Wartime Losses at Artus Court

D w ór Artusa w

Katarzyna Darecka, Izabela Jastrzembska-Olkowska G dańs k u Wartime losses at Artus Court

Translation: Anne-Marie Fabianowska I K z a a t b a e r z la y n J a a

s Dwór Artusa D t r a z r e e m c k b

a w Gdańsku s k a

- STRATY WOJENNE O l k o

Gdańsk 2020 w s — k a

Katarzyna Darecka Izabela Jastrzembska-Olkowska Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court and the Gdańsk hallway in Gdańsk

History of the interiors to 1939 1932. Since the beginning of the 20th cen- rtus Court in Gdańsk is one of the most tury it has gradually been considered more A important municipal buildings located of a tourist attraction and part of the city’s in the very heart of the Main Town, at 43/44 historical heritage.3 Długi Targ (Long Market), which formed The decoration of the Great Hall in Artus part of Gdańsk’s Royal Route.1 Historical- Court was funded by the individual broth- ly two townhouses adjoined Artus Court: on erhoods each of which occupied its own des- the left, the Stary Dom Ławy (Old Bench ignated place in the arcades along the wall. House), and on the right, the Nowy Dom Each brotherhood decorated its bench ac- Ławy (New Bench House) with the so-called cording to its own concepts, but in line with Sień Gdańska (Gdańsk Hallway).2 the general ideological message presented in Since its inception, Artus Court has had the interiors. You could even safely hazard various functions. It was the seat of citi- a guess that it played a didactic role; the pre- zens’ brotherhoods, the merchants’ compa- vailing message was one of how to educate ny house, a place for the social elites – whose the ideal citizen.4 The artistic furnishings in members came from many different coun- Artus Court can be ordered chronologically tries and settled in Gdańsk – to meet and and sub-divided into the individual founda- integrate. It was also the centre of the city’s tions of the Benches of the Brotherhoods.5 social life – the salon – where banquets and Each brotherhood6 had its own strict- various forms of entertainments were organ- 3 Guidebooks on the city of Gdańsk and monographs on ized; from 1530 it was an open courtroom Artus Court published since the beginning of the 20th for holding court hearings. In the mid-18th century probably contributed to this, such as: Simson 1902; Meyer 1929, and the series of illustrated guides, e.g. century it became the headquarters of the Rothstein 1894. 4 The moralizing messages in the decoration of Artus Court Corn Exchange which operated here until were described by: Cieślak 1992, pp. 39–50; Kaleciński 2011, pp. 45–119; Mielnik 2019, pp. 51–143, and others. 1 Artus Court, as one of the most important municipal build- 5 For the chronological decoration of Artus Court, see: Śledź ings in Gdańsk, has a rather extensive bibliography. The 2010; for its division into Benches and Brotherhoods, most important works include historical descriptions of the see: Jakrzewska-Śnieżko 1972, passim; Jastrzembska- building and its interiors: Plümecke 1804; Löschin 1860; Olkowska 2018, pp. 82–111. Randt 1857; Simson 1900; Simson 1902; Meyer 1929, as 6 That is brotherhoods that were established after 1481 well as postwar monographs and studies: Jakrzewska- adopted the common name – Benches of Artus Court. Śnieżko 1972; Dwór 2004; Cieślak 1992; Pilecka 2005; These were: Brotherhood of St Reinhold, founded by set- Kaleciński 2011; Woziński 2011. tlers from the Rhineland, established in 1481; Brotherhood 2 On the subject of the circumstances behind the establish- of St Christopher which brought together merchants ment of the Gdańsk Hallway in the New Bench House, see: and citizens of Gdańsk originally from Lübeck, active Kleefeld 1902; Diele 1901; Katalog 1902. Since its incep- since 1482; Brotherhood of the Three Kings, founded by tion, the entire building has commonly been referred to as a group of friends from Gdańsk, who most probably came the Gdańsk Hallway (Sień Gdańska). from Cologne on the Rhine, which existed since 1483; the

» 2 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court… ly determined place along the wall, be- individuals.8 At the end of the 19th centu- tween the columns of the Court’s Great ry Artus Court was partially electrified. In Hall. The division and manner of decorat- 1883 a huge hanging brass candelabra was ing the benches was decided in advance; the installed9 to celebrate the silver wedding an- first to be decorated was that of the Broth- niversary of the heirs to the throne: Fred- erhood of St Reinhold. Each space consist- erick III Hohenzollern (1831–1888) and ed of a bench, wainscoting, a frieze, figures Princess Victoria of Saxe-Coburg and Go- of the brotherhoods’ patrons and semi-cir- tha (1840–1901).10 Also towards the end cular images called roundels, as well as dec- of the 19th century, Artus Court acquired orations in the arched walls. a painting dating from 1779 depicting the The interiors were designed in sever- Wedding of Neptune and Amphitrite by Ja- al phases. The oldest-known elements ap- cob Wessel (1710–1790) which was donat- peared in the last twenty years of the 15th ed by Lesser Giełdziński (1830–1910) and century. Most of the surviving furnishings which was placed in the frieze surmount- are from the 1530s and 1540s and in line ing the cupboard on the south wall, as well with Artus Court’s changing functions, as a bas-relief frieze with depictions of the were later supplemented with other works elements and planets by Pieskorn (?).11 The of art commissioned up until 1588. Further collector also donated a Dutch thermometer stages of the decoration took place at the with a barometer and a 17th-century reflect- turn of the 16th and 17th centuries. Oth- ing wall lamp.12 er minor changes, renovations and supple- 8 In 1856 new paintings were commissioned from the paint- mentations were made in later years. The er Louis Friedrich de Sy to fill the friezes. A series of four paintings depicting The Crossing of the Red Sea was in- Court’s interiors did not undergo any major stalled in the Bench of St Christopher, and in the Bench of St Reinhold a series of five paintings depicting scenes changes until the 19th century due to the from the life of this patron saint. These consisted of: turmoils of war at the beginning of the cen- St Reinhold Restraining the Horse Bayard, Marriage of St Reinhold with the King’s Daughter Klarissa, St Reinhold’s tury,7 when new objects appeared funded by Exile/Paying a Tribute, St Reinhold in the Battle for Christ’s Tomb, St Reinhold Giving Alms. A new painting by Carl the Merchants’ Guild, the Municipal Coun- Friedrich Meyeheim depicting Bayard Carrying the Four Sons of Aymon was placed in the centrally located dam- cil and the Brotherhoods, as well as private aged roundel above the frieze. A rather unusual collaborative work by three artists is a canvas in the Bench of the Brotherhood of Malbork founded in 1487 by veterans of the Brotherhood of Malbork which replaced a damaged work Thirteen Years War, as well as the now no- longer- existing by Crompusch, which was taken down and, according to his brotherhoods, the Dutch Bench and Shippers Bench which monographer, Paul Simson, put in the Municipal Museum brought together merchants trading with the Netherlands (Stadtmuseum) – see: Simson 1900, p. 292. The new paint- and ship owners – for more on this subject, see: Simson ing with the preserved former figure of a running red deer 1900, pp. 36–37. with natural antlers dating from the end of the 16th century 7 During the Napoleonic Wars some objects in Artus decorated the arcade near the Great Stove in the years 1862– Court were destroyed and others were plundered. At 1863. According to information given by Paul Simson, the the start of the 19th century four 16th-century fig- painting was a collaborative work by three artists: Carl ures of Kazimierz Jagiellon’s sons disappeared, as did Scherres painted the landscape, Wilhelm August Stryowski sculptures decorating the benches by Adrian Karffycz the human figures and Louis de Sy painted the animals. and Master Paul with a series depicting the planets, 9 Originally it was a hanging candelabrum, but was electri- bas- relief friezes from the Benches of St Reinhold and fied soon after. The capitals light sources were replaced St Christopher, Anton Moller’s Last Judgement from the with lamps with glass lampshades. ‘Judgements’ series which was damaged during bombing, 10 Simson 1900, p. 293. as well as the central roundel in the Bench of St Reinhold 11 Artushof 1892, p. 1; Rothstein 1894, p. 49. which was damaged, as was the painting Deer Hunt from 12 Geburtstag 1910, pp. 1–2; Artushof 1892, p. 1; Rothstein the Brotherhood of Malbork’s bench. 1894, p. 49.

» 3 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court…

Furthermore, on the initiative of Giełdziń- Within a relatively short space of time, ski,13 and thanks to funding from the Mer- a team of experienced conservators and ar- chants’ Guild and the City Council, the so- chitects headed by Prof. Georg Rüth (1880– called Gdańsk Hallway was opened in the 1945),19 was called in; they devised a method New Bench House at 43 Długi Targ (Long of stabilizing the vaults, as well as the foun- Market)14. On 30 November 1901 the Mu- dations, as it transpired that they, too, were nicipal administration (Magistrat) official- highly unstable. At the same time the fur- ly transferred it to the Merchants’ Guild15 nishings in the Great Hall had the oppor- which was interested in acquiring new tunity to undergo in-depth and profession- premises to use as reception halls and for al conservation work. Under the supervision official events. Lesser Giełdziński had earli- of director Walter Mannowsky (1881–1958) er already decided to donate part of his col- Paul Haustein,20 conservator at the Munic- lection to the city to furnish the new mu- ipal Museum, headed the work. The larg- seum-like interiors. They later became the est sculptures and paintings were renovated property of the city’s art collections, i.e. the in situ, and smaller objects (including four Municipal Museum (Stadtmuseum).16 The suits of half-armour used in tournaments) movable furnishings amassed in the Gdańsk were dismantled and for the time being Hallway were exhibited in this location un- moved to the main museum 21. The models til 1938 when the then director of the muse- of the ships however, underwent conserva- um, Willi Drost (1892–1964), reorganized tion work in the Councillors’ Cellars, where the exhibition in the Hallway, removing vir- a temporary workshop was set up for a team tually everything, including the pieces do- headed by Th. Macklin.22 nated by Giełdziński.17 During the conservation work on Artus In the 1930s Artus Court was closed Court a valuable sgraffito was discovered on while extensive conservation work was car- the arched wall (Pol.: ściana tarczowa) of the ried out over several years.18 This was as a re- Bench of St Christopher and two frescoes on sult of the serious threat of a total collapse the lesenes (pilaster strips) together with their of the crumbling and falling down vaults. direct forms, i.e. 17th-century frescoes which were later covered over with oil paintings.23 13 According to the sources, Lesser Giełdziński was a mem- After the completion of the conservation ber of the Merchants’ Guild from 1862 (Hinrich, Müller 1887, p. 4, on the basis of a charter dating from 1871) and work in the years 1931–1935, some of the sat on the Financial Committee of the Guild from 1893 (Hinrich, Müller 1887, p. 2). objects were not returned to their original 14 Kleefeld 1902, pp. 42. For more information on the subject of the establishment of the Gdańsk Hallway, see: 19 Ibid., p. 195. Jastrzembska-Olkowska 2019 b, pp. 68–81. 20 Ibid., p. 196. His date of birth and death are unknown. 15 Diele 1901, p. 2. 21 This is where the photographs of objects which were tak- 16 Katalog 1902, p. 6; Secker 1919, p. 33. en during conservation work come from. They were im- 17 Drost 1938, p. 49. In the report on the operations of the mortalized on glass slides in the Municipal Museum, in- Municipal Museum in 1938, Willi Drost made a record cluding nos.: MNG/GGF/139/FG/353/7775/26528-1, MNG of the renovation work and reorganization of the exhibi- /GGF/139/FG/525/7774/26559-1, MNG/GGF/139/FG/555 tion in the Gdańsk Hallway. At that time items from the /7711/26382-1,MNG/GGF/139FG/553/7715/26383-1 Giełdziński collections were removed; his Jewish origins and MNG/GGF/139/FG/547/7773/26537-1. were undoubtedly decisive when this decision was made. 22 Krüger, Mannowsky 1935, p. 202. 18 Krüger, Mannowsky 1935, pp. 193–202. 23 Ibid., p. 200; Meyer 1940, pp. 11–13.

