Before ending up in the collections, objects of museum significance go through a long and complex path, the main milestones of which are recorded in special documentation. First, they are accepted for temporary storage, at the same time a legend of the item is recorded, which contains information about the origin of the item, its environment, methods of use, as well as about the owner himself. Then the items are examined by the museum’s stock-purchasing commission; sometimes museum workers turn to professional experts for help. And only then, after approval, items are entered into the Integrated Automated Museum Information System and accepted into the main fund. From now on they become part of the single Museum fund Russian Federation.
Since January 2017, the funds of the Khakass National local history museum named after L. R. Kyzlasov, 1,167 items were received, the total number of museum items is now 146 and a half thousand. Large quantity items are brought by our regular donors; some items, mainly from art and documentary collections, remain in the museum after exhibitions. The documentary fund, the History of Technology fund, and the archaeological and ethnographic collections are being significantly replenished. Sometimes truly unique items are accepted. For example, Gennady Stepanovich Shadrin donated to the museum an 18th-century Old Believer cross, made according to a 17th-century model. Also in the funds appeared icons of “The Lord Pantocrator”, presumably from the 17th-19th centuries, and “Nicholas the Wonderworker”. Assistant Military Commissar of the Russian Federation Oleg Pagels gave the museum German propaganda leaflets in Russian from the Great Patriotic War Patriotic War, Victor Shcherbina – copper teapot “Kolchugin Partnership” late XIX century. Several antique sewing machines appeared in the “History of Technology” fund: Tatyana Vasilievna Shunkova donated a “Gloria” sewing machine from 1895, Natalya Mikhailovna Usynina donated a “Naumann Klass 8” from 1900, Pavel Alekseevich Kharchenko donated a “Gosshweimashina” from the first half of the twentieth century.
Also, the personal collections of famous personalities of the republic in the “Documentary Fund” are constantly replenished. Roman Bainov, grandson of the Khakass poet Moisei Bainov, donated personal belongings, photographs and documents to the museum famous grandfather, his typewriter. Chairman of the Council of Veterans of the linear department of the Ministry of Internal Affairs of the Russian Federation Oleg Abramovich Zaitsev collected, prepared for delivery and handed over about 600 items relating to the life and activities of the political and public figure of Khakassia Alexei Fedorovich Troshkin: personal documents, about 400 photographs, certificates, congratulatory letters etc. L.G. Ugdyzhekova compiled and handed over personal documents and photographs of the famous teacher Alexei Dmitrievich Kichuk. Tatyana Semenovna Dobrova, the daughter of the first Khakass journalist Semyon Dobrov, brought photographs of Semyon Konstantinovich. In addition, Tatyana Semyonovna, being our long-time donor, donated to the museum cameras “Smena” and “Zenith” from the 1970s, “FED” from 1955, and magazines “ New world"1960s, samizdat edition of "The Master and Margarita" 1973, as well as several copies beautiful dishes 1960-70s, including a candy dish, tea pairs and glasses.
Traditionally, a significant replenishment of the art fund occurs after exhibitions. So, after the exhibition “Artists of Khakassia. From sketch to implementation”, sketches appeared in the museum’s collections theatrical costumes and scenery, dolls made for various performances by artists Maria Maksimenko-Bushmina, Maria Chaptykova, Zulfiya Todykova and Edgard Arutyunov. The art fund is also replenished with exhibitions based on the results of the All-Russian plein airs. After the exhibition “The Great Silk Road” of the Yelabuga State Historical-Architectural and Art Museum-Reserve, paintings and graphic works by artists Ilnur Siraziev, A. Inshakov, Rabis Salyakhov and Mikhail Kuznetsov-Kazansky were donated to the museum. The widow of artist Konstantin Mamyshev donated 18 paintings. Viktor Sergeevich Kokov donated the work to the funds famous master decorative and applied art by Nikolai Achitaev: wooden bow and arrows and decorative panels; artist Alexander Popov - own wooden sculpture"Khakass prince - warrior Irenek."
Interesting objects have been added to the ethnographic collection. People's master "Chon Uzy" Valentina Ivanovna Todysheva donated a Khakass fur coat and carpet self made made by her. Three Khakass national women's fur coats and a robe were donated by Mayra Tuguzhekova, a resident of the village of Sapogovo, Ust-Abakan region of Khakassia. The national clothes were received by the museum in fairly good condition. The fur coats are made of sheepskin in the traditional Khakass style around the time. XIX - early XX centuries. Elvira Tudoyakova donated traditional Khakass handbags, Valentina Matveeva donated a spindle and a spinning wheel, Anastasia Manturova donated a set of Uzbek national women's clothing and a Tatar skullcap; Olga Dmitrievna Stolyarova - Ukrainian embroidered blouse, Lyubov Illarionovna Kondratieva - openwork wool shawl from the 1940s.
