Taganrog Museum of Local Lore is one of the oldest museums in the south of Russia. Today he enters museum association"Taganrog State Literary and Historical architectural museum-reserve”, formed in 1983 and including seven museums.
Before turning to the history of the creation of a local history museum in the city, it is necessary to say something about Taganrog itself. Founded by Peter I in 1698, the first sea harbor Russia with the original name Trinity Fortress on Tagan Rog (from the Turkic “Noticeable Cape”) by 1709 already had 10 thousand inhabitants. However, unsuccessful battles with the Turks forced the Russian Tsar to return the Trinity Fortress on Tagan Rog to Turkey. Peter I ordered “to destroy the city as widely as possible, but without damaging its foundation, for God will turn it around otherwise.” In February 1712, the last Russian soldier left the fortress. Restoration of the returned citadel began in the mid-18th century. Under Catherine II, Taganrog, having lost its status as a military fortress, gained fame as one of the largest trading ports in southern Russia.
The history of museum construction in the city is associated with the name of Emperor Alexander I. Mysterious and unexpected death The Tsar-Liberator of Europe in Taganrog on November 19, 1825 still attracts the keen interest of historians.
The house in which the emperor died was bought from the city by Elizaveta Alekseevna, the widow of Alexander I, and in 1826 it became the first memorial museum in Russia. Preserved and maintained the atmosphere of the memorial provided for by “ staffing table» Ministry of the Imperial Court, caretaker of the Palace in Taganrog.
Alferaki A. I.,
mayor of Taganrog
in 1880-1888 1882
Chekhov A.P.,
beginning 1900s
The city, rapidly growing and developing in the 19th century, had its own theater since 1827, becoming the second city in Russia in which the Italian theater constantly existed. opera troupe. By the end of the century, a whole network had been formed in Taganrog educational institutions with free and universal primary education. The idea of creating a pedagogical museum arose. City mayor A. N. Alferaki and his successor P. F. Yordanov, taking into account the positive attitude of the townspeople to this idea and the approaching 200th anniversary of the city, managed (with the support of A. P. Chekhov) on June 22, 1898 to achieve the desired decision in the City Duma . This day is considered to be the founding date of the Taganrog Museum of Local Lore. The profile, direction and structure of the emerging museum were determined by A.P. Chekhov. He suggested placing it in a majestic building owned by the city and calling it Petrovsky.
After the revolution, all the city's museums were repeatedly tried to unite. Was destroyed memorial museum Alexander I, some of whose exhibits were preserved in the funds of the local history museum. In the early 20s, museums received art objects from estates and mansions, and later from the State Museum Fund, the Russian Museum and State Museum ceramics. In 1930, the City Museum was renamed the Taganrog Museum of Local Lore. By the end of the 30s, his collections, in the acquisition of which they took part prominent figures literature, art and science (A.P. Chekhov, K.A. Savitsky, the Miller brothers, I.Ya. Pavlovsky and many others), numbered nineteen and a half thousand items, including the book fund.
Central street of Taganrog
during the days of the German occupation,
summer 1942
Bench in the city garden
with the inscription "Only for Germans",
1942-1943
Fragment of the local history exhibition
museum during the years of occupation,
1942-1943
Order of the mayor of Taganrog
about providing paintings from the museum
at the disposal of the general,
November 26, 1941
Hood. N. P. Bogdanov-Belsky.
Dying peasant. 1893
The war, which began on June 22, 1941, from the first days affected the life of the seaside city, whose economy since the late 30s was mainly focused on defense orders. The city welded steel, built airplanes, produced heavy motorcycles, and sewed uniforms. And from the first days of the war, peaceful enterprises switched to producing military products. When the front began to rapidly approach the city, the local leadership, naturally, was concerned about the speedy evacuation industrial enterprises. By October 15, 1941, up to 75% of equipment, products, factories and valuables were removed from Taganrog, and most of the workers were evacuated. The city authorities have no options left to send museums to the east.
A desperate attempt to save objects made of precious metals was made by the director of the museum, K. I. Chistoserdov. A week before the arrival of the invaders, he took a collection of valuable items with him for evacuation and officially transferred them to the Kabardino-Balkarian Museum of History and Local Lore in Nalchik. A year later, Nalchik was occupied by the Germans, and the museum was brutally looted. (In response to a request from the Taganrog Museum about the fate of its exhibits from Nalchik in June 1944, they were informed that they had been stolen during the German occupation.)