» 4 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court… place. The brass cadelabara was removed and of the Main Town Hall, but when the Polish replaced with a modernist lamp, most prob- troops arrived at Long Market the tower had ably for structural reasons and not to weigh already been destroyed.27 Therefore the order down the vaults. The statue of King August was amended and Second Lieutenant Brunon III of Saxony (1696–1763) was taken to the Wilczewski and Ensign Zbigniew Michel Municipal Museum24 purportedly due to its raised the flag on the Artus Court building size and weight, but in reality for ideologi- despite the fact that it was being shelled, thus cal reasons.25 The coats of arms of the Pol- resulting in the destruction of the north ele- ish-Lithuanian Commonwealth and of the vation, the staircase and part of the roof. The Sobieski family dating from 1690 and the installation of the flag caught the attention pennant with the likeness of Stanisław of German artillerymen whose next shot hit August Poniatowski (1732–1798) were the roof of the building. As a result it suffered also removed. Mementoes of the presence fire damage, half of the vaults collapsed and of Polish kings in Artus Court, as in the rest the Gothic pillars and Gothic rear elevation of Gdańsk, were not accepable during the were severely damaged.28 Only the side walls Nazi occupation. A ‘less well-preserved’ oil and the main facade survived in fairly good painting by Andreas Stech (1635–1697) was condition. also taken down and put into storage and Fortunately, as much as approximately was replaced with a painting by Friedrich 70% of the furnishings and decor survived Gürtler (1655–1707)26. in various states of preservation thanks to the evacuation of the contents of the build- Evacuation ing which had begun three years earlier. For Artus Court, as for the entire city, the The establishment of a special group time of the Second World War was an excep- of architects and builders in Gdańsk in or- tionally easy one, almost until the very end der to compile documentation and to safe- of the war. However, on 28 March 1945 the guard cultural heritage was probably a di- building was damaged when the Red Army, rect result of the dire consequences of the commanded by Marshal Konstantin Rokos- allied bombing of Cologne in May, which sowski, and units of the Polish First Armed not only affected the city’s infrastructure, Tank Division ‘liberated’ the city. This oc- but also its cultural assets. curred immediately after the decision had The Keibel Construction Group was es- been taken to raise a white and red flag on the tablished to protect the cultural heritage,29 flagpole of Artus Court as a sign that Gdańsk 27 Michel 1997, p. 24. was once again part of Poland. Originally the 28 The list of war losses complied by Jan Borowski in 1945 includes a description of the condition of Artus Court: flag was to have been hoisted on the tower ‘Roof burnt, 80% of the vaults collapsed, doors and windows missing, columns cracked as a result of the heat. Interior furnishings totally burnt.’ (Borowski 1945, leaf 24 Loew 2012, p. 66. 35). However, the destruction was over-estimated. It was 25 Jakrzewska-Śnieżko 1972, p. 19. confirmed that only one column was destroyed and that 26 Krüger, Mannowsky 1935, p. 201. It was put away and four fields of the vault had collapsed, which is about 50% stored in a safe place most probably in the Municipal of the total surface (Gawlicki 2016, p. 37). Museum. Fortunately, it was recovered after the war. 29 Baugruppe Keibel zur Abwendung von Kriegsschäden

» 5 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court… and was named after the chief government ing and numbering the backs of the objects advisor and state and building superinten- and packing them into wooden crates. Only dent reporting to the Minister of Finance. one copy of the documentation has survived Keibel was invited to Gdańsk at the per- (the one belonging to its author) which was sonal request of Albert Forster, Gauleiter taken to Germany, whereas only individual of Danzig-West Prussia. He drew up docu- pages of it survived in Gdańsk.32 mentation,30 outlining how to save the city’s Thanks to the efforts of Mirosław monuments, dismantle and store them and Zeidler, Director of the Centre for the Pro- how to transport them out of Gdańsk. He tection of Cultural Property in Gdańsk in also specified how photographic documen- 1977 and 1978, Jakob Deurer’s son, Wolf- tation, drawings and plaster casts should gang, gave his copy of the documentation be prepared and gave recommendations to the Polish authorities.33 of how to mark the objects so they could Volume XIII, which related to Artus be easily reassembled. Those monuments Court, is of A3-type format, and contains which could not be dismantled, for exam- a section with drawings made in the years ple because of their size, were to be enclosed 1943–194434 and a section with photo- or walled up.31 graphs. Three large folded drawings contain The architect Jakob Deurer (1897–1960), an architectural inventory of the east, west was the Group’s delegate in Gdańsk – he ar- and north walls – on a scale of 1:20. The in- rived in the city in June 1943. Immediate- ventory of the east and west walls only re- ly after his arrival, he began to collaborate lates to the lower part with the wainscot- closely with Erich Volmar (1887–1975) – ing, benches and painted friezes. The up- conservator of architectural monuments for per part of the benches and their decora- the Danzig-West Prussia area – in order to tion have been entirely omitted. The entire gain an understanding of the situation and north wall, right up to the vaults, has been determine which items should be safeguard- reproduced, including the Great Stove and ed first. The work lasted from October 1943 the musicians’ gallery. These drawings con- to January 1945 and 24 volumes of docu- tain rather detailed elements of the wood- mentation were drawn up. Some of them work, marquetry, carvings, figural composi- contain photographs of where objects were tions in the painted friezes and also the dec- hidden. Willi Drost, the then director of the orations on the tiles of the Great Stove. The Municipal Museum, and conservator of art individual panels of the wainscoting were and decorative art, was also involved in numbered (from 1 to 64), starting from the the work of safeguarding the monuments 32 Mieszkowski 1978, pp. 30–31. of Gdańsk; the procedure consisted of mark- 33 Domańska 1979, pp. 129–130. The documentation which consists of 22 volumes is housed in the State Archives an Baudenkmälern. For more information on this subject, in Gdańsk (ref. 10/1629/1–24). Volume XIII is housed in see: Bakun 2015/2016, p. 156. the Voivodeship Office for the Protection of Historical 30 A copy of Keibel’s typescript has been preserved in PAN Monuments in Gdańsk in the department of movable prop- BG: see: Keibel 1942, passim. erty, Deurer 1943/1944. 31 For more information on this documentation, see: 34 East wall: May 1944, west wall: June 1944, north wall: Domańska 1979, pp. 127–130. June 1943. See: Deurer 1943/1944, drawings 1–3.

» 6 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court… south corner of the west wall, from left to ground by Andreas Stech, depicting a gar- right, and then proceeding to the north and land of flowers, was still in place; however east walls. Further on in the documentation Friedrich Gürtler’s painting Warrior in An- three additional one page pencil drawings cient Armour, which had hung on a lesene of diagrams were included. They contain de- (wall pilaster), between the benches of St tails of the building and construction of the Christopher and St Reinhold since 1935, Great Stove, a cross-section of how the tiles was missing. Several of the photographs de- were affixed and a cross-section drawing pict the two upper stages of the Great Stove, of the profile of the cornice. The sketches are which were later dismantled, as well as sev- also supplemented with explanatory notes. eral shots of how the tiles were affixed, and The photographic section has 39 pag- their state of preservation. es with several large photographs giving an However, most of the photographs are overall view, but the majority are small shots of the woodwork: the wainscoting (even the of details. On closer analysis, it transpires back of the panels which show how they that the majority of the historic elements in were constructed and the manner in which the upper sections of the wall had already the wood had been worked), the benches been dismantled earlier (i.e. before the pho- and close-ups of the marquetry. There are tographs were taken). handwritten notes under the photographs One exception was the sculptural group with numbers which correspond to those depicting Diana Bathing from the Meta- on the panels in the drawings. Some of the morphosis of Actaeon (a group consisting views also contain additional cards with of three female figures), which remained in these numbers. Their numbers were also the Court until 1944 (?). The photographs painted in the empty spaces left after the show empty spaces where the roundels used capitals had been dismantled. to be. The majority of the sculptural figures Unfortunately the archival photographs are missing, including St George Fighting do not show the upper parts of the bench- the Dragon by Hans Brandt (active 1476– es, so it is difficult to ascertain what still had 1505). 35 From the photograph of the Court not been dismantled at that time and wheth- Bench it is obvious that one of the paint- er it was evacuated at all. Unlike in some ings in Anton Möller’s (1563–1611) paint- of Deurer’s other volumes of documentation, ed frieze, i.e. Allegory of the Conditions for there was no list of the objects that had been a Just Judgement, with a view of Gdańsk in evacuated appended to volume XIII, which is the background, had been dismantled earli- why it is not known for sure what actually re- er,36 while the shields with the coats of arms mained at the Court until March 1945. The surrounding the Last Judgement and those last photograph included in this documenta- on the south wall remained in place. On tion shows the place to which the historical the St Reinhold bench, the painted back- objects from Artus Court were evacuated – the refectory of the Monastery in Kartuzy, 35 Found in St John the Baptist’s Church in Żukowo. 36 Evacuated to the village of Orle in 1942. with a truck and trailer parked alongside it.

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The photographs which were transferred is mention of the half-galley (felucca), the to the Herder-Institut in Marburg, together ship The Heldenmodige , a sculpture of Sat- with the personal effects of Willi Drost and urn and the head of a man (probably a figu- Erich Keyser (1893–1968), are also a source ral console under the statue of Saturn), Ac- of great information for scholars and conser- taeon (probably part of a figural group) and vators of art and architecture.37 the paintings by Möller, including Allego- The evacuation of the furnishings and ry with Gdańsk. There is also separate men- decor38 at Artus Court began in June 1942, tion of a crate containing wood carvings: therefore long before Jakob Deurer’s arrival nine capitals and three openwork panels by in Gdańsk.39 On the receipt,40 which fortu- Master Paul and Adrian Karffycz (active in nately survived and is now housed in the Ar- Gdańsk in 1526–1540). The person who chives of the National Museum in Gdańsk, confirmed and signed the list of historical is a list of the items that had already been items bore the surname ‘Schmidt’ – his first transported to the village of Orle on Wys- name is not known.41 pa Sobieszewska (Ger. Wordel) on 16 June This allows the supposition that after the 1942. On two sides, one a typed summary, destruction of Cologne in 1942, the decision and the other more detailed, written in pen- was taken to evacuate as quickly as possible cil, is a list of the objects that were evacuat- the most valuable items from Gdańsk. It can ed. Among them are the most valuable piec- also be assumed that the evacuation site was es from Artus Court: four suits of tourna- plundered by the Russian army; it has only ment half-armour together with accessories, been possible to recover one panel of the paintings: Ship of the Church, Siege of Mal- painting Ship of the Church and the most bork, Virgin and Child and Salvator Mun- recent studies have shown that it had been di in carved wooden frames, seven roundels subjected to high temperatures.42 No simi- with carved frames: Lot and His Daughters, lar document has yet been found in Polish Story of Jephthah, God the Father by Lauren- collections. However, the resources in the tius Lauenstein (active in Gdańsk in 1534– Secret State Archives of the Prussian Cul- 1540), roundels with: Story of Judith and tural Heritage Foundation in Berlin-Dahl- Holophernes and Siege of Malbork by Mar- em (Geheimes Staatsarchiv Preußischer tin Schoninck (active in Gdańsk in 1536– Kulturbesitz),43 have recently been studied 1539) and roundels with inscriptions from and a report bearing the number 27 dated 9 below the paintings by Schoninck depicting June 1944 44 was foundwhich gives informa- Christ and The Madonna. Further on there tion about the transport of stove tiles to the refectory in Kartuzy. The evacuation related 37 The Herder Institute houses the legacy of both scholars which was given to it in the 1970s. 38 The postwar literature has until now most often mentioned 41 From Jan Kilarski’s manuscript it transpires that some only two places to which the items from Artus Court were of the items (‘items from the Museum’) from Orle were evacuated: the monastery in Kartuzy and Żukowo. found in the ‘house of Jankersen’, Kilarski 1945 b, p. 7. 39 Keibel stated that in 1942 only the Memling Altar from St 42 This hypothesis was put forward by Edward Śledź Mary’s Church had been evacuated, some items from Artus (Krąpiec 2016). Court, and a figure of Neptune, see: Keibel 1942, p. 22. 43 Bakun 2015/2016, pp. 155–165. 40 Wykaz 1939–1945, pp. 12–13. 44 Meldung 1944.

» 8 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court… to the two upper levels of the Great Stove, ly nervous, twinkling eyes: ‘Now here we which were transported in nine crates. The have a Russian Officer, a Polish Commis- remaining part of the stove was safeguard- sioner and a German Professor digging to- ed on site, which had terrible consequenc- gether through dust and rubble and they es; when the roof of Artus Court burnt have forgotten everything: their national in March 1945 and the vaults collapsed, animosity and the war, all in a joint effort a large number of the tiles were destroyed, to put back together an old stove. Let that while others were stolen by local civilians be a good sign for the future’. We did not and soldiers who treated them as ‘souvenirs’ find very much, other people had obviously of Gdańsk.45 Only at the end of April of that been there before us. We later learnt that the same year, a team was assembled to find any tiles were in private collections in Warsaw. remaining tiles and parts of the Great Stove They have now been restored and the stove among the rubble. The surviving pieces were has been totally reconstructed.46 safeguarded and taken to the storage rooms in the National Museum in Gdańsk. Wolf- After 1945: collection, gang Drost, son of Willi Drost, wrote about identification, storage this incident in his memoirs: Further information on where historical ob- One day – I didn’t make a note of the date jects from Artus Court were hidden can be – my father suggested looking for possible re- found in Jan Kilarski’s (1882–1951) hand- mains of the Great Stove from Artus Court written notes,47 covering the period from where the vaults had substantially collapsed. The floor was covered in rubble so there was 46 Drost 2000, pp. 58–59: ‘Eins Tages – ich habe das Datum nicht notiert – regte Papa an, nach möglichen Überresten still some hope that quite a number of the des Kachelofens im Artushof zu suchen, dessen Gewölbe groβenteils eingefallen waren. Der Boden war mit Schutt valuable tiles could be found. When we bedeckt und so bestand die Hoffnung, daβ sich dort eine wanted to go along with the Russians, Prof. Reihe von den kostbaren Kacheln och befanden. Als wir mit den Russen losziehen wollten , kam auch Prof. Kilarski came along too. Even though the Kilarski. Da die Polen und Russen wenige Tage zuvor an Papas Krankenbett Bekanntschaft geschlossen hatten, war Poles and Russians had become better ac- die Atmosphäre entspannt. Mann einigte sich, gemeinsam auf die Suche nach den Überresten des historischen Ofens quainted a few days earlier during my fa- zu gehen. Ich grub fleiβig mit im Dreck zu wühlen, hatte ther’s illness, the atmosphere was still tense. mir schon immer Spaβ gemacht. Und dieses Mal war es sogar etwas wie eine historische Tat! Der Major Charkow They agreed among themselves to go out to- brachte es mit seiner näselnden Stimme und den leicht nervös zwinkernden Augen auf dem Punkt: «Nun wühlen gether to search for the remains of the his- wir hier in Staub und Schutt, ein russischer Offizier, ein polnischer Kommissar und ein deutscher Professor, toric stove. I carefully dug alongside them und haben alles vergessen, nationale Feindschaft und den Krieg, in dem gemeinsamen Bemühen, einem alten – digging in the dirt was something I had Ofen wieder zusammenzusetzen. Möge das ein günstig- always enjoyed. And this time it was actu- es Zeichen für die Zukunft sein». Groβ war die Ausbeute nicht: offenbar waren uns andere zuvorgekommen. Später ally a historic act! Major Kharkov expressed erfuhren wir, daβ Kacheln sich in Privatsammlungen in Warschau gefunden hätten. Heute sind die Kacheln res- it in a nutshell in his nasal voice and slight- tauriert und der Ofen wieder vollständig aufgebaut.’ We would like to thank Krzysztof Jachimowicz for the translation into Polish. 45 For these events see: Kilarscy 1996, p. 44; Korzon 2017, p. 47 Kilarski 1945 b. For more information on the search of his- 42; Mondzelewski 2017, p. 50; Kramer-Galińska 2019, p. torical artefacts of Gdańsk by Jan Kilarski, see: Kilarscy 115. 1996, pp. 27–54.