A significant replenishment occurred in the History of Technology fund. Our regular donor Vladimir Nazarenko donated a Panasonic video recorder, artist Edgard Arutyunov - lens spotlights and lighting equipment for illuminating theater and entertainment venues. Klara Romanovna Kyzlasova, a longtime friend and donor of the museum, “Excellent Health Worker of the USSR”, organizer and head of the obstetric service in Khakassia, donated a stethoscope, which she used in her professional activities. Tatyana Prokopyevna Turusheva donated various technical devices for developing and printing photographs.
Many items end up in the museum’s collections after the liquidation or disbandment of various enterprises. Thus, Nikolai Innokentyevich Korepanov donated tools for making shoes to the Manakovsky factory. Regina Leonidovna Makhrina – confectionery equipment: syringes and nozzles for them. M.P. Shoeva assembled and donated the items for the Khakassian film distribution.
Czech crowns, Armenian dramas, Kazakh tenges, coins from France and the USA, Uzbek and Belarusian banknotes appeared in the numismatic collection.
Large acquisitions during 2017 were in the paleontological and geological collections. Yuri Itekpaev donated fragments of a mammoth skeleton, 38 items in total; local historian Petr Nikolaevich Soldatov – tubular bone woolly rhinoceros; Igor Rybkin – mammoth bone; Alexander Sergeevich Kobyakov brought a fragment of petrified wood from the Beysky coal deposit. A permanent donor to the museum, Dmitry Burlay, donated rock samples (rhodusite, pyrite, rugosa, etc.), Tatyana Valerievna Pogodina - mineral samples (glendonite, magnetite, quartz with mica inclusions, etc.).
Many items that are remembered by the older and middle generations are gradually going out of use. Modern children are unlikely to understand how to use, for example, a household siphon for making carbonated water, which was conveyed by Vladimir Vladimirovich Nazarenko. Yes and New Year's toys have significantly changed their appearance, perhaps only in museums can you see glass Christmas decorations 1970-80s, donated to us by Natalya Timofeevna Fitina and Tatyana Semyonovna Dobrova. R.L. Makhrina donated candles and matches that were used in the 1970s, Nikolai Innokentyevich Korepanov donated household items from the Soviet period: a glass 5-arm chandelier, wooden clothespins, an iron and a clock; openwork metal cup holders from the 1960s also appeared in the collections.
Central Museum ancient Russian culture and art named after Andrei Rublev there is an exhibition called "New Arrivals", where the museum introduces its visitors to the objects that have been received in its funds for last decade. During this time, more than 3,500 items were added to his collection. Of course, all the items could not be exhibited in the small hall of the Superior Building, but the staff placed the most valuable and striking works on display.
The presented exhibits can be divided into two categories: actual gifts and works purchased with funds from the Andrei Rublev Museum itself or through the Ministry of Culture of the Russian Federation, at its expense budget funds. The brightest gift recent years was the collection of the famous surgeon G.A. Pokrovsky (1925-2008), transferred in 2009 by his widow M.A. Pokrovskaya. The collection received by the Museum is huge, including more than three hundred exhibits. Among them are examples of 16th-century icon painting from the Moscow circle of the Grozny era, monuments of Novgorod origin, as well as many works of jewelry.
Saint Nicholas the Wonderworker. Second quarter - mid-17th century century. Moscow. Salary. Middle - third quarter of the 18th century. Master GHB. Crown. 1842 Moscow. Master I. Lavrov. Wood, tempera; white metal, embossing, gilding, carving, colored flows. From the collection of G.A. Pokrovsky. Dar M.A. Pokrovskaya, 2009. House-museum restoration.
Gleb Aleksandrovich Pokrovsky was born in 1925 and remained a practicing surgeon almost until the end of his days. Since 1958, his collection of icons and decorative arts began to take shape. Long years of friendship connected Gleb Alexandrovich with famous artist and collector of church antiquities Pavel Dmitrievich Korin. The assembly was formed in different ways. Some icons of G.A. Pokrovsky acquired a fairly significant number of works as gifts from friends.
Prophet David, from the prophetic rank. 1660-1670s. Yaroslavl. Wood, tempera.
Acquisition from a private person, 2006. House-museum restoration.
The patients he cured, learning about their doctor’s passion, also, as a sign of gratitude, often gave Gleb Aleksandrovich icons that were kept in their families and seemed unnecessary. G.A. Pokrovsky died on March 21, 2008. During his lifetime, he did not have time to dispose of his collection, which he valued very much. At the beginning of 2009, Marfa Andreevna Pokrovskaya, wanting to preserve the memory of her husband and not allow the fruits of his many years of work to dissipate, donated the collection to the Central Museum of Ancient Russian Culture and Art named after Andrei Rublev.