On October 17, 1941, German tanks broke into Taganrog. Its occupation lasted 683 days.
The “new order” of the German authorities in the occupied “eastern” territories is widely known. The mayor organizes the management of the city economy, the Ortskomendatura exercises control over all activities, special structures collect taxes (on dogs, bicycles, skis, hand wheelbarrows and shows). Employees of the Burgomistrat carefully check textbooks for schools, books from libraries and stores. The museum’s library, from which “Bolshevik” literature was confiscated, is also subject to censorship checks. The monument to Peter I by M. Antokolsky, removed in 1924 and saved from melting down by museum workers, was returned to the city. According to available documents, in the first days of the occupation, museums were looted by local residents and German soldiers. Along with paintings, icons, porcelain, archaeological collections and numismatics, items from the exhibition of consumer goods were stolen.
The acting director of the museum, V. M. Bazilevich, reported to the new authorities: “... during the days of the flight of the Bolsheviks and the occupation of the city by the German army, the museum remained for several days without official protection. Taking advantage of this, persons outside the museum repeatedly entered the museum by breaking the locks, scattered and damaged its exhibits, and stole a number of items.” During this period, the collection of paintings suffered especially: “up to 30 paintings were torn from their stretchers, 25 of them were stolen.” Among the stolen works were paintings by I. N. Kramskoy, E. F. Krendovsky, I. A. Pelevin, A. P. Bogolyubov, J. Ya. Weber and others.
On November 20, 1941, the German authorities, in order to prevent theft, issued a safe conduct to the museum. The Germans knew that Professor Bazilevich was fruitfully engaged in scientific activity, published 45 books, including the well-known works “Griboyedov in Ukraine” and “Honoré de Balzac in Ukraine”, but in 1927 he was subjected to repression. In 1939, after a second five-year stay in the Far Eastern camps, he settled at the direction of the authorities in Taganrog.
With great difficulty, he, a world-famous scientist, managed to get a position as an employee of a local history museum. In just one year of service at the museum, he prepared twenty works. Among them: “Pushkin and Taganrog”, “Decembrists and Taganrog”.
The director of the Chistoserdov museum, who was leaving for evacuation, recommended Bazilevich for the role of those responsible for the preservation of the funds. In November 1941, the German authorities appointed him director of the museum. The burgomaster of Taganrog, Kulik, issued stern recommendations to the new leader: “You are obliged to strictly follow all orders of the city administration or its departments and not allow any activities that would run counter to the interests of the city population and the German armed forces.”
Bazilevich served as director for eight months, until June 1942. In his report addressed to the burgomaster, he reported that the museum premises had been put in order and the main losses of exhibits had been identified. The art gallery, the memorial room of Emperor Alexander I and the “Old Taganrog” department underwent a radical reorganization. A detailed check of the presence and condition of the exhibits was carried out, and a scientific inventory began. The museum has been replenished with a number of art exhibits, including works by local artists. The report notes that the museum remains closed to public viewing in accordance with the instructions of the burgomaster and the commandant's office. It was visited daily by soldiers of the German and Romanian armies.
In winter, the museum premises were not heated, so some of the exhibits had to be moved to a storage facility. But on June 22, 1942, on the anniversary of the start of the war with Russia, the occupiers held a reception for officers at the museum. In the Double-Height Hall of the museum, famous for its excellent acoustics, theater actors and a German brass band gave concerts. A cafe “only for Germans” was opened on the courtyard terrace. Later, other residents were also admitted. Increasingly, the German command began to use the museum’s halls for ceremonial entertainment. The city housed the headquarters of German units and intelligence services, hospitals, and rest homes for soldiers and officers. The German command obliged the city authorities to organize appropriate leisure activities for the valiant Wehrmacht soldiers.