» 9 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court…

1945 to 1950, which were based on conver- Paul.’55 Unfortunately, the note relating to sations with Willi Drost and his notes.48 Stężyca and the St Catherine of Alexandria The second most important place for stor- Church is barely legible: ‘[…] 1.) painting ing the historical artefacts from Artus Court from Artus Court […].’56 which could mean seems to have been St John’s Church in Żu- that other paintings from Artus Court were kowo. Jan Kilarski’s notes read as follows: concealed there. ‘[…] wainscoting, stained-glass windows Other entries show that the conserva- in crates, 6 pieces, heavy metal ones in the tors were either too late getting to the hide- chancel, two undamaged models of ships,49 outs or that they could not reach them be- figure of St Christopher (by Karffycz), -Ka cause the Russian Army blocked their en- zimierz Jagiellon (suitcases to Sopot), St try.57 From these brief notes, it can often be George (Frąckiewicz to Warsaw), a deer, gleaned that the local civilians also attempt- a lot of panelling, pair of wall paintings’. ed to safeguard the storage sites against the The trip to Żukowo took place on 27 June plundering ‘Bolsheviks’ – who at times de- 1945.50 Another entry was made relating liberately destroyed valuable cultural monu- to that same trip: ‘[…] in St John’s Church ments.58 However it should also be assumed wooden figures, panelling, 5 stained-glass that they were looted not only by the Rus- windows, newer chairs with the coat of arms sians, but also by locals. of Gd[ańsk], good ship, of two others, one Two (or three?) more pieces of infor- is totally destroyed, the other only slight- mation on yet another location where his- ly, pair of wall paintings, 6 bronze figures51 toric objects from Artus Court were hid- […].’ At that time, tiles from the Great Stove den can be found on the list of historic ob- were found in crates in Kartuzy,52 and only jects housed in the conservator’s reposito- in May 1950 were the wainscoting panels ry (also known as museum respository) in from Artus Court also discovered in Kar- Gdańsk-Oliwa dating from 1948. This doc- tuzy.53 On 26 October 1945, the semi-cir- umentation, consisting of 34 pages, con- cular frames of Karffycz, amongst other tains 900 historic items from Gdańsk which things, were found in Kolbudy.54 In the case were put in three buildings: a granary, a ga- of Orle, J. Kilarski noted the following: ‘fur- rage and a shed. niture, model ships from Artus Court, crate The first location can be found under with coat of arms of Pelplin, also lunettes item no. 42 – alongside information about from Artus Court, small heads by Master a wood polychrome sculpture of the Virgin and Child, which was brought ‘from ‘Ka- dynia’ in pieces (most probably Kadyny).59 48 Kilarski 1997, p. 106; Kilarscy 1996, pp. 32–33; Kramer- Galińska 2019, pp. 114–116. 49 Most probably models of ‘Mars’ and ‘Jakub’. 55 Ibid., p. 16. 50 Kilarski 1945 a, p. 27. Original abbreviations were used in 56 Kilarski 1945 b, p. 13. the Polish version of this text. 57 Kilarski 1945 a, p. 3. In August 1945 J. Kilarski wrote: 51 Ibid., p. 1. ‘Attempt to travel to Wordel unsuccessful, the Bolsheviks 52 Ibid., p. 2. are not letting people in.’ 53 Ibid., p. 8. 58 Ibid., pp. 2 and 31. 54 Ibid., p. 27. 59 Składnica 1948, p. 2

» 10 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court…

The second place for storing items from or round, and Anton Möller’s semi-circu- the Court during the war is listed under lar paintings were framed in simple wood- item no. 147, which mentions a bas-relief en frames. It can, therefore, be assumed that plaque commemorating Charles V which some of the furnishings from Artus Court was brought from Pleniewo (now Płonia were stored alongside those from the Main Wielka – an estate in the Rudniki district Town Hall. 66 of Gdańsk)60. Finally, the entries under nos. 182–183, The list includes many historical objects 209–212 and 213 provide information from Artus Court, including the then still about individual pieces of panelling in- stored polychromed sculptured head on the cluding: ‘carved panelling – 15 pieces Ar- blade of the halberd (with a note added in tus Court / 40, 41, 29, 27, 44, 32, 30, 31, pencil ‘could it be from St Reinhold?’),61 35, 36, 37, 47, 48/’67, ‘Pieces of panelling a wooden figure of a Pilgrim – St James – 25 pieces Artus Court; Pieces of panel- the Elder, ‘3 brass candlesticks / 2 small- ling, painting oil on wood, biblical scenes, er – 1 larger/Artus Court’,62 ‘2 paintings, approx. 100 × 350 Artus Court’68 and ‘top oil on panel, semi-circular from above the of wainscoting or cupboard, mythological doors (25–26), approx. 80 cm in diameter.; painting, oil on canvas.’69 Elsewhere is writ- Wooden semi-circular bas-relief from above ten: ‘wall clock mechanism («Weichenthal the door, with motifs of animals and peo- Danzig»)’,70 and under no. 334: ‘approx. 60 ple’63 and ‘3 pieces of openwork bas-relief, pieces of knights’ armour.’71 Gothic / St Georg Artushof Danzig Auf- These notes give an indication of the te- satz I, II vorn u[nd] rechts/’ and ‘painting, dious, sometimes thankless, work needed to oil on metal / 4 knights on a horse / carved, compile inventories and identify objects – semi-circuluar frieze. Artushof Danz[ig].’64 work which was carried out over many years. The entry under items nos. 173–175, After years of being stored in adverse condi- which lists three characteristic semi-circu- tions, the markings made by the German lar paintings, is puzzling: ‘Semi-circular conservators had faded, and the cards with paintings/bibl[ical] scene / with ornamental information about the object’s provenance bas-reliefs (115) brought from Rzucewo.’65 It had been lost, thus significantly hampering could relate to the paintings from the Main the work of Polish conservators and art his- Town Hall, but the decorative paintings by torians. Their efforts to return Gdańsk’s cul-

Isaak van den Blocke (1589–1628) in the 66 These may have been the roundels made by Master Georg, because the other so-called lunettes (or roundels) were Red Room, with bas-relief frames, are oval stored in Orle. 67 Składnica 1948, p. 9; cf. Deurer 1945. The numbering is from the inventory of the panelling used by Jakob Deurer’s 60 Ibid., p. 6. team in the years 1943–1944. 61 Ibid., item no 23, p. 2. This piece of the sculpture 68 Ibid., pp. 9–10. Probably relates to the painting by Luis of St Reinhold by Adrian Karffycz was not found when Friedrich Sy The Crossing of the Red Sea. completing the furnishings in the 1990s. 69 Ibid., p. 9. Probably relates to the painting by Jacob Wessel 62 Ibid., p. 5. Marriage of Neptune and Amphitrite from the wall cup- 63 Ibid., p. 6 board on the south wall in Artus Court. 64 Ibid., p. 7. 70 Ibid., p. 12. 65 Ibid., pp. 7–8. 71 Ibid., p. 14.

» 11 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court… tural heritage to its original place in munic- of King Arthur in Gdańsk),75 which con- ipal and religious buildings should therefore tained a list of the interior furnishings and be appreciated all the more. decor, the layout of the Benches by catego- Despite the efforts of many scholars, ry: paintings, sculptures and others, with some objects ended up in conservation re- an indication of the location in which they positories, were not identified and were only were currently housed or notes about their rediscovered after many years before being disappearance. Elements of the wainscot- returned to the collections. ing (panelling) and carvings (including the capitals) were omitted as they had still not State of Reseach into losses been inventorized at that time. Apparently In the postwar period, descriptions of piec- in error two paintings from the frieze of the es of the original decor which had still not Bench of St Christopher (Moses with Aaron be found were already being compiled in the and Pharoah Riding a Chariot were included very early stages of research.72 Scholars ac- in the list of items being stored in the con- quired information about the former, origi- servator’s repository. However, the accom- nal decor in Artus Court mainly from pre- panying photographs were not taken in the war academic and popular studies, such as repository (unlike those showing other pre- guidebooks of Gdańsk and its historical served details) and they originate from be- monuments. Later the resources available in fore the evacuation.76 the State Archives in Gdańsk also began to The first post-war publication to provide come to light, as well as private family ar- extensive information about the former de- chives which contained information about cor and function of Artus Court, which also the missing items from Artus Court.73 contains invaluable information on the stor- Unfortunately, in view of the constant age locations of the individual items, was changes in the postwar plans regarding the written by Zofia Jakrzewska-Śnieżko and management of Artus Court74 it was neces- dates from 1972.77 sary to wait until 1959/1960 to obtain fuller In 1973, after the decision had been tak- documentation on the original furnishings en to temporarily designate the Court as and decor. This came in the form of a type- exhibition space, documentation was com- written paper by Lech Krzyżanowski (1931– piled by the architect Adam Stefanowicz 2017) entitled Dwór Artusa, Basilica Regis (entitled Sala wystawowa w Dworze Artu- Arthuri w Gdańsku (Artus Court. Basilica sa. Rozpoznanie wyposażenia) dealing with the identification of the rediscovered items. As well as specifying which items had been 72 Guć-Jednaszewska 1979, p. 59. 73 Kilarscy 1996, pp. 44–48. damaged, had disappeared, or had not yet 74 The function of Artus Court, as municipal space, changed over time: from a museum repository, a Community been rediscovered, it contains drawings Centre and a room for holding temporary exhibitions organized by the Association of Polish Artists and Designers 75 Krzyżanowski [1960], pp. 15–19. Other later documenta- (ZPAP), until finally becoming a museum. For more on tion: Domsta, Luterek [undated]; Orłowski 1976. this subject, see: Gawlicki 2016, pp. 73 and 144–145; Śledź 76 Krzyżanowski [1960], photos 17–19 2004, pp. 176–178. 77 Jakrzewska-Śnieżko 1972.

» 12 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court… of the walls with coloured markings of the structed and original elements. These draw- details that had been preserved, damaged or ings became the basis for all further work were in a state of destruction.78 The docu- connected with this subject. They supple- mentation included paintings, sculptures, mented the permanent exhibition in Artus carvings and some woodwork. With regard Court in the form of printouts. to Lech Krzyżanowski’s documentation, it A separate publication, which resulted should be said that the architect presented from in-depth research into Jakob Deur- both the preserved and lost objects in an er’s documentation in the late 1970s, as well equally superficial and selective manner.79 as photographic documentation from the Another list of monuments from the legacy of Willi Drost in the Herder Insti- Great Hall was also included in the exten- tute in Marburg, was a catalogue published sive, unpublished documentation drawn up in 1993 under the title Europejskie dzied- by Lucyna Sobiecka dating from 1980.80 zictwo rozproszone Gdańsk 1992–1993 (Dis- This time, in tabular form, she listed the persed European Heritage Gdańsk 1992– historic pieces which she supplemented with 1993), 82 which accompanied an exhibition information about their state of preserva- on the same subject, organized in the Main tion, conservation, installation, as well as Town Hall. On this occasion, the losses suf- projects that had been carried out and the fered by Artus Court were studied by Ali- available iconographic materials. The wain- na Szpakiewicz and Edward Śledź. In 1997 scoting and capitals were also taken into ac- a comprehensive study of the cultural loss- count. Mention was also made of the diffi- es incurred during the Second World War culties entailed in trying to correctly identi- (Studium strat Dziedzictwa Kulturowego fy them. That same year, in order to organ- w okresie II wojny światowej) was prepared ize a temporary exhibition of the preserved for the Ministry of Culture and Nation- historic elements of Artus Court, schemat- al Heritage.83 The aforementioned studies ic drawings were made of the walls of the dating from the 1990s contained a further Great Hall, on the basis of Jakob Deurer’s 44 items plus another 61, including notes documentation dating from 1943–1944.81 on the collections (such as the capitals, four The furnishings and decor were marked in suits of tournament armour, and 11 shields various colours detailing the missing, recon- with the coats of arms of Gdańsk patricians). In both instances the focus was on paint- 78 Stefanowicz 1973. In the documentation, the drawing of the west wall is missing (it was ripped out). ings and sculptural elements, whereas the 79 The most important of these include the lack of the sculptural group Diana Bathing and the Metamorphosis historic decorations, for example the mod- of Actaeon from the Bench of the Malbork Brotherhood, el ships, were omitted. The list did not in- the drawing shows only Actaeon. The list does not include the coats of arms of the Polish-Lithuanian Commonwealth clude the portrait tiles from the Great Stove with the Sobieski coat of arms; there is no mention of the series of paintings depicting St Reinhold from the west which were still being sought, or 19th-cen- wall, nor is there any mention of Anton Möller’s painting Allegory of the Conditions for a Just Judgement from the tury items such as the brass candelabra. Nor Court Bench. 80 Sobiecka 1980, pp. 16–36. 82 Śledź, Szpakiewicz 1993, pp. 90–121. 81 Schemat 1980. 83 Dokumentacja 1997.