A beautiful pearl museum collection is nowcreated by the best Moscow craftsmen,icon "Our Lady of Vladimir" in a magnificent frame with colored enamel.
Our Lady of Vladimir. Second quarter of the 17th century. Moscow.
Wood, tempera; white metal, enamel, glass, filigree, filigree enamel, champlevé enamel, mount, gilding, colored glass.
Filigree (goes back to Old Russian s'kan, from the verb s'kati "to twist", "to twist several strands into one thread"), filigree is a type of jewelry technique: an openwork or soldered pattern on a metal background made of thin gold, silver or copper wire, smooth or twisted into ropes. Filigree products are often complemented with grain (small silver or gold balls) and enamel.
Fragment. Our Lady of Vladimir. Second quarter of the 17th century.
Champlevé enamel is a technology for applying enamel in which it fills depressions (recesses) made on the surface of the product by engraving, chasing or etching. After firing, the hardened surface of the enamel is ground level with the metal.
Among the famous acquisitions one can note an icon from the prophetic row of the iconostasis with a half-length depiction of the prophet Zechariah from the 1660s-1670s. This is a magnificent monument of Yaroslavl painting, with characteristic features of this center stylistic features, which brilliantly combine traditional and innovative trends.
Prophet Zechariah, from the prophetic rank. 1660-1670s. Yaroslavl.
Wood, tempera. Acquisition from a private person, 2006. House-museum restoration.
Among the acquisitions in 2014, the icon “Carrying the Cross” from the late 17th - early 18th centuries from the passionate row of the iconostasis attracts attention. The image is based on a Western European engraving dating back to the Merian Bible.
Carrying the Cross, from the passionate order. The end of the 17th - beginning of the 18th century. Moscow (?).
Wood, tempera. Acquisition from a private party, 2014. House-museum restoration.
The appeal to Western iconographic models, the voluminous “life-like” painting of faces, the use of new forms in the painting of clothing, architecture and landscape indicate the icon painter’s familiarity with the works of the masters of the Armory Chamber.
Exaltation of the Cross, from the festive series.
The end of the 18th - beginning of the 19th century. Volga region. Wood, tempera. Dar T.V. Zenkova. 2006
Restorer D.A. Shushakov, head L.Yu. Yasnova. 2007 (RAZHVIZ I.Glazunov).
This is an icon from a holiday series, which, according to available information, comes from the village of Mokhnetsy in the Tver region. Its oval shape seems rather unusual to us, but for its time it was quite typical. On this icon the image of the face of the saint raising the Cross has been lost. It was not reconstructed during the scientific restoration. This is precisely why scientific restoration differs from church renewal - it does not involve completing the drawing of lost fragments. At the exhibition you will be able to see other icons from this festive series.
Apostle Peter, from the Deesis rank. End of the 18th century. Russian North.
Workshop of I, I, Bogdanov-Karbatovsky (?). Wood, tempera. Acquisition from a private party, 2013. House-museum restoration.
One of the features of the works of the workshop of Bogdanov-Karbatovsky, a native of the city of Onega, Arkhangelsk region, is the appearance on the icons of images of landscapes reminiscent of his native northern places. And the sermon of the Apostle Peter takes place against the backdrop not of palm trees and deserts, but of our northern expanses. Which does not contradict the worldwide preaching of the Savior’s words.
Fragment. Apostle Peter, from the Deesis rank. End of the 18th century. Russian North. Workshop of I, I, Bogdanov-Karbatovsky (?).
Wood, tempera. Acquisition from a private person, 2013. House-museum restoration.
This is only a small part of the icons presented at the exhibition, but to see everything you will have to visit the museum. And then you will be able to see icons of various icon-painting centers, Greek signature icons, icons of famous Moscow and St. Petersburg companies in amazing settings. But besides icons, other objects of amazing beauty appeared in the museum’s collections.
Double-leaf folding “He rejoices in you”, “Praise the Lord from heaven” in the frame and ark. Second half of the 16th century. Solvychegodsk (?). Stroganov workshops (?). Bone (mammoth ivory), carving. Frame - silver(?), gilding, engraving, carving. Frame - early 17th century. Ark - first half of the 17th century. Purchase from a private person. 2014
Such folding structures became widespread in the 16th century. And they were performed by masters from Moscow and Novgorod. This folding is presumably the work of Moscow craftsmen, who could have worked at the invitation of the Stroganovs in their workshops in Solvychegodsk. Particularly rare is the preservation of a silver frame created approximately at the same time as the plates. Unfortunately, in other similar folds the carved plates have survived to this day mostly without a frame. The folding object was purchased from the descendants of Metropolitan Pitirim of Volokolamsk.
Fragment. Double-leaf folding “He rejoices in you”, “Praise the Lord from heaven” in the frame and ark. Second half of the 16th century.
