From 71d53d1436bbbeb6cf108056a03baff18890df13 Mon Sep 17 00:00:00 2001 From: Sabine Date: Sat, 15 Jun 2024 11:13:38 +0200 Subject: [PATCH] Update 99_Chronology_of_LipperheideCostumeLibrary_en Signed-off-by: Sabine --- ...Chronology_of_LipperheideCostumeLibrary_en | 65 +++++++++---------- 1 file changed, 31 insertions(+), 34 deletions(-) diff --git a/src/routes/texts/99_Chronology_of_LipperheideCostumeLibrary_en b/src/routes/texts/99_Chronology_of_LipperheideCostumeLibrary_en index fb30b9e3..761a21b3 100644 --- a/src/routes/texts/99_Chronology_of_LipperheideCostumeLibrary_en +++ b/src/routes/texts/99_Chronology_of_LipperheideCostumeLibrary_en @@ -1,8 +1,8 @@ --- -title: Chronology, sources and archival documents +title: Chronology of the Lipperheide paintings collection color: "red" author: Sabine de Günther -isPublic: false +isPublic: true lang: en description: "The genesis of the collection of paintings, its presentation, its evacuation in 1934, its division into East and West and its reunification are summarised here in chronological order. The lack of reception of the collection is not only due to the history of German division. More than 80 years of storage in various depots, interim removals, returns and a lack of resources in the post-war years also resulted in damage and partial loss of the substance of individual paintings, as can be seen from the security patches." cover: "https://uclab.fh-potsdam.de/refa-catalog/files/large/c70c26ab79548a46066efc31bf517afc08127c66.jpg" @@ -26,11 +26,11 @@ On 7 March 1890, the following letter was sent to Emperor Wilhelm II: > I, the undersigned, hereby take the liberty of respectfully submitting the following information to Your Excellency. I am the owner of a costume collection which currently contains the following items: > 675 oil and other paintings; 115 miniatures together with portraits in wax etc., 1250 sheets of drawings; 14,918 sheets of engravings etc.; 1378 photographs; books: 2997 works with 4428 volumes; 101 calendars and almanacs with 569 volumes; 144 fashion magazines with 1551 volumes; 59 costume figures. See the [full letter here](item/6111). -Their donation stipulated that the collection be made a permanent part of the Kunstgewerbemuseum Berlin as a publicly accessible reference library, which was realised in 1905 with the opening of the [Lipperheide Costume Library in Prinz-Albrecht-Straße 7](set/48551). At the initiative of Peter Jessen, the director of the library, and in accordance with a decree of the Ministry of Culture [^27 May 1924], the library was re-named Staatliche Kunstbibliothek (State Art Library) in 1924 with the explanatory addition "formerly the library of the Museum of Decorative Arts". The library was subsequently separated from the Museum of Decorative Arts and is still part of the Kunstbibliothek Berlin today. +Their donation stipulated that the collection be made a permanent part of the Kunstgewerbemuseum Berlin as a publicly accessible reference library, which was realised in 1905 with the opening of the [Lipperheide Costume Library in Prinz-Albrecht-Straße 7](set/48551). At the initiative of Peter Jessen, the director of the library, and in accordance with a decree of the Ministry of Culture [^27 May 1924], the library was re-named Staatliche Kunstbibliothek (State Art Library) in 1924 with the explanatory addition "formerly the library of the Kunstgewerbemuseum" (Museum of Decorative Arts). The library was subsequently separated from the Kunstgewerbemuseum and is still part of the Kunstbibliothek Berlin today. ## The paintings collection and its presentation The first public exhibition of the collection dates back to autumn 1896, when Franz von Lipperheide made the holdings, which were intended as a donation, accessible to the public in the Berlin residential and publishing house at Potsdamer Straße 38 (now Potsdamer Straße 96). -Two years after the first presentation of the collection, it was donated to the Prussian state in 1898 and transferred to the Museum of Decorative Arts with its associated library. Before it was installed there, an interim solution was found at Flottwellstraße 4 and opened to the public on weekdays from 10 a.m. to 1 p.m. and on Tuesday and Friday afternoons from 6 p.m. to 8 p.m. [^Cf. Jessen 1900a, Sp. XVI]. -In March 1900, the courtyard of the Museum of Decorative Arts was converted into a showroom for the prints from the Lipperheide donation. The prints were presented on display walls and the tomes in showcases. +Two years after the first presentation of the collection, it was donated to the Prussian state in 1898 and transferred to the Kunstgewerbemuseum with its associated library. Before it was installed there, an interim solution was found at Flottwellstraße 4 and opened to the public on weekdays from 10 a.m. to 1 p.m. and on Tuesday and Friday afternoons from 6 p.m. to 8 p.m. [^Cf. Jessen 1900a, Sp. XVI]. +In March 1900, the courtyard of the Kunstgewerbemuseum was converted into a showroom for the prints from the Lipperheide donation. The prints were presented on display walls and the tomes in showcases. The establishment of a dedicated [room for the Lipperheide Costume Library](set/48551) in the annexe building next to the Martin-Gropius-Bau, which opened in autumn 1905, marked a turning point, as a permanent arrangement was established here for the first time. The large ["hall of the Lipperheide Reading Room"](item/17693) was reserved solely for the collection of vestimentary sources and was divided into six sections equipped with [reading tables, electric lighting and bookcases](item/18718). Around 300 oil paintings were arranged above the bookcases and on the [walls](item/18720). They adorned the walls of the study room in the style of a St Petersburg hanging. The miniatures, on the other hand, were integrated into the collection cabinets on green plafonds, as the preserved [example](item/650) still shows. Paintings were also distributed throughout the hall, the foyer and the adjoining rooms; some pictures were considered reserve pictures and were kept in library rooms. Strategies of semantisation, knowledge ordering or specific educational objectives are not discernible in this arrangement. @@ -38,7 +38,7 @@ Around 300 oil paintings were arranged above the bookcases and on the [walls](it ## Genesis, presentation and storage of the paintings and miniatures ### **1867: The German Crafts Museum in Berlin** The *German Crafts Museum in Berlin* (Deutsche Gewerbe-Museum zu Berlin) was founded on 5 August 1867** on the initiative of the association of the same name. Exhibits from the Paris World Exhibition were purchased for the museum in the same year it was founded. The first collection rooms were opened on 17 April 1868 at the interim location in Georgenstraße/Stallstraße, today's Universitätsstraße, in the former *Gropius'schen