» 13 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court… was any account taken of Friedrich Gürtler’s The iconography of Artus Court is supple- painting Warrior in Antique Armour, which mented by paintings, drawings, and prints, was a pendant to Andreas Stech’s painting including paintings by: Domenico Quaglia bearing the same title, probably because one (1787–1837) dating from 1833, Friedrich was mistaken for the other. Nor does the Carl Mayer (1824–1903) made after 1857, study include the permanent fixtures in the Johann Carl Schultz (1801–1873) from the Gdańsk Hallway. years 1845–1850, watercolours by August The documentation on the conservation Lobegott Randt (1793–1859) dating from work carried out at that time contains a lot 1854, Georg Theodor Schirrmacher (1833– of valuable information on the missing ele- 1864) dating from 1855 and lithographs ments, as well as on the state of preservation made by Carl August Richter (1770–1848) of those that had survived.84 dating from c 1840 and by Luis Friedrich Sy When looking into the wartime losses (1815–1887) dating from 1858. Among the at Artus Court, as well as other municipal later works, the pastels made by Josef Köpf buildings, the iconographic resources in the (1873–1953) dating from 1907 and Arthur collections of the Polish Academy of Sci- Bendrat (1872–1914) dating from 1905, are ence in the Library of Gdańsk, the National worth mentioning. Museum in Gdańsk, the State Archives in Views of the east, west and north walls Gdańsk and the Museum of Gdańsk, were are the most common items among all the all of enormous value. Nevertheless, an ex- iconographic materials that have been col- amination of Willi Drost’s aforementioned lected to date. There is far less documenta- legacy in Marburg and of the resources tion about the south wall. This may have of the National Museum in Gdańsk provid- been because of the large windows located the most complete picture.85 The photo- ed on that side of the room and the sun- graphic archives in the German Centre for light which flooded throught them practi- Documentation of Art History – the Pho- cally all day long, thus making it difficult tographic Archives in Marburg at Philipps to take photographs. Among the photo- University (Deutsche Dokumentationszen- graphs, apart from shots of entire Benches trum für Kunstgeschichte – Bildarchiv Foto (e.g. those of St Reinhold, St Christopher, Marburg, Philipps-Universität Marburg) and Malbork, and Sailors and the Court Bench), in the Art Library (Kunstbibliothek) in Ber- there are also close-up shots of some of the lin were also helpful. The wealth of ever-in- details: the large paintings in the arch- creasing digital archival materials that has es under the vaults, parts of the panelling, been amassed, both state and commercial, the carved openwork frames and the capi- as well as social, may come as a surprise.86 tals with figural representations. The pho-

84 Among others: Dokumentacja 1989; Kaliszczak, tographs were taken both before the afore- Różańska-Sztolcman 1994 a and b; Romanowska- -Kasperkiewicz 1998. mentioned conservation and construction 85 Some of the glass plate negatives were discovered at the end of the 1990s. of Pomerania, Foto Polska, Ullstein Bild Archiv, United 86 These include: National Digital Archives, Museum Archives, Bundesarchiv.

» 14 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court… work was carried out in the 1930s and after Vries (1525–1609), The Last Judgement by it was completed and the furnishings were Anton Möller (Fig. 27), Diana Bathing by partially modified; photographs were taken Johann Körner (1660–1709), Diana Hunt- again before the furnishings were disman- ing by Carl Friedrich Scherres (1833–1923), tled in the 1940s. Luis Friedrich Rudolph Sy and Wilhelm August Stryowski (1834–1917), and Battle Wartime Losses Between the Horatii and the Curiatii by An- This study on the wartime losses incurred dreas Stech. According to an account given by Artus Court is based on earlier studies by Edward Śledź,87 these paintings were not by historians, art historians and conserva- evacuated and there is evidence to indicate tors, as well as source documentation ‒ the that they were destroyed during a fire at Ar- journals of Jan Kilarski, vol. XIII of Jakob tus Court in March 1945. The wooden ar- Deurer’s documentation of Artus Court, in- chitectural and constructional details under ventoried lists of the conservator’s reposito- the figural groups, the battens and consoles, ry in Gdańsk-Oliwa, and a list of wartime as well as the smaller painted backgrounds losses from the years 1939–1945 made avail- filling in the spaces in the arched walls were able by the Archives of the National Muse- probably also left in situ with the large can- um in Gdańsk. However, an analysis of the vases. As mentioned previously, the Great photographic documentation provided the Stove was not evacuated in its entirety – the most complete picture of the furnishings three lower stages remained together with and decorations that had been lost. This re- the stone plinth. sulted in a more comprehensive list of the The second group of historic objects con- losses incurred, which included items that sists of those items which were evacuated were previously unknown or which had from the building, but after the war could been omitted. Currently there are 77 items not be found in the places that had earli- listed which also include groups of historic er been indicated.88 Unfortunately, this also objects. They can be divided according to applies to the most valuable historic furnish- the type of object that was lost: paintings, ings and decor from Artus Court, which in- sculptures, woodcarving and woodworking cluded the panel paintings dating from the details, and other miscellaneous items, i.e. end of the 15th century: Ship of the Church decorative art. and Siege of Malbork, details of an en gri- The losses incurred by Artus Court can saille painting by Lucas Erfen (Ewert; 1574– also be categorized into objects that were 1603) dating from the 16th century, Trium- evacuated, those that went missing, and those phal Entry of Kazimierz Jagiellon: Skirmish left in situ which were damaged or partially and Wise Men Welcoming the Procession and plundered. The greatest losses incurred re- also Martin Schoninck’s Christ as Salva- main the large-format canvases which filled the arched walls above the benches: Orpheus 87 Śledź 2004, p. 176. 88 The items evacuated to Orle have been shown as an exam- Among the Animals by Hans Vredeman de ple: Wykaz 1939–1945, pp. 12–13.

» 15 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court… tor Mundi and Madonna and Child, the se- from one fragment on the south wall. Un- ries of paintings on court judgements from fortunately, the chest-type benches for sit- the Bench of Councillors and Judges, and ting on and the tables placed alongside the those decorating the Court Bench by An- wainscoting were probably destroyed. Oth- ton Möller. The mid-19th-century paintings er lost wood carvings include the semi-cir- by Luis Friedrich Rudolph Sy which filled cular, elaborately carved openwork frames the friezes o n the benches of St Christopher (four were lost including one half of anoth- and St Reinhold, are also among the more er frame), in which the paintings were hung serious losses incurred by Artus Court. This above the wainscoting, and the openwork list should also include the painted back- panels decorated with grotesques. grounds, which had earlier been overlooked, The losses also include four complete such as the one for the figure of the recum- suits of chainmail half-armour together bent deer and Andreas Stech’s particularly with accessories dating from the turn of the charming canvas dating from the end of the 15th/16th century, which came from St Re- 17th century depicting festoons of flowers. inhold’s bench (Fig. 30). Items which have The greatest wartime loss with regard survived to this day, and which were dis- to the figural works was Diana Bathing persed throughout Poland, include: incom- and Metamorphosis of Actaeon dating from plete armour I (now in the Wawel Royal the end of the 16th century – one of the Castle in Kraków collections), incomplete best Mannerist-style sculptures in Pomer- armour II (now in the Museum of Gdańsk ania89. The loss of Adrian Karffycz’s sculp- collections), part of armour III (in the Pol- ture Saturn was also deeply regrettable, as ish Army Museum in Warsaw collections), was the splendid mid-18th-century statue as well as equine brow-bands and tapered of August III of Saxony by Johann Meissner hand-guards for lances (in the Museum (1701–1770). of Gdańsk collections). The list of wartime losses includes wood Earlier studies of war losses omitted some carvings and woodworking details in the of the furnishings that had been removed Great Hall. Some of the capitals which were and put into storage during the conserva- part of the wainscoting decorated with in- tion work carried out in the 1930s in Artus teresting figural representations were not Court. After analysing the comparative ma- recovered. They were made in the first half terials, there was evidence that they had sur- of the 16th century by outstanding art- vived and had subsequently been evacuated ists active in Gdańsk at that time ‒ Adrian to somewhere outside Gdańsk in the years Karffycz and Master Paul (active in Gdańsk 1942–1945. Examples are two items from in 1534–1546). Twenty-three of the 60 cap- the historic furnishings of Artus Court: itals were lost. The elaborately inlaid wain- a painting by Andreas Stech Warrior in An- scoting survived almost in its entirety apart tique Armour dating from 1690,90 which had

90 Most probably depicting Alexander the Great, see note 89 Kaleciński 2011, p. 91. I.1.9.

» 16 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court… been removed due to being the ‘less well-pre- Guild which, in 1932, was also the co-own- served painting’ during conservation work er of Artus Court (together with the Broth- after the discovery of a sgraffito by Master erhoods and the Municipal Council). The Sebastian on the pilasters. Fortunately, the moveable furnishings in the Hallway which canvas survived the turmoil of the war and had been donated by Giełdziński became now hangs in its original place. A second the property of the Municipal Museum.94 such object, which had been taken down Therefore Director Drost’s decision to reor- and stored, was the coat of arms of the Pol- ganize the exhibition in the Gdańsk Hall- ish-Lithuanian Commonwealth from the way should come as no surprise.95 As a re- reign of Jan III Sobieski. It survived the war sult, some (?) of the items which had been in fairly good condition91 and has now been on display until 1938 appear on the inven- reinstated in its original place. tory of the National Museum in Gdańsk96. Therefore the following items were add- The most serious wartime losses in the ed to the list of wartime losses: a banner New Bench House include the Baroque with a likeness of Stanisław August Ponia- winding staircase and gallery97 as well as the towski; the painted background Landscape coffered ceiling decorated with paintings of Jordan by Johann Alexander Sidow (active dating from the end of the 17th century.98 in Gdańsk 1760–1790) dating from 1790; These details were transferred from other a pair of sculpted recumbent deer from Gdańsk townhouses at the beginning of the the Bench of St Christopher; a thermom- 20th century;99 the paintings were then ren- eter with barometer from the turn of the 18th/19th century, and an 18th-century 94 Katalog 1902, p. 6. 95 Drost 1938, p. 49. brass relecting wall-lamp donated to Artus 96 E.g. 17th-century abacus, two cast-iron stove tiles depicting Defeat of the Amorite Kings (now on loan from Court by Lesser Giełdziński, a collector and the National Museum in Gdańsk and on display in the member of the Merchants’ Guild. Gdańsk Hallway) and a wrought-iron grate surmounting the staircase. It is also known that there are prints which The present list of wartime losses also in- are marked (L.G) as being from the former collection of Lesser Giełdziński in the museum’s register, however, cludes some of the permanent fixtures from to date, there has been no indication that they are connected with the collection presented in the Gdańsk Hallway. the former furnishings of the Gdańsk Hall- Further research is needed on the scope and circumstanc- way. It is highly likely that previously the es in which objects from the former collection of Lesser Giełdziński from the Gdańsk Hallway were included in the rightful ownership of the Hallway was un- Inventory of the National Museum in Gdańsk, and when it was acquired. known, and that it was mistakenly believed 97 The crowning element is a figure of Minerva, which sur- 92 vived and is now in the possession of the National Museum to be Lesser Giełdziński’s private gallery. in Gdańsk. It is on loan to the Museum of Gdańsk and is exhibited in the Gdańsk Hallway. From the source materials that were ana- 98 According to sources, the paintings came from the ‘Kabrun lysed93 it transpires that the Gdańsk Hall- family home’ (Katalog 1902, p. 6; Diele 1901, p. 2), other sources mention the house on ul. Ogarna (Simson 1902, way was the property of the Merchants’ p. 39; Meyer 1929, p. 24). It was probably the house at ul. Ogarna 10 (Hundegasse/Hound Street), in which the col- 91 Until 2019 the second putto, which served to support the lections of Jakob Kabrun donated to the city were on dis- object, was missing. It has now been reconstructed. play in the years 1833–1872. 92 Szpakiewicz 1997, p. 364. 99 Sources indicate various origins for the staircase: which 93 Kleefeld 1902, p. 42; Diele 1901, p. 2. For more information include the house at ul. Długa 30 (Betlejewska 2001, pp. on the subject of the Gdańsk Hallway, see: Jastrzembska- 148–149), or the house at Długi Targ (Long Market) 43 Olkowska 2019 b, pp. 68–81. (Kleefeld 1902, p. 41; Simson 1902, p. 39).