The museum was ordered to organize a number of exhibitions, including those of local artists. The newspaper “Novoe Slovo” wrote about one of these exhibitions: “Eleven Taganrog artists responded to the call of the propaganda department German army and the city administration to participate in the exhibition that opened in the halls of the city museum... The exhibition met with a warm reception from the public. On the first day, up to 700 people visited it. A number of paintings were purchased by members of the German command and administration of the city for placement in the halls of the museum. Representatives of the German command visited the exhibition and gave very flattering reviews about it and ordered a number of portraits from the artists Scorchiletti and Ryasnyansky. The venerable artist Mrs. Blonskaya-Leontovskaya, who visited the exhibition on the day of its opening, presented the city with two of her best canvases: “Girls” (“Palm Sunday”) and a portrait of the notary Blonsky, the artist’s father, by her husband Leontovsky, a famous portrait painter of the aristocratic circles of St. Petersburg during the period 1900-1914." If this exhibition presented works of different genres, then in the exhibition that opened on August 1, 1943, exceptional place were occupied by portraits of Hitler. The museum gradually turned into a free “antique shop” for high-ranking occupiers. Increasingly, the museum's management begins to receive cynical orders and instructions from the burgomaster: - provide several paintings to decorate the general's apartment (seven paintings were provided); - hand over four paintings for the Gestapo headquarters; - two paintings for the security police and SD; - two paintings for Special Team No. 10... Among the paintings that left the museum were works by Bogolyubov, Vasilkovsky, Krylov, Makovsky, copies of unknown artists of the XIX century from paintings by Correggio, Rafael Santi. In mid-June 1942, when General Recknagel was honored, the hero of the day was presented with an old pistol from the museum’s collection as a souvenir. Police chief Kirsanov showed a passion for “collecting” ancient weapons from the museum’s collections. During 1942, the personal collection of the guard of the “new order” was replenished with: “pistol No. 137 (flintlock, dilapidated); blade No. 118, (handle with bone); blade No. 114 (forged, silver).”
Objects were also confiscated from the museum's funds for the practice of Orthodox rituals permitted for propaganda purposes. In particular, in January 1942, seven icons, banners, and other church accessories were confiscated for the St. Nicholas Church. Later, icons, chandeliers, icon cases, banners and other church utensils were sent to the same temple. To furnish an Orthodox house on the street. Chekhov, 101 priest Suslenkov received from the museum: “1. Two copper candlesticks in pairs for two candles each (inv. No. 277, 278). 2. A copper censer; only the lid and part of the chain, damaged, have survived (inventory No. 339). 3. Metal glasses, frage, 2 pcs. (Inv. No. 134,135). 4. Frame with glass from the icon. 5. A piece of red satin fabric with gilded fringe (No. 569).” The fact of receipt is certified by the corresponding receipt from priest Suslenkov.
Since August 1, 1942, the museum building was occupied by the headquarters of the German command. The entire exhibition was urgently curtailed within eight hours. After the staff left, museum staff discovered that “some of the items from the collection had disappeared. The archaeological department, Durov’s corner, etc. were damaged.”
Museum employees, risking their lives, tried the most valuable items preserve in the collection, providing works of minor art at the request of the authorities. Unfortunately, this was not always possible. The burgomaster was adamant in his zeal to please the German authorities; he returned items of little value and demanded that they be replaced with more “worthy” ones. The passion for decoration at the expense of the museum funds among the “fathers” of the city and their owners knew no bounds. The commandant, Captain Alberti, tried with his order to stop the revelry of lovers of “beautiful” art. The consequences of this step cannot be verified archivally. Following a denunciation, items belonging to the museum were found in the house of V. M. Bazilevich, which served as a basis for accusing former director of theft and sentence him to death. This was most likely a demonstrative and intimidating act of the invaders. According to the act signed by the director of the museum, the caretaker, the accountant and the custodian, two silver icons, 26 different coins, rubles from the reigns of Paul I, Nicholas I and Alexander I, a wallet for silver coins, 25 library books, 10 seals, an act on the surrender of valuables during evacuation, an inventory of numismatics, seals and other items.
In February 1943, the front after the victory Soviet troops near Stalingrad began to rapidly approach Taganrog. Propaganda Department of the VI Tank Regiment, ahead of special services Operational headquarters of Reichsleiter Rosenberg, proceeded to “rescue” and confiscate cultural values Taganrog Museum.