Diorama*. The *school* associated with the museum opened on 12 January 1868** with 230 pupils. -**1872** marked a turning point for the *German Crafts Museum*: under the patronage of the Crown Prince and his wife, an exhibition of arts and crafts artefacts from the collection and from royal and bourgeois lenders was shown at a high-profile venue, the Berlin Zeughaus. The former exhibition assistant **[Julius Lessing](item/18818)** was appointed director of the *German Crafts Museum*. Financial support from the government made it possible to erect a new building and thus create a permanent home for the museum. Martin Gropius and Theodor Schmieden were responsible for planning the building, the foundations were laid in 1877 and on 21 September 1881** the museum, which had been run as the *Museum of Arts and Crafts* (Kunstgewerbemuseum) since 1879, was ready to move into its new premises in the Martin-Gropius-Bau in today's Niederkirchner Straße. The architecture united the teaching establishment, the library and the applied arts collections. +**1872** marked a turning point for the *German Crafts Museum*: under the patronage of the Crown Prince and his wife, an exhibition of arts and crafts artefacts from the collection and from royal and bourgeois lenders was shown at a high-profile venue, the Berlin Zeughaus. The former exhibition assistant **[Julius Lessing](item/18818)** was appointed director of the *German Crafts Museum*. Financial support from the government made it possible to erect a new building and thus create a permanent home for the museum. Martin Gropius and Theodor Schmieden were responsible for planning the building, the foundations were laid in 1877 and on 21 September 1881** the museum, which had been run as the *Museum of Arts and Crafts* (Kunstgewerbemuseum) since 1879, was ready to move into its new premises in the Martin-Gropius-Bau in today's Niederkirchner Straße. The architecture united the school, the library and the applied arts collections. ### 1890–1892: Donations negotiations In a letter dated **7 March 1890** to Emperor Wilhelm II, Franz von Lipperheide formulated his intention to give to the state "675 oils and other paintings; 115 miniatures together with portraits in wax etc". Since the beginning of that year, he had been negotiating with the royal family about the modalities of donating his collection. The last record in his travel expense book for this collection is dated 22 June 1892; for the same year, the Imperial Ministry of Finance accepted the donation of Lipperheide's costume library and paintings collection by legal act. The deed of donation was signed by Franz and Frieda von Lipperheide on **19 March 1892**. ### 1896–1906: Temporary presentation @@ -46,57 +46,57 @@ An initial interim presentation of the future donations could be viewed and used The obligation associated with the donation to make the holdings accessible to the public prompted the *Kunstgewerbemuseum* to rent premises for the costume library at Flottwellstraße 4. The book and print collection could be viewed there from **1 October 1899**, while the paintings remained in the publishing house. ### Berlin Art Exhibition In 1901, Emil Doepler's [Portrait of a woman in a dark dress and feathered hat](item/618) from the Lipperheide collection of donations was shown at the *Grosse Berliner Kunstausstellung*, which had been held annually since 1893 [^Grosse Berliner Kunstausstellung vom 4. Mai bis 29. September im Landes-Ausstell-Gebäude am Lehrter Bahnhof, Grosse Berliner Kunstausstellung 1901, p. 15, no. 242; ill. p. 152. Online: http://www.digishelf.de/objekt/71859374X-1901/27/]. -### 1905–1934: Installation in the annexe to the Museum of Decorative Arts -The donation was linked to the permanent presentation of the collection, for which the *Museum of Decorative Arts* was to provide space. The *Martin-Gropius-Bau* did not provide sufficient room for either the museum's own constantly growing library or the additional *Lipperheide Costume Library*. The decision was therefore taken to commission an adjoining extension, which was planned and executed by the architect *Oskar Hossfeld (1848-1915)*. In **autumn 1905**, the libraries of the *Museum of Decorative Arts* and the *Lipperheide Costume Library* were moved into the [rooms](set/48551) in the completed [extension](media/48639). The director of the library was **[Peter Jessen](item/18769)**; the architect **Bruno Paul** was appointed director of the *teaching establishment* in 1906.[^The staffing at the opening was as follows: For the library: director: Dr Jessen; assistant directors: Professor Dr Loubier, Dr. Doege (costume library); secretary: Rupp; administrators: Ziethen, Kluge, Wieynk, Wiedemann; material collection: Falkenberg. For the teaching establishment: Director (acting): Prof Mohn (Director of the Royal Art School); Assistant Director: Fendler]. +### 1905–1934: Installation in the annexe to the Kunstgewerbemuseum +The donation was linked to the permanent presentation of the collection, for which the *Kunstgewerbemuseum * was to provide space. The *Martin-Gropius-Bau* did not provide sufficient room for either the museum's own constantly growing library or the additional *Lipperheide Costume Library*. The decision was therefore taken to commission an adjoining extension, which was planned and executed by the architect *Oskar Hossfeld (1848-1915)*. In **autumn 1905**, the libraries of the *Kunstgewerbemuseum * and the *Lipperheide Costume Library* were moved into the [rooms](set/48551) in the completed [extension](media/48639). The director of the library was **[Peter Jessen](item/18769)**; the architect **Bruno Paul** was appointed director of the *Unterrichtsanstalt* in 1906.[^The staffing at the opening was as follows: For the library: director: Dr Jessen; assistant directors: Professor Dr Loubier, Dr. Doege (costume library); secretary: Rupp; administrators: Ziethen, Kluge, Wieynk, Wiedemann; material collection: Falkenberg. For the school: Director (acting): Prof Mohn (Director of the Royal Art School); Assistant Director: Fendler]. ### 1909/1910: Bequests of Franz and Frieda von Lipperheide The donation from 1892 was only part of a larger collection that the couple had kept in their possession. Frieda von Lipperheide had already died in **1896**. After Franz von Lipperheide's death in **1906**, four auctions were organised from the remaining collection at the auction house [Hugo Helbing](item/18765) in Munich in the years **1909 and 1910**: [oil paintings, textiles, weapons and bronzes](item/7802). ### 1916: Fashion exhibition In 1915, fashion journalist Julie Elias and Ernst Friedmann, architect and owner of the Hohenzollern arts and crafts house Friedmann & Weber, attempted to establish a *Berlin Fashion Museum* (Berliner Moden-Museum) and founded the *Fashion Museum Association