» 17 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court… ovated by Wilhelm August Stryowski.100 As information to be found in unpublished a result of the war the following items were conservation and historical documenta- also damaged: the walls which had been tion.104 The atmosphere of the postwar re- lined with Dutch (faience) tiles a wooden construction work has been excellently de- frieze; a wall cupboard with bas-relief doors; scribed in the second volume of Wspomnie- a wooden interior portal leading to Artus nia z odbudowy Gdańska105 (Reminiscenses Court dating from the 18th century, as well of the Reconstruction of Gdańsk). as an original historic element of the furnish- The columns on which the vaults in the ings – a marble plaque with an inscription interior of Artus Court rested survived the dating from 1712 informing about the pur- war, but were found to be in such a bad state pose and function of the New Bench House. of repair and lacking any strength or dura- Finally, historic, external parts of both bility – that they had to be replaced with buildings, such as doors, which were most new ones.106 In the years 1948–1950 the red probably damaged, were also included on Scandinavian granite was replaced with grey the list of wartime losses. granite from Strzegom107. Given the scale The authors of this study hope that the of damage to the vaults, and concomitant present catalogue of losses, which is more construction work, it is surprising that 168 complete, will be of use to future genera- of the wooden stars on the vault survived; tions when identifying and searching for only eleven were destroyed.108 lost furnishings from Artus Court. Preserved elements of the furnishings from Artus Court were dispersed through- Conservation, reconstruction out many institutions and storage places in and installation Gdańsk, and sometimes even outside the The scope and progress of the conserva- city. The majority were stored in the Provin- tion work was briefly presented by Tere- cial Conservator’s repository in Gdańsk-Ol- sa Guć-Jednaszewska in 1993101 and Alina iwa, and also in the National Museum in Szpakiewicz in 1999.102 The postwar histo- Gdańsk, and the Gdańsk branch of the En- ry of the various elements of the furnish- terprise of State Workshops for the Con- ings and architectural decor of Artus Court, servation of Monuments, Artus Court, the those which were evacuated and remained stores of the Museum of History in Gdańsk in situ, and the circuitous paths which led (now the Museum of Gdańsk), the State Ar- to their rediscovery, the various stages of the chives in Gdańsk, the National Maritime reconstruction of Artus Court since 1948 Museum, the Castle Museum in Malbork, until it was opened as a museum, are all de- the National Museum in Warsaw and the scribed in detail in Edward Śledź’s publica- 103 104 For the most important, comprehensive studies, see: tion. There is also a wealth of important Krzyżanowski [1960], Sobiecka 1980. 105 Wspomnienia 1997. 100 Simson 1902, p. 39; Meyer 1929, p. 24; Katalog 1902, p. 6. 106 These events were described in his memoires: Osiński 101 Guć-Jednaszewska 1993, p. 112. 1978, pp. 97–105. 102 Szpakiewicz 1999, pp. 97–101. 107 Śledź 2004, p. 176; Gawlicki 2016, pp. 243–245. 103 Śledź 2002. 108 Kaliszczak, Różańska-Sztolcman 1994 b, [pp. 22–24].

» 18 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court…

Museum of the Catholic University in Lu- the 1980s and 1990s.112 The authenticity blin.109 Proper identification, recording and of the furnishings was to be preserved and collating them was difficult, and sometimes any reconstruction work would be kept to took many years.110 The reason for this was the absolute minimum. Conservation work that a large number of the salvaged details was usually preceded by historical, techno- from all the buildings in Gdańsk were stored logical and architectural research. together in the Conservator’s repository in One complex task, which required an Gdańsk-Oliwa and they were constantly enormous amount of effort both by special- moved around from one place to another. An ist conservators of works of art, as well as ar- accurate identification of the historic items chitects and construction workers, was to re- was also severely hampered due to the lack turn the stove in the Great Hall to its former of documentation regarding their disman- glory. The work on the stone plinth and its tling and evacuation by Jakob Deurer. conservation and the reconstruction of the Work on the rebuilding, conservation tiles were begun in 1983, and completed and reconstruction of Artus Court was very in 1993.113 Of the more than 500 original complex; it was carried out in stages, us- tiles, 235 had been preserved almost in their ing a dual-track approach: architectural el- entirety, together with several crates of tile ements and movable furnishings. The goal fragments which it was possible to piece to- was to restore the former interiors, character gether and therefore reconstruct another and splendour of the building to the great- 200 complete tiles114. est possible extent. The historical decor and Unforeseen circumstances also arose dur- furnishings that had been found had sur- ing the conservation work. For example, it vived in poor condition, thus preventing came as something of a surprise to find that their reassembly, which had to be preceded two antique cast-iron plates (16th century) by professional, comprehensive conservation with biblical representations had been re- work.111 This was begun at a relatively late used in the plinth of the stove. They proba- stage compared with work on the adjoining bly came from a second stove located in Ar- building: the municipal, and equally mag- tus Court.115 Relics of previously unknown nificent, Main Town Hall. In some instanc- mediaeval paintings (dating from the end es the conservation work was not carried of the 14th or beginning of the early 15th out until the 1960s and 1970s and anything 112 The following should be mentioned among the vast ar- which required a more comprehensive, wid- ray of conservation materials: Szmidelówna 1962; Betlejewska 1983; Wolańska 1987; Lewandowska 1988; er scope of work was not undertaken until Documentation 1989; Wolańska 1989; Betlejewska 1992; Wątorska 1995; Dokumentacja 1996; Sobczyk 1996; Romanowska-Kasperkiewicz 1998. For a brief description 109 Krzyżanowski [1960], pp. 16–19; Sobiecka 1980, pp. 16–36; of all the works, see: Śledź 2002, pp. 183–185. Śledź 2002, p. 182. 113 Angielska [undated]; Kilarska, Poksińska 1988; Kilarska 110 Guć-Jednaszewska 1979, p. 59; Guć-Jednaszewska 1993, 1994, p. 16; Rudy 1996; Śled ź 20 02 , p. 184; Guć-Jed naszewska , pp. 1–2. Szpakiewicz 1996, pp. 247–250. Reconstruction of the Great 111 Conservation work was carried out by the Przedsiębiorstwo Stove was completed in April 1995. Państwowe Pracownie Konserwacji Zabytków oddział 114 For more information of the reconstruction of the Great w Gdańsku (Gdańsk branch of the Enterprise of State Stove, see: Kilarska 1992; Kilarska 1994. Workshops for the Conservation of Monuments). 115 Szpakiewicz 1994, p. 15.

» 19 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court… century) were discovered during conser- sideration. There were difficulties identify- vation work on the monochromatic wall ing them and determining which ones were paintings in the arched walls below the missing. In his documentation dating from vaults, above the St Reinhold and St Chris- 1960, Lech Krzyżanowski claimed that topher benches.116 the issue of the capitals, the lack of them The work on the reconstruction of the and their eventual reconstruction, was one 16th-century woodcarvings is also worthy of the most important and pertinent issues of mention. Due to improper storage and in the conservation of the interiors of Artus transportation, the delicate, semi-circular Court.120 Later on, the capitals were marked openwork frames were badly damaged. Af- on the aforementioned schematic drawing ter being evacuated, they were returned to that had been made based on J. Deurer’s Artus Court where a stonemason’s work- documentation, but it transpired that they shop was engaged to restore the damaged had been marked incorrectly.121 Subsequent details. Unfortunately, two of the frames lists of wartime losses first estimated there were lost at that time.117 We know from were 19122 missing capitals, and later 20,123 published memoirs how each individual – the number on this list has now been fragment was treated with great almost de- amended to 23, to include a small capital votion-like care and in what esteem the peo- with an angel’s head. It may have been diffi- ple who had made them were held. Wood- cult to estimate the exact number due to the carver Kazimierz Orlof began his work with fact that two or three capitals may have been the words: ‘Welcome Master Adrian and adjoined at the corners of the wainscoting; Master Paweł! We are recommencing once it has never been determined whether these again that which you made four hundred were counted separately or jointly.124 years ago; let us shake hands, since we are No photographs of the capitals appear in extending your lives and the lives of your any of the lists that have been drawn up works of art, and the lives of many others to date, nor do the descriptions always un- who left some trace of their existence in ambiguously indicate to which capital they our city.’118 Archival photographs – which at times were dark and illegible – were used 120 Krzyżanowski [1960], p. 2. 121 The list was compiled largely during the Coronavirus during the reconstruction work; sometimes pandemic announced in March 2020. During this time archives and libraries were closed, thus preventing ac- these were only small illustrations published cess to past documentation, and the possibility of check- 119 ing facts. The accounts given (by word of mouth) by the in albums. woodcarver engaged in carrying out the reconstruction work on the missing capitals sometimes contained inaccu- Confirming the final numbers and lo- racies regarding their identification. Only an examination cations of the missing capitals was not an of the documentation of the conservation work carried out (Kaliszczak, Różańska-Sztolcman 1994 a), and comparing easy task. Initially the postwar lists of Ar- it with archival photographs made it possible to correctly identify the lost capitals. tus Court losses did not take them into con- 122 Sobiecka 1980, pp. 49–53. 123 Dokumentacja 1997, items 22–25. 116 Żankowski 1991. 124 For the purposes of this list a diagram has been drawn up 117 Orlof 1997, p. 241; Śledź 2002, p. 182. with the numbering of the capitals: each one separately. 118 Orlof 1997, p. 241. It repeats the numbering used in the aforementioned docu- 119 Ibid., pp. 242–243. mentation drawn up by J. Deurer.

» 20 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court… are referring. Each piece of documentation The reassembly of all the elements of the contains different numbering (sometimes furnishings, both the historical ones and only in digits, sometimes also in words) those which had been reconstructed, was to indicate the lost and surviving capitals carried out in the years 1993–1997 130. The (and those that have survived). Moreover, loss of the large-format paintings in the the contemporary layout – the current or- arched walls beneath the vaults above the der of the capitals – does not entirely cor- individual benches greatly diminished the respond to the historical one that is known whole of the interior of the Great Hall. In from pre-war photographs. Work on restor- fact it was such a serious loss that it was de- ing the surviving capitals was undertaken cided these empty spaces should be filled in the 1990s.125 The missing ones were re- with photographic prints of the original constructed successively until the early 21st paintings, i.e. so-called simulacra, or, in oth- century.126 However, not all of them were er words, paintings created by making a dig- documented in photographs. One of them ital copy of a photograph and adding colour. (near the stove) was not reconstructed due to This rather controversial concept gave rise to a lack of any information whatsoever. Some numerous discussions among conservators – of them were almost completely redesigned. opinions differed: some were critical, others It is difficult to explain the aforementioned supportive. However, thanks to this solu- change in the arrangement of the capitals tion, the interior of Artus Court regained its on St Reinhold’s Bench. Documentation former artistic expression and the composi- from the conservation work carried out was tional whole of its decor. On the other hand, only drawn up two years after completing specialists viewed the large-format prints as the work, and the scope of the work did not a clear indication of modern interference include placing them in their correct loca- with a historic interior.131 tions.127 By the beginning of the 21st cen- During work on this list, it also came to tury the iconographic materials were suffi- light that an element of a frieze containing ciently good and complete that it was pos- an inscription, which had previously been sible to retain their proper order. What is considered lost, and which was found on the surprising is that three more capitals have Bench of St Reinhold,132 was indeed origi- been assigned to Artus Court depicting nal. It underwent conservation in 1996.133 representations of two male heads and one Apparently all the inconsistencies between female head, which so far it had not been the former lists of losses and the conclusions possible to place anywhere.128 It is possible drawn from the analyses that were carried they may originate from a completely dif- out, were probably the result of constantly ferent building.129 rediscovering and identifying new details.

125 Kaliszczak, Różańska-Sztolcman 1994 a. 130 Romanowska-Kasperkiewicz 1998. 126 They were made by artist-sculptor Stanisław Wyrostek. 131 At present, the quality of the workmanship (using modern 127 Kaliszczak, Różańska-Sztolcman 1994 a, [p. 24]. technical solutions) leaves much to be desired. 128 Ibid., [pp. 14–15], Figs. 101 and 102. 132 Schemat 1980. 129 Now housed in the stores of the Museum of Gdańsk. 133 Dokumentacja 1996.

» 21 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court…

The wooden panels covered with painted rior design were irretrievably lost. However, decorations, visible on the photographs in it was decided that the interior’s historical J. Deurer’s documentation, came as a great ambiance should be restored. The plan put surprise; on paper they can be seen beneath forward in 1901 to reconstruct the Gdańsk the paintings in the friezes on the St Chris- Hallway was abandoned. A similar staircase topher and St Reinhold benches. They took was used, which came from another town- the form of vine tendrils with roses and a re- house – located on ul. Ławnicza; in the 19th gency treillage.134 These same panels are vis- century, this staircase had ended up in the ible in the photograph dating from 1959 von Grassów manor house in Kłanino. The of the details stored in the Conservator’s staircase and gallery, the coffered ceiling and repository.135 In the 1990s it was suggest- other wood details were dismantled and re- ed that this type of wallpaper with painted turned to Gdańsk.138 However, they had to decorations was probably used under all the be adapted (modified) to fit into the interior paintings in the frieze above the wainscot- of the New Bench House. The only element ing136 and was only revealed when the paint- that was preserved from the former stairs – ings were taken down to undergo conserva- a figure of Minerva situated half-way up on tion work. However, Deurer’s documenta- the central post of the staircase, was used tion shows that this type of decoration was as a free-standing sculpture in the exhibi- only found on the St. Christopher and St tion space (at first in the Hallway and later Reinhold Benches, which is why it should in a room on the first floor).139 The movable be assumed that it was made to temporari- furnishings in the Gdańsk Hallway, which ly fill the space and to replace the bas-relief came from other townhouses in Gdańsk, friezes that had been destroyed during the were taken from the resources of the con- Napoleonic battles at the beginning of the servator’s repository, one example being the 19th century. Three panels survived which polychrome figures of the so-called ‘guards’, underwent conservation in 1994 but they in other words full-figure sculptures that have not been restored to their original loca- marked out where the balustrade of the stair- tion because other surviving paintings have case started; today they have been placed by been discovered beneath them.137 the doors. Located close to this staircase In the New Bench House (the so-called is another example: the statue of Athena, Gdańsk Hallway) adjoining Artus Court, which comes from the Hallway of the Eng- the situation differed because almost lish House (Pol: Dom Angielski), and which everything was destroyed in the Second later was part of Friedrich Basner’s (1869– World War. The details which used to be the 1936) collection.140 The walls were lined main elements of the architecture and inte- with new wainscoting which is dissimilar

134 They were made in the 18th century or in the early 19th 138 Betlejewska 1994; Szpakiewicz 1997; Śledź 2004, p. 177. century. See Fig. 15. 139 The sculpture is the property of the National Museum in 135 Krzyżanowski [1960], Fig. 81. Gdańsk and is now on loan to the Museum of Gdańsk. 136 Romanowska-Kasperkiewicz 1998, pp. 5–6. 140 Wichmann 1925, table 1. The sculpture has a pendant in 137 Wallpaper – paper with painted decorations that was re- the form of a figure of Mars which today is on display in moved from the panels and is now stored in the repository. the Hallway of the Main Town Hall in Gdańsk.

