nad wyborem materiałów wizualnych do „Kontekstów”. Od początku prac nad numerem jasnym było, że materiały wizualne powinny pochodzić z archiwum, które znajduje się w Pracowni przy ulicy Smolnej w Warszawie. Od początku też, problematyczna była kwestia miejsca archiwum wobec innych materiałów oraz sposobu przestawienia obiektów tak, żeby zachować zarówno ich aspekt wizualny jak i warstwę tekstową. Refleksja splata ze sobą myślenie o archiwum i myślenie o pamiętnikach. W obu wypadkach opracowanie i przedruk mogą powodować wytracenie warstwy wizualnej oryginału i kłaść akcent na tekstowości. Innym aspektem prowadzonych rozważań jest sprawa struktury przedstawienia archiwum w numerze. Wychodząc od paraleli między archiwum a pamiętnikiem czy dziennikiem materiały archiwalne mają być przedrukowane zgodnie z układem pudeł archiwalnych, które są odpowiednikami zeszytów czy rozdziałów w przypadku pamiętników czy powieści.

EN

A reflection on the phenomenon of the archive, and in particular the archive of Mariusz Tchorek, as well as a report on the selection of visual material for “Konteksty”. From the very onset of work on the issue it was obvious that visual material should originate from the archive in Smolna Street in Warsaw. The place of the archive amongst other material was just as apparent as was the manner of arranging the objects so as to preserve both their visual aspect and textual stratum. Reflection binds musings on the archive and the diaries. In both cases editing work and reprints could result in losing the visual stratum of the original and accentuate the textual quality. Another aspect of the conducted reflections is the structure of the archive’s presentation. With the parallel between the archive and a diary or a journal as the point of departure archival material is to be reprinted in accordance with the arrangement of the archive boxes – counterparts of folios or the chapters of diaries or novels.

9

Archiwistyka Jana Riabinina

100%

Magier D.

Historia i Świat

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2012

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issue 1

163-178

EN

Jan Riabinin was a prominent figure of cultural and academic life during the interwar period. He was an outstanding archivist and Polish history enthusiast, fond of the history of his hometown-Lublin in particular. As a documentalist, Riabinin won public acclaim and esteem even despite many obstacles such as foreign origin, disability (deafness) or the peculiar character of archive work, which was far from frequenting social and cultural meetings. However, it was Riabinin’s work that spoke for itself. His whole life was devoted to it. He understood perfectly the primary role that an archivist had to play, which was to combine academic and administrative activities as well as make the society aware of its national heritage. According to the contemporary archival terminology, the latter is known as the popularization of archival sources. Taking into account the biography of this archivist and analysing his job-related interests, the author attempts to find out characteristics of archive studies as defi ned by Jan Riabinin and answer the question whether it is possible to examine Riabinin’s life separately from archive studies

10

Perwersje archiwum

89%

Gajewska A.

Poznańskie Studia Polonistyczne. Seria Literacka

|

2019

|

issue 35

39-53

EN

Perversions of the archive In the article, the author discusses the problematic status of an archival document,taking into account the concepts of perverse historiography and the methodological indicators of the apartheid archive. Documents stored in IPN (Institute of National Remembrance) have been used to show the challenges faced by the people investigating the documents stored there and attempting to unify the material found in the archive. The analysis of Autor Solaris, a 2016 biographical documentary film about Stanisław Lem, is preceded by reflections on the involvement of the archive researchers in politics and their reproductions of clichés and stereotypes about the past, which the author sees as directly leading to blurring and erasing of the victims’ testimonies. In doing so, the author uses critical analyses of the pornographic aspects of the presentation of mass murder victims. Relating to a concept proposed by one of the critics indicating that using archival sources in modern art leads to a mass amnesia, the author points to thedangers of using Nazi propaganda films in contemporary documentary film.

PL

Perversions of the archive In the article, the author discusses the problematic status of an archival document,taking into account the concepts of perverse historiography and the methodological indicators of the apartheid archive. Documents stored in IPN (Institute of National Remembrance) have been used to show the challenges faced by the people investigating the documents stored there and attempting to unify the material found in the archive. The analysis of Autor Solaris, a 2016 biographical documentary film about Stanisław Lem, is preceded by reflections on the involvement of the archive researchers in politics and their reproductions of clichés and stereotypes about the past, which the author sees as directly leading to blurring and erasing of the victims’ testimonies. In doing so, the author uses critical analyses of the pornographic aspects of the presentation of mass murder victims. Relating to a concept proposed by one of the critics indicating that using archival sources in modern art leads to a mass amnesia, the author points to the dangers of using Nazi propaganda films in contemporary documentary film.