Berlin* (Verein Moden-Museum e.V. Berlin) for this purpose in the same year. To promote their idea, they organised a *fashion exhibition* in Ermelerhaus at Breite Strasse 11 in **November 1916** [^Heinrich Doege: Führer durch die Ausstellung 200 Jahre Kleiderkunst 1700-1900 im Ermelerhaus, Breite Strasse Nr. 11. Nov. 1916 - Januar 1917, Berlin, 1916]. ### 1916 onwards: Use of the reading room as a military hospital during the First World War -The library premises were converted into a military hospital during the **First World War**. On 3 January 1919, library director Peter Jessen and Privy Councillor Otto von Falke, Director of the Museum of Decorative Arts, sent a [notification](item/18767) to the General Administration of the Royal Museums requesting that funds be made available for the restoration of the library. +The library premises were converted into a military hospital during the **First World War**. On 3 January 1919, library director Peter Jessen and Privy Councillor Otto von Falke, Director of the Kunstgewerbemuseum , sent a [notification](item/18767) to the General Administration of the Royal Museums requesting that funds be made available for the restoration of the library. ### 1921: Separation of premises -At the end of 1920, the museum objects of the *Museum of Decorative Arts* were transferred to the Berlin City Palace and the unity of the library, *Museum of Decorative Arts* and *Teaching Institute* was dissolved. The *Teaching Establishment* also left its location at Prinz-Albrecht-Straße 7a in 1924/25. Only the Museum of Decorative Arts' library remained in the northern wing of the extension building [^For cost reasons, the educational establishment merged with the Academic College of Fine Arts under the new name United State Schools of Fine and Applied Arts/Vereinigte Staatsschulen für freie und angewandte Kunst]. +At the end of 1920, the museum objects of the *Kunstgewerbemuseum * were transferred to the Berlin City Palace and the unity of the library, *Kunstgewerbemuseum* and *Unterichtsanstalt* (Teaching Institute) was dissolved. The *Unterrichtsanstalt* also left its location at Prinz-Albrecht-Straße 7a in 1924/25. Only the Kunstgewerbemuseum library remained in the northern wing of the extension building [^For cost reasons, the educational establishment merged with the Academic College of Fine Arts under the new name United State Schools of Fine and Applied Arts/Vereinigte Staatsschulen für freie und angewandte Kunst]. ### 1924: Renaming -At the instigation of Peter Jessen and in accordance with the decree of the Ministry of Culture of 27 May 1924**, the library was renamed the *Staatliche Kunstbibliothek* (State Art Library) with the explanatory addition "formerly the Library of the Museum of Decorative Arts". +At the instigation of Peter Jessen and in accordance with the decree of the Ministry of Culture of 27 May 1924**, the library was renamed the *Staatliche Kunstbibliothek* with the explanatory addition "formerly the Library of the Kunstgewerbemuseum ". ### 1933: Bequest of Elisabeth von Lipperheide The bequest of Elisabeth von Lipperheide, the second wife of Franz von Lipperheide, was also administered by [Hugo Helbing](item/18765) and auctioned off in the [1933 auction](https://doi.org/10.11588/diglit.5761). ### 1934: Occupation of the building by the Gestapo -The *Geheime Staatspolizeiamt (Gestapo)* claimed the annex at Prinz-Albrecht-Straße 7a as its [headquarters](media/48641) in **1934**. Hermann Schmitz](item/18817)*, who had been appointed director of the art library in 1933, had already adapted his acquisition policy and public relations work to the demands of the Nazi regime. Under the pretext of state defence and state security in the course of the Roehm coup, the eviction of the library building was enforced in July 1934. The [relocation](media/48643) to the Martin-Gropius-Bau took place in the night of **3 to 4 July 1934** and was completed in the morning. The book and print collections as well as the Lipperheide [painting collection](media/48642) were relocated to the atrium of the Martin-Gropius-Bau. +The *Geheime Staatspolizeiamt (Gestapo)* claimed the annex at Prinz-Albrecht-Straße 7a as its [headquarters](media/48641) in **1934**. Hermann Schmitz](item/18817)*, who had been appointed director of the Kunstbibliothek in 1933, had already adapted his acquisition policy and public relations work to the demands of the Nazi regime. Under the pretext of state defence and state security in the course of the Roehm coup, the eviction of the library building was enforced in July 1934. The [relocation](media/48643) to the Martin-Gropius-Bau took place in the night of **3 to 4 July 1934** and was completed in the morning. The book and print collections as well as the Lipperheide [painting collection](media/48642) were relocated to the atrium of the Martin-Gropius-Bau. ### Security measures at the beginning of the war As early as **1934**, the museum and library directors were asked to draw up priority lists for their holdings, organised according to two value groups, and to record the items to be salvaged in the event of an air raid. The list compiled by *[Carl Koch](item/18788)* mentions no paintings from the Lipperheide costume library, but 854 sources of texts on traditional costumes and ceremonies in the first value group and a further 668 volumes in the second category;[^These were: "Lipp 845 vols. (general costume works up to the 18th century, criers, China, Japan, carving books, bite books, festivities)" and "Lipp 668 vols. (genealogical books, France 16th-18th century), caricatures". In: SMB-ZA, Goldmann 4.1.2, KB, p. 1. History of the relocation of the holdings of the former Staatl. Kunstbibliothek and the former Zentralbibliothek, Berlin] a group which, however, he removed from the priority list after a request to reduce its size. As the Lipperheide paintings, with one exception, are not noted in the evacuation, salvage or restitution files, it can be assumed that they remained in Berlin during the war - with a few exceptions - or had already been relocated to the Museum Island by this time. From a letter from the painting restorer *[Dr Johann Hell](item/18820)* dated **27 September 1935** it can be seen that the condition of the Lipperheide paintings had been examined. The indication that these paintings had to be immediately and carefully transferred to the workshop of the assistant restorer Teichler at the *[Kaiser-Friedrich-Museum](item/18781)*, today's *Bode-Museum*, suggests that the paintings were already stored on the Museum Island in 1935. In a [reply letter dated 2 October 1935](item/18816), signed by *[Hermann Schmitz](item/18817)*, the library director thanks the restorer Johann Hell and commissions the proposed measures. As early as October 8 of the same year, assistant restorer Teichler