» 22 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court… to the one dating from 1901 and only has tions were accompanied by a philatelic ex- a slight resemblance to its historical form. hibition entitled: Postage stamps in the histo- It does not have a proper frame and panel ry of Gdansk (Pol: Znaczki pocztowe w dzie- structure as was used in carpentry work in jach Gdańska), which was organized in the the past. Instead it was replaced with bat- Gdańsk Hallway of the New Bench House. tens which imitated this structure.141 As can After the many years it took to recon- been gleaned from this description, the in- struct the monuments of Gdańsk that had terior of the New Bench House is current- been destroyed during the Second World ly a compilation of various elements which War, elements of the furnishings are still became from various townhouses in Gdańsk. ing rediscovered. E. Śledź described their re- At the same time it is a continuation of Less- turn to Artus Court from other museums er Giełdziński’s intentions which go back to in detail in his aforementioned publication the beginning of the 20th century. dating from 2004.144 He mentioned the cap- Artus Court was officially opened to the itals of the pilasters from the wainscoting public as a branch of the Museum of the that had been found, models of ships and History of the City of Gdańsk (today the chainmail armour. When supplementing Museum of Gdańsk) on 18 April 1997. The the furnishings and reinstalling them in Ar- opening ceremony took place during the tus Court in the years 1990–1997, a frag- city’s millennium celebrations. In the prepa- ment of the wooden right hand of a sculp- rations for these celebrations, many of the ture of Kazimierz Jagiellon, which came city’s historical buildings and monuments from the Bench of the Malbork brother- were renovated, including Artus Court. hood, was found in the conservator’s repos- The main south facade was restored and its itory in Gdańsk-Oliwa. However, it was de- original polychrome work returned.142 The cided not to replace it since a hand recon- majority of the original furnishings had by structed in the 1980s had been mounted then been returned to their rightful place in the place of the missing one.145 Disas- in the interiors, and the monumental Great sembling the reconstructed fragment could Stove had been rebuilt into the corner of the have destabilized and weakened the sculp- Great Hall. The official opening of Artus ture structurally which is why such a risk Court took place alongside a commemora- was not taken. In 2004, a carved frame to- tive session of the Municipal Council, which gether with polychrome panels made by opened the millennium celebrations taking A. Karffycz for Martin Schoninck’s paint- place in the historic interiors.143 The celebra- ing Madonna and Child was given to the

141 This resulted in its historical incongruity with the rest of Gdańsk, many ministers, ambassadors, mayors of oth- of the interior. er towns in Poland and Europe, representatives of various 142 Sieńkowski 1997; Białko 1998; Szpakiewicz 1998 b. religions and denominations/ faiths. Before 1 pm, all 436 143 The following were present: Mayor of the City of Gdańsk participants ceremonially entered the festively decorated Tomasz Posadzki, Chairman of the City Council: the late Great Hall of Artus Court after attending an ecumenical Paweł Adamowicz and the Voivode of Gdańsk, Henryk mass in St Mary’s Church and the splendid and sumptuous Wojciechowski. The ceremonial session of the Council millennium parade. was also attended by the Marshal of the Sejm of the 144 Śledź 2004, pp. 182–183. Republic of Poland Józef Zych, all living former mayors 145 Ibid., p. 184.

» 23 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Wartime losses at Artus Court… museum – it had previously been consid- and corner tiles were identified in the Mu- ered a wartime loss. In 2008 the plinth be- seum of the Catholic University of Lublin. longing to the figure of the Madonna and They had been donated to the university by Child from the Bench of the Malbork broth- a collector who had bought them at the Do- erhood was also recognized in the repository minican Fair in Gdańsk.148 In 2000–2019 (it too had been included on the published seven other tiles were returned, all of which list of wartime losses).146 However it was not had been in private hands 149. It is hoped that returned to its rightful place because it had such gifts will be ever more frequent in the earlier been reconstructed based on archi- future. We also believe that other cultural val photographs.147 Other examples are the institutions in possession of some of the fur- donations and bequests made by people in nishings from Artus Court and the Gdańsk their wills of objects which after many years Hallway will agree to return them to their had been recognized as having belonged to rightful place, even if only on the basis the historic interiors of Artus Court. Some of a long-term loan. Perhaps the policy of ed- of the items that are fortunately still being ucating people about the lost collections, to- returned are the portrait tiles from the Great gether with publishing information about Stove. In 1995 thanks to information dis- them, which was adopted more than a dec- seminated in the media about the recon- ade ago, will lead to the return of at least struction of the Great Stove, seven portrait some of the pieces that are still being sought.

146 Szpakiewicz 1993; Dokumentacja 1997. 148 Ibid., p. 182. 147 The original plinth is in the storehouse of the Museum 149 The most recent donation was made in December 2019 by of Gdańsk. Dorota Karnkowska.

» 24 « Catalog Catalog

I. ARTUS COURT

I.1. PAINTINGS I.1.6. BENCH OF THE BROTHERHOOD Painting Orfpheus Among the Animals OF THE THREE KINGS 1594, Hans Vredeman de Vries (1526–1609), Gdańsk I.1.1. oil paints, canvas (on grille) Painting Judgement of Seleucos of Locri H 776 cm, W 604 cm (recess in archway) 1568, Workshop in Gdańsk (?) tempera, panel BENCH OF ST CHRISTOPHER H approx. 45 cm, W approx. 81 cm I.1.7. I.1.2. Painting Moses and Aaron Painting Fall of Hophni and Phinehas on the Sea Shore 1568, Workshop in Gdańsk (?) 1856, Louis Friedrich Rudolf tempera, panel Sy (1818–1887), Gdańsk H approx. 45 cm, W approx. 81 cm (?) oil paints, panel H approx. 36 cm, W approx. 92 cm I.1.3. Painting Death of the High Priest Eli I.1.8. 1568, workshop in Gdańsk (?) Painting Egyptian Army tempera, panel with Pharaoh’s Chariot H approx. 45 cm, W approx. 81 cm (?) 1856, Louis Friedrich Rudolf no iconography Sy (1818–1887), Gdańsk oil paints, panel I.1.4. H approx. 36 cm, W approx. 89 cm Painting Alexander the Great’s Judgement against Ignoble Viceroys I.1.9. 1568, workshop in Gdańsk (?) Painting Warrior in Antique tempera, panel Armour (Hector?) H approx. 45 cm, W approx. 81 cm (?) 1690, Friedrich Gürtler (1655–1707), Gdańsk I.1.5. oil paints, panel Painting Stoning of a Man H approx. 286 cm, W approx. 117 cm (Death of Heracon?) 1568, workshop in Gdańsk (?) I.1.10. tempera, panel Painting Landscape of Jordan H approx. 45 cm, W approx. 45 cm (?) 1790, Johann Alexander Sidow (active in Gdańsk 1760–1790),

» 25 « Catalog oil paints, panel oil paints, tempera, panel H approx. 776 cm, W approx. 604 cm H approx. 40 cm, W approx. 135 cm

BENCH OF ST REINHOLD I.1.16. Painting Reinhold in the I.1.11. Battle for Christ’s Tomb Painting Battle between the 1858–1859, Louis Friedrich Rudolf Horatii and the Curiatii Sy (1818–1887), Gdańsk c 1690, Andreas Stech (1635– oil paints, tempera, panel 1697), Gdańsk H approx. 39 cm, W approx. 122 cm oil paints, panel H approx. 380 cm, W approx. 580 cm I.1.17. Painting Reinhold Giving Alms I.1.12. 1858–1859, Louis Friedrich Rudolf Painting Landscape with Meadow Sy (1818–1887), Gdańsk 1588, workshop in Gdańsk (?) oil paints, tempera, panel oil paints, panel H approx. 39 cm, W approx. 122 cm H approx. 270 cm, W approx. 180 cm BENCH OF THE BROTHERHOOD I.1.13. OF MALBORK / BENCH OF Painting Festoon of Flowers THE THREE KINGS c 1690, Andreas Stech (?) (1635–1697), Gdańsk I.1.18. oil paints, panel Painting Diana Hunting H approx. 120 cm, W approx. 600 cm 1862–1863, Carl Scherres (1833– 1923), Wilhelm August Stryowski I.1.14. (1834–1917), Louis Friedrich Painting Reinhold Taming Rudolf Sy (1818–1887), Gdańsk the Horse Bayard oil paints, panel 1858–1859, Louis Friedrich Rudolf H approx. 586 cm, W approx. 604 cm Sy (1818–1887), Gdańsk oil paints, tempera, panel I.1.19. H approx. 40 cm x W approx. 135 cm Painting Ship of the Church 1470–1480, painted c 1520, unknown I.1.15. author, Gdańsk (?), Germany (?) Painting Reinhold paying a Tribute tempera, oak panel to Charlemagne (Reinhold is exiled) H approx. 194 cm, W approx. 256 cm 1858–1859, Louis Friedrich Rudolf Sy (1818–1887), Gdańsk

» 26 « Catalog

I.1.20. I.1.25. Painting Siege of Malbork Painting Wise Men Welcoming c 1480–1490, unknown author, the Procession (detail from the Gdańsk (?), Germany (?) painting The Triumphal Entry of King oil paints, tempera, panel Kazimierz Jagiellon in Gdańsk) H approx. 190 cm, W approx. 265 cm 1585, Lucas Erfen (Ewert; before 1574–1603), Gdańsk I.1.21. oil paints, tempera, panel, en grisaille Painting Salvator Mundi H approx. 39 cm, W approx. 133 cm 1536–1541, Martin Schoninck (active in Gdańsk 1536–1539), Gdańsk COURT BENCH oil paint, panel H approx. 69 cm, W approx. 64 cm I.1.26. Painting The Last Judgement I.1.22. 1602–1603, Anton Möller Painting Virgin and Child (1563–1611), Gdańsk 1536–1541, Martin Schoninck (active oil paints, canvas in Gdańsku 1536–1539), Gdańsk H approx. 780 cm, W approx. oil paints, panel 600 cm (recess in archway) H approx. 69 cm, W approx. 64 cm I.1.27. I.1.23. Painting The Last Judgement Painting Diana Bathing 1588, Anton Möller (1563–1611), Gdańsk c 1690, Johann Körner (?) (before oil paints, panel 1660–1709), Gdańsk H approx. 41 cm, W approx. 77 cm oil paints, panel H approx. 530 cm, W approx. 620 cm I.1.28. Painting Calumny of Apelles I.1.24. (Allegory of Injustice) Painting Skirmish (detail from the 1588, Anton Möller (1563–1611), Gdańsk painting Triumphal Entry of King oil paints, panel Kazimierz Jagiellon in Gdańsk) H approx. 41 cm, W approx. 77 cm 1585, Lucas Erfen (Ewert; before 1574–1603), Gdańsk I.1.29. oil paints, tempera, panel, en grisaille Painting Fair Courts (The Court H approx. 39 cm, W approx. 133 cm of Thebes, Allegory of Justice) 1588, Anton Möller (1563–1611), Gdańsk oil paints, panel H approx. 41 cm, W approx. 77 cm

» 27 « Catalog

I.1.30. wood, polychromy, woodcarving, gilding Painting Revelation of the table H approx. 35 cm, W approx. 35 cm (?) of rights to the Jewish people 1588, Anton Möller (1563–1611), Gdańsk I.2.4. oil paints, panel Pair of recumbent red deer H approx. 41 cm, W approx. 77 cm with natural antlers c 1589, workshop in Gdańsk I.1.31. wood, polychromy, woodcarving, Paintings Heraldic triad of Poland, gilding, marbleization Gdańsk and Royal Prussia H approx. 80 cm, W approx. 1588, workshop of Anton Möller (?) 215 cm (without antlers) oil paints, panel 1) H approx. 32 cm, W approx. 31 cm I.2.5. 2) H approx. 32 cm, W approx. 47 cm Coat of Arms of Poland 3) H approx. 32 cm, W approx. 31 cm c 1548–1572, workshop in Gdańsk wood, polychromy, woodcarving, gilding I.2. SCULPTURES, WOODCARVING H approx. 80 cm, W approx. 145 cm AND DETAILS OF WOODWORKING I.2.6. Coat of arms of Gdańsk I.2.1. c 1548–1572, workshop in Gdańsk Head of Red Deer with natural antlers wood, polychromy, woodcarving, gilding 1594, Simon Hörl (before H approx. 75 cm, W approx. 155 cm 1590–1617), Gdańsk wood, polychromy, woodcarving I.2 .7. H approx. 60 cm, W approx. Figure of a recumbent red 70 cm (without antlers) deer with natural antlers c 1588, workshop in Gdańsk I.2.2. wood, polychromy, woodcarving, Figure of Saturn with depictions gilding, marbleization of Capricorn and Aquarius H approx. 80 cm, W approx. 1533–1534, Martin Schoninck (active 215 cm (without antlers) in Gdańsk 1526–1540), Gdańsk wood, polychromy, woodcarving, gilding I.2.8. H approx. 70 cm Figure from the statue of August III of Saxony I.2.3. 1752–1755, Johann Heinrich Figural console with Jupiter Ammon Meisner (1701–1770), Gdańsk under a sculpture of Saturn white Carrara marble, full figure statue 1852, Fademrecht (?) (before 1856–1858) H approx. 180 cm