Senior Lieutenant of the 691st Tank Propaganda Company Ernst Moritz Arndt took from Taganrog “over forty icons and items of church utensils, about eighty items made of porcelain, glass and bronze, samples of collectible weapons, five paintings.” In the Central State Archive of the Supreme Bodies of Government and Administration of Ukraine (TSGAVOU), where an extensive archive of the “activities” of the so-called. Rosenberg's headquarters, official correspondence was discovered in connection with the search for exhibits of the Taganrog Museum of Local Lore taken away by Arndt. The curator of the Sonderkommando "Rostov" of the Rosenberg Headquarters, Reck, who accidentally received information about the removal of museum property by the Wehrmacht, showed extreme concern about this. According to Recca, there was an alleged breakdown in chain of command. The right to export should be handled by the Headquarters services, not the Wehrmacht. Moreover, Headquarters knows nothing about the location of the cargo taken from Taganrog by Senior Lieutenant Arndt. The meticulous Rekk checked the chain of promotion of the tank propaganda company with the museum’s values. Verification of the initial information that part of the cargo could have been located at the Berlin assembly point of the Wehrmacht High Command was unsuccessful. In the end, we managed to obtain a list of 125 items. However, the Headquarters treated this information with distrust. The Wehrmacht list contained items of dubious origin, in the opinion of Headquarters employees. As museum employee S. Malikova testifies, during the years of occupation the museum acquired some exhibits using funds allocated by the burgomaster. The same burgomaster confiscated the most valuable things from the funds for his leadership and for gifts to the German command. The museum staff, taking into account the “extortions” of the local authorities, did not strive to promptly register new acquisitions and were in no hurry to play the role of a cover for the authorities to identify and confiscate antiques from the population. Assertive employees of the main working group “Ukraine” from the Rosenberg Headquarters finally found Senior Lieutenant Arndt in Breslau (present-day Wroclaw, Poland). Arndt, with the knowledge of his superiors, informed Rosenberg Headquarters that art objects from the Taganrog Museum were in the Breslau command of the 691st Propaganda Tank Company among other captured property. By prior agreement with the Wehrmacht leadership, Arndt receives clear instructions: boxes with objects from the Taganrog Museum should be marked with the code “RMOZ” and sent to the address: “Buxheim State Station near Memmingen / Swabia, recipient Otto Letner, Zalesian Monastery.” This was the path of the first stage of exporting our museum’s cultural treasures outside the country.
Bazilevich V. M.,
director of the local history museum
in the courtyard of the museum,
winter 1941
And in Taganrog at this time, German headquarters and units were preparing for the second evacuation. On August 27, 1943, the occupiers carried out another large-scale raid on museum funds. Among the seized exhibits are paintings by Aivazovsky, Bogdanov-Velsky, Polenov, Leontovsky, Shishkin and others.
S. Malikova in her “Certificate” from 1943 writes: “The Germans took away mainly antique Russian things from the museum and took them for personal use.”
On August 30, 1943, Taganrog was liberated by the troops of the Southern Front under the command of General Tolbukhin. The city began to count losses during the years of occupation. The Izvestia newspaper wrote on September 4, 1943: “Twelve departments of the Taganrog Museum collected rare exhibits related to the history of our Motherland and the Russian people. The museum kept original paintings painted by Russian artists Makovsky, Shishkin, Pryanishnikov and others, as well as samples of ancient weapons, porcelain dishes, etc. Now the museum is empty - everything ancient has been looted and taken to Germany.”
By October 1, 1944, an inventory was carried out in the museum using inventories of 13 funds and the library collection. As a result, it was possible to establish that during the occupation, 4,624 items were stolen from the Taganrog Museum. The remaining collection in the funds amounted to 9,369 items and 5,550 books. That is, during the war the museum lost more than a third of its collection of objects.
Archival evidence does not yet allow us to reconstruct the full picture of the search and return of cultural values of the Taganrog Museum to the territory of the country.
On September 8, 1945, the Rostov Regional Department of Cultural Education demanded an inventory of museum exhibits that were lost or taken away by the Nazi invaders. It was proposed to list the groups of property subject to return from Germany. The search and return of stolen property could be helped by the information available in the museum about who carried out the removal and when. In December 1947, 73 exhibits stolen by the occupiers were returned to the museum, which arrived in box No. 21. Unfortunately, neither notification of receipt nor an inventory of the items found in the materials of the city archive, party archive and in the archives of the local KGB could be found.