confirms the [receipt of the oil paintings to be restored](item/18824): "Four altarpieces with Saints Andrew, John etc.; gilded wood carving on the front, painted on the back (Passion scenes etc.)" and "An oil painting, Brueghel school (peasant dance)." ### Library use during the Second World War -From **January 1936**, the *Art Library* and with it the *Lipperheide Costume Library* were once again open on weekdays from 09:00 to 21:00 and made their collections available in the atrium of the Martin-Gropius-Bau. However, due to bomb damage and fighting during the capture of Berlin, it was impossible to continue operating the library as of **May 1944**. +From **January 1936**, the *Kunstbibliothek* and with it the *Lipperheide Costume Library* were once again open on weekdays from 09:00 to 21:00 and made their collections available in the atrium of the Martin-Gropius-Bau. However, due to bomb damage and fighting during the capture of Berlin, it was impossible to continue operating the library as of **May 1944**. ### 1939ff: Removals and relocations during the Second World War -Directly at the beginning of the Second World War on **1 September 1939**, the museums closed to the public. The preventive and rescue measures for around 40 museums in Berlin were resumed in 1939, under the responsibility of the directors of the individual museums. From **September 1939**, outstanding holdings of the Art Library were packed into 160 crates and secured in the basement of the neighbouring Martin-Gropius-Bau. At the beginning of 1940, the holdings of the Museum of Prints and Drawings, the Museum of Decorative Arts (in the City Palace), the Art Library and the Zeughaus were moved to the new Coin Office. The Lipperheide painting collection was left out, as it was not categorised as part of the so-called high-quality holdings. -**In 1941**, the atrium of the Museum of Decorative Arts was also cleared of the holdings of the Art and Costume Library. On 19 November 1942, the Art Library reported that a quarter of Lipperheide's book collection and some of the other books had been salvaged[^Cf. de Günther 2020, p. 191] No document has survived of the salvage of Lipperheide's painting collection outside Berlin. It is difficult to reconstruct the exact locations of individual objects in the collection during the war years[^Klaus Goldmann, who together with Beate Wild researched the salvage and repatriation history of the museums in 1986 and 1987, locates the Lipperheide paintings in three different storage locations in his overview. Some of the paintings were taken to the Pergamonmuseum, but this was not specified, while other paintings remained in the basement of the Martin-Gropius-Bau at Prinz-Albrecht-Straße 7. He locates the miniatures at a site which he describes with the abbreviation "SPf", but which he does not resolve]. After the division of Germany, the paintings remained in the East on the Museum Island. There, Lipperheide's paintings were stored on shelves numbered from 1 to 15 and reaching up to the ceiling. As can be seen from various [location lists of the time](set/48645), the smaller paintings were stored in baskets. -A letter by Paul Ortwin Rave from **January 1960**, which describes the measures taken to return the miniatures from the University of Tübingen's depot, provides information on the whereabouts of the miniatures. The artworks had arrived in the university city via various salvage centres in Baden-Württemberg [^Rave names 142 miniatures, packed in groups in cardboard boxes, as well as 20 miniatures or paintings remaining in the art library. He puts the number of paintings on the Museum Island at 352, based on a photo file available to him. Klaus Goldmann identified the return lists of the works removed from Tübingen. He assigned the boxes numbered 43/298 to 43/341 to the Art Library and the State Library. Boxes 43/378 to 43/383 contained the Lipperheide miniatures. The first digit of the numbering indicates the year of salvage]. +Directly at the beginning of the Second World War on **1 September 1939**, the museums closed to the public. The preventive and rescue measures for around 40 museums in Berlin were resumed in 1939, under the responsibility of the directors of the individual museums. From **September 1939**, outstanding holdings of the Kunstbibliothek were packed into 160 crates and secured in the basement of the neighbouring Martin-Gropius-Bau. At the beginning of 1940, the holdings of the Kupferstichkabinett (Museum of Prints and Drawings), the Kunstgewerbemuseum (in the City Palace), the Kunstbibliothek and the Zeughaus were moved to the new Coin Office. The Lipperheide painting collection was left out, as it was not categorised as part of the so-called high-quality holdings. +**In 1941**, the atrium of the Kunstgewerbemuseum was also cleared of the holdings of the Art and Costume Library. On 19 November 1942, the Kunstbibliothek reported that a quarter of Lipperheide's book collection and some of the other books had been salvaged[^Cf. de Günther 2020, p. 191] No document has survived of the salvage of Lipperheide's painting collection outside Berlin. It is difficult to reconstruct the exact locations of individual objects in the collection during the war years[^Klaus Goldmann, who together with Beate Wild researched the salvage and repatriation history of the museums in 1986 and 1987, locates the Lipperheide paintings in three different storage locations in his overview. Some of the paintings were taken to the Pergamonmuseum, but this was not specified, while other paintings remained in the basement of the Martin-Gropius-Bau at Prinz-Albrecht-Straße 7. He locates the miniatures at a site which he describes with the abbreviation "SPf", but which he does not resolve]. After the division of Germany, the paintings remained in the East on the Museum Island. There, Lipperheide's paintings were stored on shelves numbered from 1 to 15 and reaching up to the ceiling. As can be seen from various [location lists of the time](set/48645), the smaller paintings were stored in baskets. +A letter by Paul Ortwin Rave from **January 1960**, which describes the measures taken to return the miniatures from the University of Tübingen's depot, provides information on the whereabouts of the miniatures. The artworks had arrived in the university city via various salvage centres in Baden-Württemberg [^Rave names 142 miniatures, packed in groups in cardboard boxes, as well as 20 miniatures or paintings remaining in the Kunstbibliothek. He puts the number of paintings on the Museum Island at 352, based on a photo file available to him. Klaus Goldmann identified the return lists of the works removed from Tübingen. He assigned the boxes numbered 43/298 to 43/341 to the Kunstbibliothek and the State Library. Boxes 43/378 to 43/383 contained the Lipperheide