11

Неопубликованные мемуары И. И. Пузанова

88%

Tarumova N.

Przegląd Wschodnioeuropejski

|

2014

|

vol. V/1

213-232

EN

Ivan Ivanovich Pusanov (1885-1971) is one of the poets coming back to the literature of the 21st century. The chance to read unpublished memoirs by Ivan Pusanov, the scientist, has attracted my attention to his life, poetry and translations. Ivan Pusanov was quite close to Maximilian Voloshin and George Shengeli, and that friendship helped him to unlock his creative potential. His collections of poems, Wreaths of Sonnets „The Crimea” (1932), „Dat- kal” (1939-1940) and „The Universe” (1951) constitute an essential part of the history of Russian poetry and cannot be disregarded. In his memoirs, Ivan Pusanov tells about the days when he learnt from Maximilian Voloshin how to write wreaths of poems, about his friendship with Shengeli and how it helped him to become a professional translator.

12

Ways of Representing Accumulation: The Archive and the Collection in Jonathan Safran Foer’s Everything is Illuminated and John Fowles’ the Collector

88%

Ada E.

Romanian Journal of English Studies

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2013

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vol. 10

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issue 1

192-198

EN

The paper explores the desire of accumulating in our contemporary society by analysing two processes: that of archiving and that of collecting; and how these are represented in literature, in novels such as Everything is Illuminated, which deals with the preservation of memory through the archive; and The Collector, which brings a different perspective on the act of collecting, namely, the relationship between collecting, possession and fetishism.

13

Ciało jako medium postpamięci

88%

Sajewska D.

Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego

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2015

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issue 4(35)

123-132

EN

In the post‑memory discourse the visual and textual remains – images and narrations – function as the main media connecting the present and the past. Whereas this text concentrates on the meaning of the body as a medium of memory transmission. On the one hand, recalling the corporeal aspects present in Marianne Hirsch’s works, on the other – Rebecca Schneider’s theories placing the question of the body as an archive in the very centre, as well as Alison Landsberg’s concept of prosthetic memories, the author shows how today’s theatre, performance and video art concerned with the issue of the Shoah, try to offer the possibility of the body‑to‑body transmission of history and collective experience.

14

Споменът като архив. Елка Константинова в една недовършена анкета

88%

Александрова Н.

Poznańskie Studia Slawistyczne

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2020

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issue 19

211-227

EN

Elka Konstantinova is a well-known name in Poland. She has defined her work as a lecturer at the Jagiellonian University in Krakow and as a diplomat in Warsaw as an important part of her life. The text presents an unknown and unpublished survey on her memories about her work in Poland and the circumstances of preparing this unfinished survey ment to deal with the question of Konstantinova’s biography and memories.

15

Archiwum w biografii. Biograf/ka w archiwum

88%

Lucyna Marzec L. M.

Poznańskie Studia Polonistyczne. Seria Literacka

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2019

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issue 35

371-391

EN

The article discusses the role of the archive in biographical narrations and the relationship between the biographer and the archive in research practice. It discusses author’s metacomment in contemporary biographies, articles on archive research, memoirs and novels (by A. Y. Kaplan, Ryszard Matuszewski, J. P. Sartre, Monika Rudaś-Grodzka, Joanna Krakowska, Joanna Kuciel-Frydryszak, Olof Lagercrantz and others). A key role in understanding their texts is played by a philological imagination and memory as elements of creating a biography, daily work in the archive and placing the biographer and the archive both in the process of creating knowledge and in the narrative figures.

16

Enzyklopädie des Lodzer Gettos – ein unvollendetes Projekt des Getto-Archivs von 1944

88%

Radziszewska K.

Acta Universitatis Lodziensis. Folia Germanica

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2017

|

issue 13

113-124

EN

The article discusses “The Encyclopedia of the Ghetto”. Created in 1944 in the Łódź ghetto, it is the only text of this kind in the literature of the Holocaust. Its authors were inmates of the Łódź ghetto, hailing from both the city, as well as from the so-called “Old Reich”. They decided to describe the whole community along with its characteristic vocabulary in a form of an encyclopedia. Referring to the introduction by Oskar Rosenfeld dated December 1943, the article presents the idea behind the encyclopedia, its objectives, and its key assumptions. It discusses the structure and construction of entries. Examples have been provided of entries referring to various areas of the ghetto life, with certain entries notably missing from the text, the possible causes of which have been addressed in the article.