The situation with the items returned in box No. 21 became clear already in Lately. Employees Federal agency in Culture and Cinematography actively participate in the search for documents relating to the “military” fate of the cultural values of the Taganrog Museum. It was from them that the materials of the State Archive were received Russian Federation, the archive of the Rosenberg Headquarters, stored in the Central State Archives of the Supreme Authorities and Administration of Ukraine (Kyiv) and other central archives. Employees of the Federal Agency, in addition to assisting in the preparation for the publication of this volume, searched for “traces” of the mentioned box. Its contents ended up at the end of the war in the territory of that part of Germany that was occupied by US troops. The Americans processed cultural property looted by the Nazis in German storage facilities (there were about 1.5 thousand of them) at collection points they organized and then transferred them to the countries of origin. Taganrog items were among those transferred to the Berlin Derutra warehouse and in November 1947 were sent with the returned exhibits of Peterhof, Gatchina, Catherine, Pavlovsk palace-museums, archeology of Kerch, icons of Pskov and Novgorod. The train of 4 railway cars and one platform arrived at the Central Storage of Museum Funds in the city of Pushkin near Leningrad, which was organized specifically for processing the imported valuables. Incoming museum objects were taken into account very approximately: not by availability, but by accompanying passports. The lack of specialists and the small number of storage staff made it possible only to open the boxes arriving from Berlin and identify the general nature of the packaged valuables and their belonging. They were then sent to their recipients. But for a number of reasons, valuables did not always reach their rightful owners.
Discovered in State Archives RF “Passport for box No. R-21” indicates that the museum valuables contained in it (icons, paintings - including Makovsky’s “Portrait of a Boy”, plaster masks, antique vessels, etc.) belong to the Taganrog City Museum.
Already in the process of preparing materials for the publication of this volume, employees of the Federal Agency for Culture and Cinematography established that the painting “The Dying Peasant” by N. P. Bogdanov-Belsky, lost by our museum during the occupation, was sold in 2001 Auction house"Christie". I would like to hope that the picture will take its place rightful place in our museum. Employees consider this find good sign the possible search and return of other cultural property stolen by the occupiers more than 60 years ago.
The museum community of Taganrog has always been aware of the need to establish the losses suffered by the museum during the war. But the authorities did not consider this task urgent for a long time. Therefore, the initiative of the Federal Agency for Culture and Cinematography to prepare for publication this volume of the Union Catalog of Lost Property was perceived by the museum staff as a long-overdue and fundamentally important matter. The Museum expresses its gratitude to the Agency’s specialists, especially N.I. Nikandrov, for the significant methodological assistance provided, as well as for a number of kindly provided archival documents, without which compiling the catalog would have been a very difficult undertaking.
Galina Krupnitskaya,
Head Museum of History and Local Lore
Photo: Taganrog Literary and Historical-Architectural Museum-Reserve
Photo and description
The Literary and Historical-Architectural Museum-Reserve in Taganrog is one of the city’s attractions. The museum-reserve was formed in 1981 from the Taganrog Museum of Local Lore and the Literary Museum of A.P. Chekhov. In 1992 it became a state regional cultural institution.
By the beginning of the 2000s. A large museum association has formed in the city: seven museums and thirty museum display objects that are associated with the history of Taganrog, as well as with the life and work of the great Russian writer A.P. Chekhov. The museum-reserve consists of a literary and historical part. The literary part includes: A.P. Literary Museum Chekhov, museum “Chekhov’s Shop”, memorial department “Chekhov’s House”, house-museum of I.D. Vasilenko and the complex of Chekhov memorial places. The historical part unites: the Taganrog Museum of History and Local Lore, the Museum “Urban Planning and Life of the City of Taganrog”, as well as the Memorial Museum of A.A. Durova. In 2010, on the eve of the 150th anniversary of Chekhov’s birth, the South Russian Scientific and Cultural Center A.P. was opened on the basis of the museum-reserve. Chekhov.
To date total area The museum-reserve is more than 5000 sq. m. Its funds contain more than 280 thousand exhibits. The stock collections of the Taganrog Literary and Historical-Architectural Museum-Reserve are in many ways unique and quite diverse. Museum visitors can get acquainted with archaeological and historical monuments, photos and documents, handwritten books, antique publications, household items and applied arts, as well as a numismatic collection, precious metal products and many other interesting museum exhibits.
All items that are related to the history of this region have historical, artistic and scientific value. Emperor Alexander I lived in this city, was born and lived famous writer A.P. Chekhov, the outstanding actress F.G. was born. Ranevskaya, lived the writer I.D. Vasilenko and famous artist circus A.A. Durov. A significant part of the collection of the Taganrog Literary and Historical-Architectural Museum-Reserve represents personal belongings of famous Taganrog residents, documents, photographs, furniture and works that were formed over many decades.
Taganrog State Literary and Historical-Architectural Museum-Reserve.