miniatures. The first digit of the numbering indicates the year of salvage]. ### 1944: Closure of the library -The bombing raids of **November 1943** damaged the museums in Prinz-Albrecht-Straße, i.e. the Ethnological Museum and the former Museum of Decorative Arts. In **March 1944**, *[Wolfgang Bruhn](item/18791)* reported [four paintings damaged during an air raid](item/18815) from the Lipperheide Collection. The severe damage to the building meant that the reading rooms at Prinz-Albrecht-Straße 7 had to be closed in May 1944. +The bombing raids of **November 1943** damaged the museums in Prinz-Albrecht-Straße, i.e. the Ethnological Museum and the former Kunstgewerbemuseum . In **March 1944**, *[Wolfgang Bruhn](item/18791)* reported [four paintings damaged during an air raid](item/18815) from the Lipperheide Collection. The severe damage to the building meant that the reading rooms at Prinz-Albrecht-Straße 7 had to be closed in May 1944. ### 1945–1949: Storage damages In **May 1949**, over 300 paintings from the Lipperheide collection were relocated to the former [crate room of the Kaiser-Friedrich-Museum](item/18812). The most serious damage to the Museum Island, and thus also to the *[Kaiser-Friedrich-Museum](item/18781)*, was caused by the attack on the 5th of February 1945. This may have had an influence on the condition of the Lipperheide paintings, which were stored in the [depots](item/18812)[^The reclaim letters permit such an indirect conclusion. There are no files on the transfer of the paintings to the Museum Island. The first post-war cleaning of the collection of paintings on the Museum Island is documented for November 1945]. Bomb damages and artillery hits on the *[Kaiser-Friedrich-Museum](item/18781)* caused downpours of rain to reach the ground floor and cellars. The water damage [visible on the Lipperheide paintings](set/48646) may have been caused by this. There is also evidence of a flood in the spring of 1946. ### 1945: Division among the Allies after the end of the war Berlin surrendered on **2 May 1945**. The comprehensive occupation[^On 4 April, the village of Merkers (Röhn) with the nearby Kaiseroda mine, the Hattorf mine and the Ransbach shaft had already been occupied by the Americans. Eight days later, on 12 April 1945, the American army also occupied the area not far from the Grasleben salt mine near Helmstedt and the Schönebeck salt mine on the Elbe near Magdeburg]. Germany's occupation by the Allies naturally led to property difficulties and loss of control over the storage sites after the end of the war.[^In the course of the fighting, the museums in Prinz-Albrecht-Straße and Saarlandstraße (Stresemannstraße) were occupied by Russian troops on 1 May 1945 and on the following day (the surrender) also the Museum Island, i.e. the Kaiser-Friedrich-Museum, Pergamon, Neues Museum, Altes Museum and the Nationalgalerie. As the city was divided into four sectors, the museum buildings came under American, Soviet and British administration. -From 7 May 1945 onwards, deportations took place, including those of holdings from Prinz-Albrecht-Straße. They lasted until the first week of June, stopped briefly and began again in December 1945. The Art Library was not affected by the removals, but the cellars and storerooms of the Museum Island were. No report on this has survived. In the further course of events, the museum buildings were divided up to the Western powers, in this case the American troops]. After the end of the war, problems of competence and ownership dominated in the museums, as well as storage problems resulting from the destroyed museum buildings. +From 7 May 1945 onwards, deportations took place, including those of holdings from Prinz-Albrecht-Straße. They lasted until the first week of June, stopped briefly and began again in December 1945. The Kunstbibliothek was not affected by the removals, but the cellars and storerooms of the Museum Island were. No report on this has survived. In the further course of events, the museum buildings were divided up to the Western powers, in this case the American troops]. After the end of the war, problems of competence and ownership dominated in the museums, as well as storage problems resulting from the destroyed museum buildings. Cultural property seized by the British, French and American Allies was transferred to the British "Depository" in Celle, the French site in Tübingen and the American Central Collecting Point in Marburg and Wiesbaden respectively, before being handed over to a German trustee administration in 1949. ### 1949 onwards: Berlin, the divided city and twin museums As a result of the division of Germany, the collections of the Berlin museums were also divided. The Prussian collections remaining in the Federal Republic of Germany and West Berlin were transferred **1957** to the newly founded *[Stiftung Preußischer Kulturbesitz](item/7261)*, thus opening the way for works to be returned to Berlin. For the divided city of Berlin, with its unclear administrative and security situation, the repatriation of the collection holdings, especially to the West Berlin part, was difficult to resolve. The collections in the East part of Berlin or, for example, the paintings from the painting gallery transferred to Wroclaw and Gdansk had initially been confiscated under Soviet occupation and then taken elsewhere. Restitution to the museums of the GDR, or more precisely the "handover of 1.5 million works of art" by the USSR, took place in 1958 and 1959, after which the restitution was considered complete. One last major restitution, which was kept secret, took place between 1977 and 1978. -In the summer of 1945, the holdings of the art library initially remained in their temporary home, the Martin-Gropius-Bau, where the reading room was also set up]. +In the summer of 1945, the holdings of the Kunstbibliothek initially remained in their temporary home, the Martin-Gropius-Bau, where the reading room was also set up]. ### 1945/46: Central Collecting Point The US military government's art collecting centre was set up as a *Central Collecting Point* in Marburg two weeks after Germany's surrender in order to secure highly endangered paintings from the Haina mine near Siegen. The works of art were to be gathered and catalogued in an effort to protect them so that they could later be returned to their rightful owners. The Marburg collection centre only existed between May 1945 and August 1946 and was replaced by the Central Collecting Point in Wiesbaden after its dissolution. At least two works from the Lipperheide painting collection were transferred to Marburg and were administered at the *Central Collecting Point*. This applies to the painting *[Flight to Egypt](item/546)*, a painting [photographically recorded there](https://www.bildindex.de/media/obj00001531/fm191510) in 1946. The