» 28 « Catalog

I.2.9. individual benches of the brotherhoods. Figure of a fleeing red deer There were 60 capitals in total. with natural antlers c 1590–1600, workshop in Gdańsk BENCH OF ST CHRISTOPHER (x 8) wood, polychromy, woodcarving 1534, Adrian Karffycz (active H approx. 208 cm, W approx. in Gdańsk c. 1526–1540), 265 cm (without antlers) 1534–1538, Master Paul (active c 1534 –1542), Gdańsk I.2.10. lime, woodcarving, gilding Group Diana Bathing and Metamorphoses of Actaeon From left: c 1589, unknown author, Gdańsk no. 2 (according to the plan) wood, polychromy, woodcarving, gilding H 18 cm, W 31 cm, D approx. 11 cm figure of Diana: H approx. 200 cm figures of nymphs: H approx. 190 cm no 7 (according to the plan) H 16 cm, W 30 cm, D approx. 12 cm figure of Actaeon: H approx. 250 cm figures of dogs: H approx. 85–95 cm no. 8 (according to the plan) plinth with a winged sea H 16 cm, W 30 cm, D approx. 14 cm creature: H approx. 120 cm no. 9 (according to the plan) I.2.11. H 16 cm, W 30 cm, D approx. 14 cm Head of red deer with natural antlers 1602, workshop in Gdańsk no. 10 (according to the plan) wood, polychromy, woodcarving H 16 cm, W 32 cm, D approx. 12 cm H approx. 50 cm, W approx. 65 cm (without antlers) no. 11 (according to the plan) H 15 cm, W 32 cm, D approx. 11 cm I.2.12. Bas-relief frieze with allegories no. 13 (according to the plan) of the planets and elements H 15 cm, W 24 cm, D approx. 12 cm 1892, Brieskow (?), Prieskorn (?), Gdańsk wood, polychromy, woodcarving, gilding no. 14 (according to the plan) H approx. 50 cm, W approx. 350 cm H 13 cm, W 39 cm, D approx. 13 cm

I.2.13. Capitals BENCH OF ST REINHOLD (x 4) The pilasters were surmounted with carved 1533–1534, Adrian Karffycz (active capitals which articulated the wainscotting in Gdańsk c 1526 –1540), Gdańsk in the lower part of the walls of the lime, woodcarving, gilding

» 29 « Catalog no. 16 (according to the plan) BENCHES OF THE MALBORK H 14 cm, W 32 cm, D approx. 10 cm BROTHERHOOD AND SHIPOWNERS (x 2) no. 20 (according to the plan) 1536–1540, Adrian Karffycz W 36 cm, H 14 cm, D approx. 10 cm or his workshop (active in Gdańsk c 1526 –1540), Gdańsk no. 22 (according to the plan) lime, polychromy, woodcarving, gilding H 13 cm, W 38 cm, D approx. 12 cm no. 47 (according to the plan) H 19 cm, W 35 cm, D approx. 11 cm no. 23 H 13 cm, W 28 cm, D approx. 10 cm no. 48 (according to the plan) H 19 cm, W 35 cm, D approx. 10 cm BENCH OF THE MALBORK BROTHERHOOD (x 7) COURT BENCH (x 2) 1536–1540, Adrian Karffycz (active 1536–1540, Adrian Karffycz (active in Gdańsk c 1526 –1540), Gdańsk in Gdańsk c. 1526–1540), Gdańsk wood, polychromy, woodcarving, gilding lime wood, polychromy, no. 36 (according to the plan) unknown woodcarving, gilding H approx. 17 cm x W approx. 30 cm no. 59 (according to the plan) no. 38 (according to the plan) H 19 cm, W 35 cm, D approx. 11 cm H 17 cm, W 50 cm, D approx. 11 cm no. 60 (according to the plan) no. 40 (according to the plan) H 19 cm, W 40 cm, D approx. 10 cm H 17 cm, W 32 cm, D approx. 11 cm I.2.14. nos. 43, 44 and 45 (according to the plan) Elements surmounting H 17 cm, W 24 cm, D approx. 11 cm the openwork panels (x 4) H 19 cm, W 35 cm, D approx. 12 cm 1530s, Adrian Karffycz (?) (active in H 19 cm, W 35 cm, D approx. 12 cm Gdańsk 1526–1540) and Master Paul (?) (active in Gdańsk 1534–1546, Gdańsk no. 46 (according to the plan) lime, polychromy, woodcarving, gilding H 23 cm, W approx. 14 cm H 26 cm, W approx. 8 cm x D approx. 9 cm I.2.15. Details of the wall cupboards: capitals and head of a lady in a tondo 2nd half of the 16th century, Workshop in Gdańsk

» 30 « Catalog deciduous tree (lime?), woodcarving I.2.18. capital: H 14.5 cm, W approx. 22 cm (x 3) Fleurons and consoles under choir stall tondo: Dia. approx. 15 cm (x 1) 1593, Workshop in Gdańsk lime, polychromy, woodcarving, gilding I.2.16. fleurons: H approx. 50 cm, Semi-circular carved frames – roundels Dia. approx. 30 cm (x 4) east wall – Malbork and Brotherhood consoles: unknown dimensions of Shippers benches 1535, woodcarving – Adrian Karffycz I.2.19. (active in Gdańsk c 1526 –1540), Gdańsk; Benches, tables and fragments woodworking – Heinrich Holzapfel of the wainscoting (active in Gdańsk 1531), Gdańsk A. Benches-seats and benches-tables lime, polychromy, woodcarving, gilding Bench of St Christopher: 1533– H 196 cm, W 35 cm, W full 1537, master Othmar (active frame (Dia.) 325 cm in Gdańsk 1533 –1537 Bench of St Reinhold: 1531, master 1536–1540, woodcarving – carpenter Heinrich Holzapfel of Adrian Karffycz (active in Gdańsk Kassel (active in Gdańsk) 1531 c 1526 –1540), Gdańsk; Malbork Bench: 1535–1556, master lime, polychromy, woodcarving, gilding carpenter Heinrich Holzapfel H approx. 90 cm, W 28 cm, Dia. 165 cm – Malbork and Brotherhood of Shippers benches: 1535–1556, Marks (Marckes) Bench of the Brotherhood (active in Gdańsk1532–1552) and Jurgen (?) of St Christopher Bench of the Three Kings: 1st half of c 1534, Adrian Karffycz (active in the 16th century – master Valentin Gdańsk 1526–1540), Gdańsk (Faltin) Felentin or Funk (active in lime, polychromy, woodcarving, gilding Gdańsk in 1534 and before 1555) H approx. 160 cm, W 35 cm, and 1568 – unknown author) W full frame (Dia.) approx. 318 cm Court Bench: 1588, maker of house mark ‘4 R’ I.2 .17. Panels with grotesques oak, burled veneers, birch and other types 16th century, Workshop in Gdańsk of wood, woodworking, veneering lime, polychromy, woodcarving, gilding along west wall: H 64 cm, L 498 cm, H 42 cm, W 33 cm and 31 cm 775 cm, 144 cm i 599 cm, D 47 cm along north wall: H 64 cm, L 328 cm, D 47 cm along east wall: H 64 cm, L 520 cm, 184 cm, 624 cm, 195 cm, 333 cm

» 31 « Catalog and 166 cm, D 47 cm I.2.21. high benches (tables) along the south wall: Frieze with inscription H approx. 94 cm, L approx. 350 cm (x 2.) 1530s, Laurentius Lauenstein (?) A. Benches-seats and benches-tables (active in Gdańsk c 1534 –1540) Bench of St Christopher 1533–1537, master wood, woodworking, marbleization, black Othmar (active in Gdańsk 1533–1537) monochrome and gilded inscription Bench of St Reinhold: 1531, master H 18 cm, L 136 cm, 650 cm and 158 cm Heinrich Holzapfel of Kassel (active in Gdańsk) 1531 I.2.22. Malbork Bench 1535–1556, Construction for hanging armour carpenter Heinrich Holzapfel (so-called hangers) with moulding – Malbork and Brotherhood of Shippers 16th century, workshop in Gdańsk benches 1535–1556, Marks (Marckes) deciduous and coniferous wood, (active in Gdańsk1532–1552) and Jurgen (?) woodworking, woodcarving, iron Bench of the Three Kings: 1st half of elements, polychromy, gilding the 16th century – master Valentin construction of hangers: H 225 cm, (Faltin) Felentin or Funk (active in W approx. 160 cm (x 2) Gdańsk in 1534 and before 1555) moulding: H approx. 25 cm L 277 cm and 1568 – unknown author) Court Bench: 1588, maker I.2.23. of house mark ‘4 R’ Stars on vaults early 19th century (?), unknown workshop B. Construction under beer counter lime, Dutch metal, lacquer, 1592, unknown workshop woodworking and woodcarving oak, veneers, woodworking, veneering dimensions – no data H 86 cm, W 105 cm (x 2) Eight-pointed stars Located at C. Fragment of panelling with capitals intersection of vault ribs 1588, maker of house mark ‘4 R’ Oak (?), burled veneers, birth and other I.2.24. types of wood, woodworking, veneering, Interior doors marquetry, woodcarving, gilding 2nd half of the 18th century or early H 163 cm, W 38 cm and 53 cm 20th century (?), unknown workshop oak, carpentry, carving I.2.20. H 210 cm, W 120 cm Frieze and console base under sculpture 1589, workshop in Gdańsk I.2.25. wood, woodworking, marbleization, gilding Door exterior – main entrance console base: H 70 cm, W 112 cm, 1932, unknown workshop D 35 cm oak, woodworking, glazing with lead frieze: H 29 cm, L 580 cm, D 31 cm H 350 cm, W 330 cm

» 32 « Catalog

I.3. MISCELLANEOUS I.3.6. Reflector of reflecting wall lamp I.3.1. c 18th or 19th century (?), Coats of arms of patricians workshop in Gdańsk (?) – jurors (x 11) brass, repoussé, chasing c 1602–1603, workshop in Gdańsk H approx. 90 cm copper, polychromy, gilding H approx. 65 cm I.3.7. Blanquettes (x 10) I.3.2. 19th century, workshop in Gdańsk (?) Coats of arms of patricians – jurors (x 9) brass, repoussé, casting, gilding 17th–18th century, Workshop in Gdańsk iron, casting, repoussé, gilding copper, polychromy, gilding 1) H 17 cm, W 19 cm (x 5) H approx. 60 cm 2) H 18.5 cm, W 22.5 cm (x 3) 3) H 18.5 cm, W 19.5 cm (x 2) I.3.3. Hanging candelabra with a I.3.8. likeness of the imperial couple Tiles from the Great Stove (x 70 ) 1883, workshop in Gdańsk 1545–1546, workshop of Georg Stelzner brass, casting, repoussé, chasing earthenware, polychrome, fired, gilded Dia. approx. 250 cm portrait tiles: H approx. 29 cm, W approx. 25 cm I.3.4. border tiles: H approx. 24 Banner with likeness of Stanisław cm, W approx. 24 cm August Poniatowski corner tiles: H approx. 55 1790, Johann Alexander Sidow cm, W approx. 14 cm (active in Gdańsk 1760–1790) silk, polychromy I.3.9. H approx 100 cm, W 60 cm Beer Bell 17 th – 18 th century, workshop in Gdańsk (?) I.3.5. brass (?), iron, wood Thermometer with barometer (?) Dia 20 cm. 18th–19th century (?), Netherlands (?) wood , brass, carving, chasing I.3.10 H approx. 65 cm Model ships: frigate ‘The Thetis” and brig ‘The Nordstar’ 19th century, workshop in Gdańsk (?) wood, textile, modelling, polychromy, woodcarving, gilding