DE

–

17

Ženski „glumački tekst”1 i njegova „arhivska groznica”

88%

Čale Feldman L.

Poznańskie Studia Slawistyczne

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2016

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issue 11

55-70

EN

The discussion of the ways one conceives of and reflex upon the procedures of archiving the opus of actresses active in the socialist period represents one of the urging tasks of both theatre studies and feminist criticism in Croatia, given the relative scarcity of interest for this area of research within Croatian theatre academia. This study presents the results of a research done on the work of one of the leading Croatian actresses after WWII, Neva Rošić, which mostly rely on the discourse analysis of theatre reviews, interviews, personal letters, articles written by the actress herself and other media reports on her major successes on the stage. A whole array of sources is thus summoned to corroborate the thesis that the female acting practice in this period, belonging as it does to the poetics of impersonation, could figure as an interesting ground for the analysis of both the issues of female acting authorship, and the cultural construction of gender norms, as well as the means and outcomes of their performative subversion.

18

Of Motion and Emotion: The Mechanics of Endurance in Peter Carey’s The Chemistry of Tears

88%

Šlapkauskaitė R.

Anglica. An International Journal of English Studies

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2017

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issue 26/1

101-118

XX

Guided by Jacques Derrida’s observations about the aporetic logic of the archive, this reading of Peter Carey’s novel The Chemistry of Tears (2012) relies on contemporary philosophical discourse about the human-thing interface to examine the correlations between pra ctices of mourning, memory, and museology as unfolded in the narrative. The central image of an automaton operates as an extended metaphor both for the metafi ctional feat of the novel, and imagination in its broadest sense, wherein we are reminded of the ethical obligations that things, especially technology, call for. Above all, Carey reveals the porosity of the boundaries between organic and inorganic substance, tethering matter to metaphysics, desire to detritus, and the present to the past.

19

Skazani na fikcje? Historia spekulatywna, kontr[f]aktualność i żywe archiwa

88%

Rejniak-Majewska A.

Pamiętnik Teatralny

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2021

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issue 1(277)

179-195

EN

This article discusses two books: Fikcje jako metoda. Strategie kontr[f]aktualne w pisaniu historii, literaturze, sztukach [Fictions as Method: Counter[f]actual Strategies in History Writing, Literature and Arts] (ed. Małgorzata Sugiera, Kraków 2018) and Performanse pamięci w literaturach i sztukach [Performances of Memory in Literatures and Arts] (ed. Mateusz Borowski, Krakow 2020), both of which foreground the theme of counterfactual history and the role of fiction in disarming fossilized, often imposed visions of the past. The author of the article focuses on this problem, referring to the criticism of rhetorical patterns in historical discourse and of its objectivist illusions; nevertheless, she defends the “obligation to truth” as an element of research work. She argues that artistic counterfactual activity constitutes an alternative form of research and discovery, involving different modes of communication and aware of the role of mediatedness. As forms of working with memory, with the past conditioning the present or repressed and forgotten, they broaden and activate historical awareness, enabling a critical revision of social conceptions.

20

Opis kolekcji pasów kontuszowych sporządzony przez Krystynę Potocką

88%

Biedrońska-Słota B.

Studia Wilanowskie

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2019

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vol. XXVI

305-324

EN

The Potocki of Krzeszowice Family Archive held in the National Archives in Krakow contains an inventory of kontush sashes compiled by Krystyna Potocka née Tyszkiewicz (1866-1952). The collection was created by Katarzyna Potocka née Branicka, the wife of Adam (1825-1907), for her son Andrzej. Many sashes came from family possessions; others were gifts from friends or purchases from antique dealers. The collection was first sketchily described by Katarzyna Potocka herself, and then in years 1898-1904 by Andrzej Potocki's wife Krystyna. It was she who compiled a kind of an inventory, with 133 entries written on 135 wide-lined pages of a notebook, one page dedicated to each sash. The description accurately depicts characteristic features of the items, with notes on their size, make, colours, decoration and the state of preservation. Signatures have been meticulously copied and some entries are even accompanied by drawings of the most interesting details, placed besides the signatures.

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