same applies to the *[Portrait of Tobias Jobst](item/128)* by Hans Plattner, also [photographically documented](https://www.bildindex.de/media/obj02558064/gg3200_052). ### 1946–1958: The art storage centre at Celle Castle -After the war ended, work also began on securing works of art from the Schönebeck and Magdeburg salt mines and transferring them to the British-administered *Kunstgutlager Schloss Celle*. These included extensive holdings of the art library, which had been stored at Celle Castle since the spring of 1946, but were limited to prints and books. +After the war ended, work also began on securing works of art from the Schönebeck and Magdeburg salt mines and transferring them to the British-administered *Kunstgutlager Schloss Celle*. These included extensive holdings of the Kunstbibliothek, which had been stored at Celle Castle since the spring of 1946, but were limited to prints and books. ### 1949 onwards: Safekeeping and preservation of the Lipperheide paintings -At an unknown date after the removal from the extension building at Prinz-Albrecht-Straße 7a **in 1934 and before 25 March 1949**, the Lipperheide collection items were moved to the basement of the former *German Museum* together with the holdings of the Art Library. Here, the library director of the Art Library (West)*[Carl Koch](item/18788)* estimates 42 pictures from the Lipperheide costume library in the Egyptian department and around 310 pictures in a basement room of the *German Museum*. This is documented by a [letter from Carl Koch](item/7811) to Ludwig Justi, Director General of the Staatliche Museen zu Berlin (East). -A series of [notes, letters and activity reports](set/48647) on these and other object movements on the Museum Island, especially the Pergamon Museum, have survived. With a request for careful storage and preservation, especially of the Lipperheide paintings, Koch wrote to Justi: ["These are objects that were relocated to the deep basement rooms during the war and are now scattered around."](item/7811). This was preceded by a [short letter dated 27 July 1948 from Rudolf Anthes](item/18795), an employee of the Egyptian Department, to Carl Koch with a request to store the collection objects and the furniture of the Art Library elsewhere in order to free up space for the Egyptian Department. **In 1950**, the Lipperheide collection of paintings, consisting of 316 paintings, became part of the collection of the Picture Gallery (Gemäldegalerie). The Picture Gallery was only capable of exercising a purely custodial function, but the reports for 1949 and 1950 speak of ongoing safeguarding measures [^For the period from 15 November 1949 to 15 January 1950, as well as for the following reporting periods up to 14 September 1950, ongoing safeguarding measures are documented. Ongoing conservation measures are documented, such as the cleaning and restoration by the restorer Hans Böhm and the carpenter Hentschel for the frames, as well as renewed inspections in February and March 1950. In June and July 1950, photographic recording of the Lipperheide painting collection began. According to the work report, the cleaning of the works and photographic recording continued until mid-September 1950. At the same time, a picture card index was created and the 315 paintings were given new inventory numbers]. -In **August 1951**, around 315 paintings from the Lipperheide collection were transferred from the wood restoration studio of Mr Schrön's sculpture collection to the [Teichler workshop](item/18794) of the Picture Gallery. -In the course of repatriating the cultural assets confiscated by the Russian armed forces to the Picture Gallery (East) and examining the possibilities for accommodating these holdings, curator Irene Geismeier recalled that a room on the upper floor of the Bodemuseum was converted into a storeroom and furnished to house the canvas paintings from the Picture Gallery collection. At the same time, Geismeier mentions the paintings owned by Franz von Lipperheide, thus proving that 315 paintings were located on the Museum Island: +At an unknown date after the removal from the extension building at Prinz-Albrecht-Straße 7a **in 1934 and before 25 March 1949**, the Lipperheide collection items were moved to the basement of the former *German Museum* together with the holdings of the Kunstbibliothek. Here, the library director of the Kunstbibliothek (West)*[Carl Koch](item/18788)* estimates 42 pictures from the Lipperheide costume library in the Egyptian department and around 310 pictures in a basement room of the *German Museum*. This is documented by a [letter from Carl Koch](item/7811) to Ludwig Justi, Director General of the Staatliche Museen zu Berlin (East). +A series of [notes, letters and activity reports](set/48647) on these and other object movements on the Museum Island, especially the Pergamon Museum, have survived. With a request for careful storage and preservation, especially of the Lipperheide paintings, Koch wrote to Justi: ["These are objects that were relocated to the deep basement rooms during the war and are now scattered around."](item/7811). This was preceded by a [short letter dated 27 July 1948 from Rudolf Anthes](item/18795), an employee of the Egyptian Department, to Carl Koch with a request to store the collection objects and the furniture of the Kunstbibliothek elsewhere in order to free up space for the Egyptian Department. **In 1950**, the Lipperheide collection of paintings, consisting of 316 paintings, became part of the collection of the Gemäldegalerie. It was only capable of exercising a purely custodial function, but the reports for 1949 and 1950 speak of ongoing safeguarding measures[^For the period from 15 November 1949 to 15 January 1950, as well as for the following reporting periods up to 14 September 1950, ongoing safeguarding measures are documented. Ongoing conservation measures are documented, such as the cleaning and restoration by the restorer Hans Böhm and the carpenter Hentschel for the frames, as well as renewed inspections in February and March 1950. In June and July 1950, photographic recording of the Lipperheide painting collection began. According to the work report, the cleaning of the works and photographic recording continued until mid-September 1950. At the same time, a picture card index was created and the 315 paintings were given new inventory numbers]. +In **August 1951**, around 315 paintings from the Lipperheide collection were transferred from the wood restoration studio of Mr Schrön's sculpture collection to the [Teichler workshop](item/18794) of the Gemäldegalerie. +In the course of repatriating the cultural assets confiscated by the Russian armed forces to the Gemäldegalerie (East) and examining the possibilities for accommodating these holdings, curator Irene Geismeier recalled that a room