» 33 « Catalog frigate: H approx. 180 cm besagues: Dia. approx. 20 cm x W approx. 256 cm left brassard with sleeve: H approx. brig: H approx. 180 cm x 30 cm, W approx. 12 cm W approx. 170 cm armour IV: burgonet: H approx. 43 cm I.3.11. x W approx. 24 cm Jousting armour from the breastplate: H approx. 40 cm Bench of St Reinhold: x W approx. 33 cm 15th–16th-century, Nuremberg/Innsbruck/ backplate: H approx. 44 cm Augsburg (?) or workshop in Gdańsk (?) x W approx. 27 cm iron, wrought, drilling, riveting, shoulder straps: H 40 cm, brassing, engraving, polishing W approx. 27 cm and 15 cm wood, leather, textile, polychromy, gilding couter: H approx. 35 cm x armour I: W approx. 12–13 cm brassard: H approx. 30 cm, W approx. 12 cm chainmail skirt H approx. 28 cm, Armour II: W approx 30 cm, with cuisses backplate: H approx. 44 cm H approx. 20 cm, W 20 cm x W approx. 27 cm besagues: Dia. approx. 20 cm left brassard with sleeve: H approx. left brassard with sleeve: H approx. 30 cm, W approx. 12 cm 30 cm, W approx. 12 cm armour III: Funnel shaped vamplate on the shoulder straps: H 40 cm, W approx. lance (x 3): H approx. 20 cm, 27 cm and 15 cm Dia. external approx. 37 cm couter: H approx. 35 cm x W approx. 12–13 cm Chamfron with blinkers (x 1), scabbard H approx. 28 cm, H approx. 50 cm, W approx. 30 cm W approx 30 cm, Jousting shields (x 4), H approx. with cuisses H approx. 20 cm, W 20 cm 40 cm, W approx. 45 cm

II. DANZIGER DIELE

II.1. II.2. Ceiling with paintings Spiral staircase and gallery 17th century, 1900–1901, author unknown, 17th century and 1901, 17th-century Wilhelm August Stryowski (1834–1917) elements – workshop unknown, 20th- frame of ceiling: 1900– century elements – sculptor and master 1901, Otto Wodetzki carpenter Otto Wodetzki, woodworking oil, panel (?) by masters: Scheffier and Steudel (?) H approx. 1160 cm, W 903 cm oak, woodworking, woodcarving H approx. 750 cm, W approx. 240 cm

» 34 « Katarzyna Darecka, Izabela Jastrzembska-Olkowska Die Kriegsverluste des Artushofes…

II.3. II.7. Wood portal Wall cupboard 17th century, unknown workshop 17th–18th century (?), unknown author oak, woodworking, woodcarving, gilding oak, steel, woodworking, woodcarving, H approx 260 cm, W approx. 175 cm blacksmithing, hammering, repoussé H approx. 130–140 cm x II.4. W approx. 100–110 cm Set of inner doors early 20th century – sculptor and master II.8. carpenter Otto Wodetzki, woodworking Vestibule by masters: Scheffier* and Steudel* (?) 17th–18th century and early 20th century, oak (?), woodworking, woodcarving sculptor: Trieder after a design by Kleefeld H approx. 210 cm, W approx. 130 cm (x 5) wood, woodworking, woodcarving H approx. 260 cm, W approx. 210 cm II.5. Frieze, carved borders and plinths II.9. early 20th century, sculpted heads: sculptor Door exterior – main entrance Trieder*, other details: sculptor and master 17th century and c 1900, carpenter Otto Wodetzki, woodworking unknown workshop by masters: Scheffier* and Steudel* (?) oak, woodworking, woodcarving, oak, woodworking, woodcarving iron, blacksmithing, hammering, frieze: H approx. 25 cm, L approx. 36 m engraving, brass – casting carved borders: H. approx H 313 cm, W 191 cm 130–140 cm (x 7) II.10. II.6 Marble plaque with inscription Set of Dutch tiles lining the walls dating from 1712 18th century, 1900–1901, Holland, Gdańsk c 1712, workshop in Gdańsk earthenware, tin glazing, hand-painted marble, wood, woodcarving, with cobalt chloride and manganese engraving, gilding size of tiles: H approx. 12 H approx 120 cm, W approx. 70 cm cm, W approx. 12 cm surface area: approx. 32 m²

Translation Anne-Marie Fabianowska

» 35 « Sources and Bibliography Sources and Bibliography

ARCHIVAL SOURCES przez Gottfrieda Reicharta w 1690 r., k. 105–108. ARCHIWUM AKT NOWYCH W WARSZAWIE GEHEIMES STAATSARCHIV PREUSSISCHER Kwestionariusz [1945] – 387/31, KULTURBESITZ t. 3, Kwestionariusz strat i zniszczeń w zakresie dzieł sztuki Meldung 1944 – GStA PK, I. oraz zabytków kultury i przyrody, HA Rep. 151, 2407/05, Wydział Rewindykacji 27. Meldung. Der Sonderbeauftragte i Odszkodowań w Dziedzinie für baulichen Luftschutz Kultury Naczelnej Dyrekcji beim Reichsstatthalter Architekt Muzeów i Ochrony Zabytków Hans Riechert an das Landesamt Ministerstwa Kultury i Sztuki. für Denkmalpflege z.Hd. Herrn Oberbaurat Volmar, Danzig ARCHIWUM PAŃSTWOWE 9 VI 1944, b.pg. W GDAŃSKU MUZEUM GDAŃSKA Borowski 1945 – 1164/1248, Urząd Wojewódzki w Gdańsku. Angielska [b.d.] – box 17/1 Muzea i Ochrona Zabytków. Tom I – 17/15, A. Angielska, 1945–1946, J. Borowski Dokumentacja opisowo- 1945, wykaz zniszczeń wojennych, k. 35. fotograficzna z konserwacji kafli, Gdańsk [b.d.], rks, mps. Drost 1938 – 1384/6, Stadtmuseum, sprawozdanie z działalności Betlejewska 1983 – box 4/20, muzeum Willego Drosta, 1938. Cz. Betlejewska, Dokumentacja konserwatorska. Dwór [1690] – 359/416, 1/9, Kartusz herbowy Sobieskich Dwór Artusa, Bractwo z 1690 r., pochodzący z Dworu św. Krzysztofa, k. 915–916. Artusa, Gdańsk 1983, mps.

Dwór [1790] – 359/416, 11/36, Betlejewska 1992 – box 4/5, Dwór Artusa, Bractwo Cz. Betlejewska, Dokumentacja Malborskie. Księga rachunkowa z przebiegu prac konserwatorskich. i recesowa, k. 68. Rzeźba – św. Rajnolda w Dworze Artusa w Gdańsku, Opis 1690 – 416/57, nr 30, Opis autor A. Karffycz – 1536, renowacji w Dworze Artusa Gdańsk 1992, mps.

» 37 « Sources and Bibliography

Białko 1998 – box 4/65, Kaliszczak, Różańska-Sztolcman P. Białko, Dwór Artusa, prace 1994 b – box 4/3, badawcze, fasada Dworu Artusa M. Kaliszczak, I. Różańska- i Nowego Domu Ławy. Sztolcman, Dokumentacja opisowo- Dokumentacja powykonawcza -fotograficzna z przebiegu prac prac konserwatorskich konserwatorskich. Gdańsk prowadzonych w latach Muzeum Historii Miasta Gdańska. 1996–1998, [Gdańsk] 1998, mps. Plakietki z boazerii. Gwiazdki sklepienne. Drzwi główne. Dwór Dokumentacja 1989 – box 4/53, Artusa w Gdańsku oraz Drzwi [brak autora], główne do Domu Ławy, Dokumentacja opisowo- Gdańsk 1994, mps. -fotograficzna z przebiegu prac konserwatorskich. Gdańsk Krąpiec 2016 – M. Krąpiec, Dwór Artusa. Mebel: lada Datowanie dendrochronologiczne (podstawa niszy ofiarnej) XVI w., deski z obrazu „Okręt Kościoła”, Gdańsk 1989, mps. Kraków 2016, mps.

Dokumentacja 1996 – box 4/20, Krzyżanowski [1960] – box 4/67, [brak autora], L. Krzyżanowski, Dwór Dokumentacja konserwatorska Artusa, Basilica Regis Arthuri do zespołu belek ze ściany w Gdańsku, Dokumentacja zachodniej i północnej Dworu naukowa, Gdańsk [1960], mps. Artusa w Gdańsku (Ława Świętego Rajnolda), Gdańsk 1996, mps. Lewandowska 1988 – box 4/53, E. Lewandowska, Dwór Kaliszczak, Różańska-Sztolcman Artusa w Gdańsku. Szafa rzeźby 1994 a – box 4/1, św. Jerzego. Dokumentacja M. Kaliszczak, I. Różańska- konserwatorska, Gdańsk 1988, mps. Sztolcman, Dokumentacja opisowo- -fotograficzna z przebiegu prac Romanowska-Kasperkiewicz 1998 konserwatorskich. Gdańsk – box 4/33, Muzeum Historii Miasta Gdańska. T. Romanowska-Kasperkiewicz, Kapitele i elementy wieńczące Dwór Artusa w Gdańsku. ażury. Dwór Artusa w Gdańsku, Dokumentacja konserwatorska t. I i II, Gdańsk 1994, mps. z montażu wyposażenia wnętrza w latach 1993– 97, Gdańsk 1998, mps.

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Schemat 1980 – Schemat Szmidelówna 1962 – box 4/45, opracowany na podstawie W. Szmidelówna, dokumentacji J. Deurera z 1944 r. Dokumentacja opisowo- na potrzeby wystawy -fotograficzna wykonana przez czasowej zachowanych elementów Pracownię Konserwacji Zabytków historycznego wystroju Ruchomych Pracownie Dworu Artusa, zorganizowanej Konserwacji Zabytków w Gdańsku przez urząd Wojewódzkiego w 1961 r., Gdańsk 1962, mps. Konserwatora Zabytków w Gdańsku i Muzeum Narodowe w Gdańsku, Szpakiewicz 1998 a – box 4/24, [Gdańsk 1980], rys. i mps. A. Szpakiewicz, Tematyka wystroju Sieńkowski 1997 – box DA 89, Dworu Artusa w Gdańsku. M. Sieńkowski, Badania Zagadnienia ikonografii i programu stratygraficzne resztek polichromii ideowego, Gdańsk 1998, mps. fasady Dworu Artusa w Gdańsku – badania uzupełniające, Szpakiewicz 1998 b – box DA 90, [Gdańsk] 1997, mps. A. Szpakiewicz, Uwagi merytoryczne do działań Sobczyk 1996 – box 4/53, restauratorskich przy elewacji M. Sobczyk, Drewniane płyciny frontowej Dworu Artusa herbowe z fryzu boazerii ławy w Gdańsku. Rozważania nad Sądowej w Dworze Artusa, kolorystyką i symbolem, Gdańsk 1996, mps. [Gdańsk] 1998, mps.

Sobiecka 1980 – box 4/68, Wątorska 1995 – box 4/45, L. Sobiecka, Dwór Artusa A. Wątorska, Dokumentacja w Gdańsku. Aneks konserwatorska – dwie renesansowe do dokumentacji historyczno- belki ze ściany wschodniej -architektonicznej wykonanej Dworu Artusa w Gdańsku, na zlecenie Gdańskiego Ośrodka Gdańsk 1995, mps. Dokumentacji Dóbr Kultury, Gdańsk 1980, mps. Wolańska 1987 – box 4/21, Stefanowicz 1973 – A. Stefanowicz, M. Wolańska, Dokumentacja Dwór Artusa. Rozpoznanie opisowo-fotograficzna z przebiegu wyposażenia wnętrza zlecone prac konserwatorskich. przez Pracownie Konserwacji Gdańsk Dwór Artusa. Rzeźba: Zabytków, Oddział w Gdańsku. Kazimierz Jagiellończyk Pracownia Projektów, 1973, mps. ok. 1550 r., Gdańsk 1987, mps.

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Wolańska 1989 – box 4/10, Dziedzictwa Kulturowego M. Wolańska, Dokumentacja w okresie II wojny światowej, opisowo-fotograficzna z przebiegu Gdańsk 1997, mps. prac konserwatorskich. Gdańsk Dwór Artusa. Rzeźba: POLSKA AKADEMIA NAUK Hans Brandt – św. Jerzy, Baldachim BIBLIOTEKA GDAŃSKA ok. 1485 r., Gdańsk 1989, mps. Keibel 1942 – Ms. 5869, Keibel, Żankowski 1991 – box 4/62, Niederschrift über die R. Żankowski, Dokumentacja Besichtigung der Denkmalsbauten konserwatorska trzech malowideł ściennych: der Hansestadt Danzig in der Zeit 1. „Wojownik rzymski”prawdop. 1567, vom 11. bis 18. Oktober 1942, mps. 2. „Trójca Święta, Stworzenie Ewy, Grzech pierworodny”, 1567 r., 3. „Scena turniejowa (?), WOJEWÓDZKI URZĄD ok. poł. XVI w. na zachodniej ścianie OCHRONY ZABYTKÓW Dworu Artusa w Gdańsku, Toruń 1991, mps. Deurer 1943/1944 – Dwór MUZEUM NARODOWE Artusa. Inwentaryzacja Jakob W GDAŃSKU Deurer, 1943/1944, mps.

Składnica 1948 – 10/AI/07, poz. 44, Domsta, Luterek [b.d.] [brak autora], Składnica muzealna – A. Domsta, J. Luterek, Projekt w Oliwie – spis obiektów muzealnych 1948, uporządkowania wnętrza Dworu Gdańsk 1948, mps. Artusa w Gdańsku, [b.d.], mps.

Wykaz 1939–1945 – 10/AI/07, poz. Orłowski 1976 – K. Orłowski, 40, [brak autora], Wykaz eksponatów Dwór Artusa, projekt zaginionych podczas wojny 1939–1945, uporządkowania wnętrza, Gdańsk [b.d.], mps. Gdańsk 1976, mps.

NARODOWY INSTYTUT PRIVATE COLLECTIONS DZIEDZICTWA ODDZIAŁ TERENOWY Kilarski 1945 a – J. Kilarski, W GDAŃSKU Gdańsk 1945, rps.

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