Description:
Fund of personal documents, books and things of A.P. Chekhov, A.A. Durov, I.D. Vasilenko, F.G. Ranevskaya. Collections of picturesque and graphic works A.P.Chekhov, S.M.Chekhov, S.S.Chekhov, Western engraving, 1st half. XIX century etc.
Organization classification: historical
Organizational areas: exposition and exhibition 2273.5 m2
Dates of opening and foundation: opened: 1983
Budget status: The subject of the Russian Federation
Organizational and legal form: non-profit institution
Organization type: cultural-mass
Branch or subordinate organization:
Taganrog Museum of Local Lore - M852
Museum "Urban Planning and Life of Taganrog" - M853
Museum of A.A. Durov - M871
Museum "Chekhov's Shop" - M1959
Partner organizations:
Starocherkassk Historical and Architectural Museum-Reserve - M845
Taganrog State Literary and Historical-Architectural Museum-Reserve is one of the largest museum associations Rostov region. It consists of 7 museums, the exhibitions of which tell about the history and culture of the city of Taganrog, about the life and work of A.P. Chekhov. In 2010, the South Russian Scientific and Cultural Center of A.P. Chekhov was created on the basis of the Taganrog Museum-Reserve.
Story
In 1981, in accordance with Resolution of the Council of Ministers of the RSFSR No. 344 “On measures for the preservation and use of historical and cultural monuments of the city of Taganrog, Rostov Region”, Taganrog Museum of Local Lore and Literary Museum of A.P. Chekhov were transformed into the Taganrog State Literary and Historical-Architectural Museum-Reserve (TGLIAMZ). For the first time in the practice of museum affairs in the Russian Federation, centralization of management and planning, a unified system of accounting, storage, scientific acquisition and study of stock collections, a unified financial and economic activity. By the beginning of the 2000s, a large museum association had formed in Taganrog: 7 museums and about 30 museum objects related to the history of the city, the life and work of A.P. Chekhov. The structure of the museum-reserve corresponds to the profile areas of existing and future exhibitions. The literary part unites the A.P. Literary Museum itself. Chekhov, memorial departments - "Chekhov's House" and "Chekhov's Shop", I.D. Vasilenko, as well as the entire complex of Chekhov memorial places in the city. The historical part is the Museum of History and Local Lore (Alferaki Palace), the A.A. Durov, Museum "Urban Planning and Life in Taganrog".
Literary Museum A.P. Chekhov was opened on May 29, 1935. Since 1975, it has been located in the building of the former men's classical gymnasium, which was one of the oldest educational institutions in the south of Russia. A.P. Chekhov studied at the gymnasium from 1868 to 1879.
Memorial Museum "Chekhov's House" was opened in 1926, located in a small outbuilding of the merchant A.D. Gnutova. The merchant of the 3rd guild P.E. Chekhov and his family lived in this house from the end of 1859 to March 1861. On January 29, 1860, the third son of the Chekhovs, Anton, was born here. The exhibition presents photographs of the older generation of the Chekhov family, merchant documents of P.E. Chekhov, and relics of the Chekhov family.
Museum "Chekhov's Shop" » is located in a house built in the 40s of the 19th century. The Chekhov family rented this house from 1869 to 1874. The museum exposition tells about the life of the Chekhov family, about the childhood years of A.P. Chekhov.
The Museum of History and Local Lore was created by resolution of the City Duma on June 22, 1898. Located in former house one of the largest homeowners in Taganrog N.D. Alferaki. The building was built in 1848 according to the design of the famous St. Petersburg architect A.I. Stackenschneider in eclectic style. In 1927, the building was transferred to the museum. During the 20th century, the museum's exhibition and the building itself underwent changes. In 1989 – 1996 Restoration work was carried out, which made it possible to largely restore the original appearance of the palace. In 1995 – 1996 The current exhibition has been opened.
Museum "Urban Planning and Life in Taganrog" located in an architectural monument, in the ancient mansion of the official E. Sharonov. The building was built in 1912 by academician of architecture F.O. Shekhtel in the Art Nouveau style. The exhibition reproduces corners of old Taganrog - a city that has preserved the architectural plasticity of the 19th – 20th centuries.
Museum I.D. Vasilenko located in a house built in the 70s years XIX century. The writer lived there from 1923 to 1966. The exhibition was opened in 2004. Documents, photographs, books and personal belongings of the writer are presented here.