on the upper floor of the Bodemuseum was converted into a storeroom and furnished to house the canvas paintings from the Gemäldegalerie collection. At the same time, Geismeier mentions the paintings owned by Franz von Lipperheide, thus proving that 315 paintings were located on the Museum Island: > A special small depot is also planned for the paintings from the Lipperheide costume collection, which are currently still inadequately housed in the large wood workshop. A number of paintings that have returned from the Soviet Union and whose owners could not be identified have been stored in a cellar of the Pergamonmuseum. These are mainly portraits of princely personalities and portraits of officers [^Irene Geismeier: Gemäldegalerie Forschungen und Berichte (1)1957-(31)1991, 3/4 (1961), p. 163]. -### 1947/1953: Opening of the Art Library in Berlin (West) -By the end of 1945**, the Art Library had been reopened in the purpose-built library building at Prinz-Albrecht-Straße 7a. *Albert Boeckler](item/18789)*, library director from 1942 to 1947, set up a temporary reading room in the basement. After a brief interim solution at the new location in the western part of the city, in the northern pavilion of the Dahlem museum building at Arnimallee 23, arranged by *[Carl Koch](item/18788), the Art Library moved its holdings again in **October 1953**, now to the Landwehrkasinos at Jebensstraße 2 in the Charlottenburg district, and opened on 20 January 1954. The Lipperheide Costume Library occupied the reading room on the ground floor. With the return of the former cabinet fittings from the Lipperheide Costume Library to the Jebensstraße location, the miniatures were once again stored on green plafonds in the cabinet doors as before. A few paintings were hung in the study room. +### 1947/1953: Opening of the Kunstbibliothek in Berlin (West) +By the end of 1945**, the Kunstbibliothek had been reopened in the purpose-built library building at Prinz-Albrecht-Straße 7a. *Albert Boeckler](item/18789)*, library director from 1942 to 1947, set up a temporary reading room in the basement. After a brief interim solution at the new location in the western part of the city, in the northern pavilion of the Dahlem museum building at Arnimallee 23, arranged by *[Carl Koch](item/18788), the Kunstbibliothek moved its holdings again in **October 1953**, now to the Landwehrkasinos at Jebensstraße 2 in the Charlottenburg district, and opened on 20 January 1954. The Lipperheide Costume Library occupied the reading room on the ground floor. With the return of the former cabinet fittings from the Lipperheide Costume Library to the Jebensstraße location, the miniatures were once again stored on green plafonds in the cabinet doors as before. A few paintings were hung in the study room. Following an extensive petition, the Berlin book and print collections were also transported back from Celle Castle in **July 1956**. ### Um 1975: Theft In 1976, the theft of [13 paintings including the inventory cards](set/48648) from the collection of external property became known in Berlin (East). In the course of this, the monetary values were determined on the basis of comparable paintings and [new index cards](item/6105) were created. The employee Rößler, who worked for the East Berlin museums, had tried to transfer these works to West Berlin. He had succeeded in doing so in part. During another attempted border crossing, the artworks were confiscated by the GDR authorities in order to clarify ownership. In the period from **9 March to 25 May 1976**, the criminal investigation department returned the paintings to the museums. @@ -105,12 +105,9 @@ In the years **1975 and 1976**, storage work had been carried out in the East Be ### 1992/1993: Preparations for the relocation to Kulturforum (Matthäikirchplatz) Prior to the institutes' move to the Kulturforum in 1992, the 151 miniatures and 23 bas-reliefs in the West Berlin library were also transferred to the Gemäldegalerie's external holdings. Conservation care by the Gemäldegalerie was also stipulated in the contract. ### 1996–1998: Reunification of the collections at Kulturforum (Matthäikirchplatz) -xxxx - - -In Vorbereitung auf den Umzug der Gemäldegalerie, des Kupferstichkabinetts und der Kunst­bibliothek an das Kulturforum führten die Mitarbeiter Rainer Michaelis, Christine Exler und Christina Ohlrogge in der Zeit vom **4. November 1996 bis zum 14. Februar 1997** eine Sichtung des Lipperheideschen Gemälde- und Miniaturenbestandes im *Bodemuseum* durch.[^In diesem Rahmen wurden technische und inhaltliche Angaben auf den Karteikarten ergänzt, Werke gesichert und konservatorische Arbeiten durchgeführt, Gemälde beschriftet und neu geordnet. Für die „Lipperheide Kostümsammlung“ wurden 315 Nummern gezählt, ein gestohlenes Bildnis notiert, und 164 Nummern gelistet, die 1990 von der Kunstbibliothek Berlin übernommen worden waren.] Der erste Umzugstransport aus dem *Bodemuseum* in den Neubau am Kulturforum erfolgte am **19. August 1997**, weitere folgten.[^Mit einem Brief von Irene Geismeier an Bernd Evers vom 7. Oktober 1998 gibt die Direktorin zur Kenntnis, dass die Leihgaben aus der Lipperheideschen Kostümbibliothek, die per Revision zum 1. Oktober 1998 insgesamt 485 Nummern zählte, nun im Neubau der Gemäldegalerie, Stauffenbergstraße 40, in einem gesonderten Depot verwahrt werden.] -### 2014: Überführung von Miniaturen et. al. in das Depot Fremdbesitz -Im **Juli 2014** wurde die seit dem 16. November 1993 bestehende Verwaltungsvereinbarung zwischen der Gemäldegalerie und der Kunstbibliothek um weitere [81 Objekte](set/48649) erweitert: Aus dem Magazin der Lipperheideschen Kostümbibliothek wurden Miniaturen und weitere Werke in die Verwaltungsverantwortung der Gemäldegalerie und in das Depot Fremdbesitz überführt. +In preparation for the relocation of the Gemäldegalerie, the Print Room and the Kunstbibliothek to the Kulturforum, Rainer Michaelis, Christine Exler and Christina Ohlrogge carried out a review of the Lipperheide collection of paintings and miniatures in the *Bodemuseum* between **4 November 1996 and 14 February 1997**.[^In this context, technical and content-related information was added to the index cards, artworks were protected and conservation work carried out, paintings were labelled and rearranged. For the "Lipperheide Costume Collection", 315 numbers were recorded, one stolen portrait was noted and 164 numbers were listed, which had been taken over by the Berlin Kunstbibliothek in 1990]. The first transfer from the *Bodemuseum* to the new building at the Kulturforum took place on 19 August 1997**, followed by others[^In a letter from Irene Geismeier to Bernd Evers dated 7 October 1998, the director informs us that the loans from the Lipperheide Costume Library, which had a total of 485 items as of 1 October 1998, are now kept in a separate depot in the new building of the Gemäldegalerie at Stauffenbergstraße 40]. +### 2014: Transfer of miniatures et al. to the third-party depot +In **July 2014**, the administrative agreement between the Gemäldegalerie and the Kunstbibliothek, which has been in place since 16 November 1993, was extended by a further [81 objects](set/48649): miniatures and other works were transferred from the storage facility of the Lipperheide Costume Library to the Gemäldegalerie's administrative responsibility and into the depot of third-party property. # Losses, deaccessions and write-offs in the course of the collection's history The [donation documents](set/45249) show that in 1897 the painting collection consisted of 886 oil paintings, miniatures, wax paintings and reliefs. Today it still comprises 347 paintings, 231 miniatures and 28 relief sculptures. The collection, as the [collection chronology](jump to text about the chronology) shows, experienced a chequered history from its first presentation in 1905, through the confiscation of the building by the Gestapo in 1934 and its subsequent deposition. Losses, damage and incorrect collection contexts are a consequence of these circumstances. The documented or reconstructed cases are listed below: @@ -119,10 +116,10 @@ A photographic image of the now lost [Portrait of a member of the Nuremberg Mül Whether the missing pendant to the [Portrait of a seated woman in a dress with shawl collar](item/82) is a lost item cannot be determined with certainty. It is possible that the male counterpart was included in the sales lot of the Helbing auction house after the death of Franz von Lipperheide and sold at auction in 1909 or 1933. The pendant is documented by a [picture card or photograph from around 1900](media/38903) ([Q47](item/5813)) and shows a young man in Werther costume, sitting on a bench in front of a landscape. An inventory card has not survived. The inventory numbers 299 and 300 noted at the top right of the picture card also do not have a corresponding record in the travelling expense book. -The [inventory card](media/1771) from the West Berlin Art Library for the [Portrait of a gentleman with a wig, holding a compass](item/181) describes the "Portrait of a corpulent, older man with a long wig, holding a compass in his right hand. At bottom left a detail of a map. Half-length portrait, turned slightly to the left from the front view. Anonymous. 18th century". The painting, executed in oil on wood, bears the inventory number 191, on the back the additional numbers 311, in blue chalk L. 216 and in ink 437. None of these numbers correspond with records in the travel expense book. The typed location " Librarian's room", presumably a reference to the premises in Jebensstraße, is supplemented by the note " Gemäldegalerie" and "Missing?". +The [inventory card](media/1771) from the West Berlin Kunstbibliothek for the [Portrait of a gentleman with a wig, holding a compass](item/181) describes the "Portrait of a corpulent, older man with a long wig, holding a compass in his right hand. At bottom left a detail of a map. Half-length portrait, turned slightly to the left from the front view. Anonymous. 18th century". The painting, executed in oil on wood, bears the inventory number 191, on the back the additional numbers 311, in blue chalk L. 216 and in ink 437. None of these numbers correspond with records in the travel expense book. The typed location " Librarian's room", presumably a reference to the premises in Jebensstraße, is supplemented by the note " Gemäldegalerie" and "Missing?". In the case of the [Portrait of Veronica Fugger](item/445), too, only the West Berlin inventory card has survived, which describes the collection item as "Lady in Spanish costume with high ruff. Bust portrait, turned slightly to the right. The inscription "(V)E(RO)NICA FUGGERIN 1596" on a parapet at the bottom. The dimensions of the work, painted in oil on wood, are 28 x 21.5 cm; there was no frame. Here, too, there is a typewritten reference to the location ""Librarian's room", the note "GG" and "Missing?". The record in the travel book dated 15 November 1879, "1st portrait: Fuggerin", possibly refers to this work. The collectors purchased it from A. Rupprecht (Maxstrasse 32, Munich) for 220 marks. -The small oil sketch [Allegory of the Triumphant Italia - Italia trionfante](item/157) by Alessandro Franchi (1838-1914) shows the enthroned figure of "Italia", a fresco intended for the Palazzo Publico in Siena. The round oil sketch is accompanied by a typewritten inventory map and a black and white photograph. The oil painting was thus assigned to the Lipperheide collection at a certain point in time, but the work itself was considered lost. The Berlin Art Library showed the work as part of the exhibition *From Schinkel to Mies van der Rohe: graphic designs by European architects, spatial and formal designers 1789-1969*. The reference to the provenance in the exhibition catalogue, the Leo Spik auction house in Berlin, where it was acquired on 19 September 1968, therefore rules out the possibility that it belongs to the Lipperheide collection. Instead, it should be assigned to the architecture collection of the art library. +The small oil sketch [Allegory of the Triumphant Italia - Italia trionfante](item/157) by Alessandro Franchi (1838-1914) shows the enthroned figure of "Italia", a fresco intended for the Palazzo Publico in Siena. The round oil sketch is accompanied by a typewritten inventory map and a black and white photograph. The oil painting was thus assigned to the Lipperheide collection at a certain point in time, but the work itself was considered lost. The Berlin Kunstbibliothek showed the work as part of the exhibition *From Schinkel to Mies van der Rohe: graphic designs by European architects, spatial and formal designers 1789-1969*. The reference to the provenance in the exhibition catalogue, the Leo Spik auction house in Berlin, where it was acquired on 19 September 1968, therefore rules out the possibility that it belongs to the Lipperheide collection. Instead, it should be assigned to the architecture collection of the Kunstbibliothek. The large-format copperplate engraving ["Ploughing Farmer"](item/490) by William Strang from the second half of the 19th century was moved to the Kulturforum together with the Lipperheide painting collection in 1997. The inventory number L 299 refers to a Lipperheide collection context. Even before 1912, however, the engraving was integrated into the interior of the study room of the Kupferstichkabinett Berlin, more precisely in the western Kunstkammersaal, as a photograph of the time shows. The possibility of an early Lipperheide donation, analogous to other donations made to the Kupferstichkabinett, is certainly possible and could be verified through the cabinet's entry books.