Museum A.A. Durova located in the mansion of G.F. Potseluev - a miniature architectural monument in the Art Nouveau style. The house was built in 1900. In 1987, an exhibition was opened dedicated to one of the remarkable representatives of the famous Russian circus dynasty - trainer and artist A.A. Durov. Link to the VKontakte group.
South Russian Scientific and Cultural Center A.P. Chekhov was founded in 2010 in the year of the 150th anniversary of the writer’s birth, with the aim of popularizing Chekhov’s heritage, historical and cultural monuments of Taganrog and the Rostov region. Today, the center hosts scientific conferences, seminars, and creative meetings. An important place in his work is given to cultural and educational activities. Among the leading forms of work of the Chekhov Center is the organization of exhibitions: stock, copyright, exhibitions from private collections.
Collections
Museum-reserve, created as a result of the merger of the A.P. Chekhov Literary Museum and Museum of Local Lore Taganrog, united the museum collections of these two museums, diverse and in many ways unique.
Many objects related to the history of the city and region, which are witnesses to events of more than one century, which belonged to famous persons, undoubtedly have historical, scientific and artistic value and make up a significant part of the museum’s main fund, numbering 173,229 items.
The museum's funds are classified by type of storage: archaeological and natural historical monuments, photos and documents, objects made of precious metals, books, applied and visual arts, household and ethnographic objects, numismatic collection, etc. In total, the museum-reserve has 25 collections housed in storage facilities with an area of 1800 sq.m.
History of a museum object from the collection "Precious Metals"
The Precious Metals Foundation presents a group of silver objects that came to the museum in the 60-70s of the twentieth century. A combination of noble metal, artistic features, historical and local history information in the texts of the engravings determined the antique and historical and everyday interest in these objects.
These are sports prizes of the 30-40s of the twentieth century, and the sports cup of 1946-1950, utilitarian items: a mug, a coffee pot, a glass. The items could also serve as worthy gifts.
They crossed state borders, passed through the hands different people, and only their last role: the role of prizes for winning sports competitions, united them several decades later into a museum thematic collection. Izhevsk, Saratov, Rostov-on-Don, Taganrog: this is the geography of events, and the time is the “fateful forties”, post-war construction.
History of a museum item from the "Numismatics" collection
Commemorative medal, tabletop "In memory of the 50th anniversary Soviet power. 1917-1967." Medalist V.M. Akimushkin. Leningrad Mint. Silver, 73.67 g. Diameter 50 mm. Marks on the edge: "925" and the mint "LMD". In the original case. The medal was awarded to the participants ceremonial meeting dedicated to the 50th anniversary of the Great October Socialist Revolution, held in the Kremlin Palace of Congresses. The exact circulation is unknown, presumably no more than 3 thousand pieces.
The medal belonged to Lev Vladimirovich Shulgin, a participant in the ceremonial meeting, a famous Soviet composer and cultural figure. L.V. Shulgin (1890-1968), born in Taganrog, entered the St. Petersburg Conservatory. One of the most prominent organizers musical life countries after the revolution. He worked in the department of the People's Commissariat for Education, for 12 years he headed the propaganda and educational department of the music sector of the State Publishing House, editor of the magazine "Music and Revolution." He wrote a number of plays on folk themes and songs: “Glory to the Motherland” lyrics. M. Isakovsky, “Let’s Raise the Healthy Bowls” lyrics. I. Nehody, “I am a Spanish miner”, etc.
From the beginning of the 90s of the 20th century, for many years, employees of the Taganrog Museum of History and Local Lore corresponded with the daughter of L.V. Shulgin, Tatyana Lvovna, a famous Soviet sculptor who lived in Moscow. She donated to the museum-reserve all the surviving materials about her father, including a commemorative medal, as well as a musical notation of the song “Ogonyok” (“A girl escorted a soldier to position”), the music for which was considered folk music for many years, but as it turned out , its author is our fellow countryman L.V. Shulgin. IN Taganrog Museum-Reserve there is a fund of L.V. Shulgin, materials about his life and work are exhibited in the Museum of History and Local Lore (Alferaki Palace).
History of a museum item from the Rare Book collection
Lifetime edition of A. Pushkin’s book “Ruslan and Lyudmila”. St. Petersburg Type. N. Grecha. 1820
The first edition of Pushkin’s poem “Ruslan and Lyudmila”, published in 1820 during the life of the great poet, is a source of pride Pushkin collection, stored in the “Rare Book” fund of the Taganrog Museum-Reserve.
The book is hardbound from hard cardboard covered with brown marbled paper, spine and corners made of brown leather, printed on white rag paper. Volume 142 pages. On the inside of the binding there is a bookplate of the antique store No. 35 MoGiza, indicating the price - 100 rubles. On title page- traces of erased inscriptions. It can be assumed that in this way the old ownership marks indicating the previous owners of the book were destroyed.
This is the first book of the great poet to see the light. During the preparation of the publication, Pushkin was sent to serve in the Yekaterinoslav province. From there he wrote to the poet N.I. Gnedich, who, in the absence of the author, was supervising the publication: “The dress sewn to your order for Ruslan and Lyudmila is beautiful, and for four days now the printed poems... have comforted me like a child.”
Pushkin received a copy of the book on March 24, 1821, and it was published in the summer of 1820. Printed cover of the first edition famous poem did not have. The book was sold in a colored wrapper and cost 10 rubles (Quite a substantial amount for those times. The average salary of an official of the Taganrog city government during this period was 25 rubles.) The hardcover was made by the owners at their own discretion and capabilities.
According to Pushkin, the poem “Ruslan and Lyudmila” was written by him while still at the Lyceum. However, all surviving drafts were written no earlier than 1818. The poem was completed in St. Petersburg on March 26, 1820. The epilogue was written in the Caucasus in July 1820, and the famous introduction (“There is a green oak at Lukomorye”) in Mikhailovsky in 1824 - 1825.
Excerpts of the poem were published in the magazines "Nevsky Spectator" and "Son of the Fatherland" in 1820. When a separate edition was published, the poet had already been exiled to the south. The poem caused controversy and numerous reviews in magazines. Her success, despite the ambiguous attitude in society, was undoubted. This is confirmed by the fact that in 1822 the edition was reprinted for sale.
At an auction of antique publications held in St. Petersburg at the beginning of 2013, the starting price of the lot where the first book of the great poet was exhibited was 100 thousand euros. And although this is a significant amount, even in foreign currency, this book is priceless for our museum.
A unique edition of Pushkin’s poem entered the museum’s collection, probably thanks to a graduate of the Taganrog gymnasium, famous literary critic, corresponding member of the USSR Academy of Sciences Sergei Dmitrievich Balukhatom. In 1937, on his initiative, a Pushkin exhibition, dedicated to the 100th anniversary of the death of the poet. After the completion of her work, a significant part of the exhibited objects was transferred to the newly created Literary Museum A.P. Chekhov.
History of a museum item from the "Fabrics" collection
Embroidery of the North-Eastern Azov region from the collection of towels
Embroidery has been one of the most beloved and widespread types in Rus' since ancient times. folk art. Every woman should have mastered this skill. Girls began to be taught the art of embroidery from early childhood. They embroidered clothes and household items (bedding, tablecloths, curtains).
Towels stand apart in this row. They had not so much a utilitarian meaning as they were an indispensable attribute of many rituals: wedding, maternity, funeral, serving as a kind of amulets, that is, they accompanied a person from birth to death. Embroidery on towels had many symbols and hidden meanings, dating back to ancient Slavic traditions associated with the cult of fertility and the cult of ancestors.
It is the towels that form the basis of our collection “Embroidery of the North-Eastern Azov Region”.
The collection of towels in the Tkani fund is one of the most numerous - over 150 storage units. Its acquisition began in the 20s of the last century. Most of the items were collected during historical and everyday life expeditions to the surrounding villages. Chronological framework collections – the first half of the 19th century – the 70s of the 20th century.
Embroidery techniques, subjects and motifs of embroidery are very diverse. This is due to the history of our region.
In the early 70s of the 18th century, after the conclusion of the Kuchuk-Kainardzhi Peace Treaty between Russia and Turkey, Russia turned into a Black Sea power and launched vigorous settlement and active development of vast spaces of the fertile Azov steppes. As a result of the migration policy of Catherine II, a certain ethnic image of the city and its environs began to take shape: this Don Cossacks, Ukrainian families, whose resettlement was formalized by decree of May 24, 1779, Albanians, Greeks, Armenians, people from middle zone Russia. Compact residence of peoples with different cultural traditions contributed to the interpenetration of rituals and customs and influenced the development of folk arts and crafts, including embroidery. Master embroiderers learned from each other, borrowed techniques and styles.