Another item that amazes with its filigree wood carving is a two-leaf panagia. Carving on hardwoods like boxwood and cypress has been practiced since ancient times in the monasteries of Palestine, Egypt, and Greece. It is believed that this activity teaches patience and concentration, so necessary in monastic life. In particular, here you can see the sculpture “Jesus in Prison”, which became widespread in the second half of the 18th - first half of the 19th centuries. The appearance of a sculptural image of the suffering Christ is associated with the New Jerusalem Monastery. Since the monastery was created as a copy of the Jerusalem Church of the Holy Sepulcher, the likelihood of this image appearing in the monastery is quite high. Blocks in the form of a board with slots for the Savior’s feet have still been preserved, which apparently suggested a three-dimensional image.
Christ in prison. End of the 18th century. Wood, gesso, mixed media. Purchase from a private person. 2013
In the process of restoration. Restorer A.A. Borisov (CMiAR).
By the end of the 18th century, Christ was no longer depicted naked. In temples, coverings were made for statues. In churches, special dungeons were created where the sculpture was placed. And in the flame of a candle through the window one could see the suffering Christ and touch those events with one’s consciousness. After all, compassion sometimes knocks on our hearts.
Fragment. Christ in prison. End of the 18th century. Wood, gesso, mixed media.
Purchase from a private person. 2013 In the process of restoration. Restorer A.A. Borisov (CMiAR).
With these masterpieces we want to draw your attention to this most interesting exhibition, with the help of which the museum reports on its new acquisitions. Have time to visit this exhibition, and in the next part we will talk about no less interesting valuable books and archaeological finds presented in the Rector’s building.
Mayak-parnasa.livejournal.com/344117.html
One of the new acquisitions of the Zvenigorod Museum.
Candlestick on a beautiful stand made of mother-of-pearl shell.
The end of the 19th and the beginning of the 20th centuries.
Evidence of the last imperial ball in the Winter Palace in the collection of the Zvenigorod Museum!
A unique album with reproductions of photographic portraits of participants in the last costume ball, held in the Winter Palace on February 13, 1903, was donated to the Zvenigorod Museum. The photographs depict Emperor Nicholas II, Empress Alexandra Feodorovna, Grand Dukes and Grand Duchesses, members of the retinue of the Emperor's Court. Especially for the ball, an outfit was made for each of them in fashion for the era of Tsar Alexei Mikhailovich. The album also contains a portrait of Countess Alexandra Andreevna Olsufieva, maid of honor Grand Duchess Elizaveta Feodorovna, wife of the penultimate owner of the Zvnigorod estate Ershovo.
XVII century - Muscovite Rus'!
Today the funds of the Zvenigorod Museum have been replenished valuable exhibits— hand-minted coins from the period of Tsar Alexei Mikhailovich Romanov!
The shoes are back!
Women's shoes from the 19th century have returned to the museum after restoration. Restorer – Nasyrova N.Sh.
In 2016, the museum received a good collection of towels from the late 19th – first half of the 20th centuries. Two of them seemed somewhat unusual to us because of their inscriptions embroidered on the ends: on the first - “UNDER THE CROSS MY GRAVE IN THIS MUGILA LOVE ON THE CROSS MY LOVE”, “WHEN I DIE, THEN COME TO THE CEMETERY AND AT THE CROSS OF MY GRAVE AS A MEMORY PLANT A ROSE"; on the second - “UNDER THE CROSS IS MY GRAVE On the Cross is My Love”, “HERE CAUGHT MY POWER Boiled Blood In My Soul.” When studying materials on this topic, it turned out that similar inscriptions on embroidery were quite common in the late 19th century - early. 20th centuries V different options. This is a folk interpretation of a quatrain from A. Koltsov’s poem “The Last Struggle” (1838): “I have strength in my soul. I have blood in my heart. Under the cross is my grave: On the cross is my love!”
“Who was sitting on my chair...?”
I just want to exclaim, looking at the two armchairs from the early 20th century in the neo-empire style that have entered the collections of the Zvenigorod Museum.
The green plush with which the chairs are upholstered is fairly worn - these pieces of furniture, fashionable at that time, have probably changed more than one owner. The desire to get closer to the style of estate culture early XIX V. and the copying of old furniture samples was largely caused by the centenary of the Patriotic War of 1812. Both in furniture and in architecture, there is a repetition, albeit creatively reworked, of the “Empire” style, the essence of which is expressed in the name itself - “Empire” translated from French as “empire”. The splendor and luxury of the Napoleonic era are becoming relevant again, so such chairs testified to the social and material well-being owner.
No matter how much goodness you put in a chest, it’s not enough...
It's spring, but there's nothing to wear! What woman doesn’t like to update her wardrobe for the warmer months?! But there is no place to store numerous outfits in modern apartments.
But in the boyars’ mansions they wouldn’t mind acquiring an additional chest for their goods. Therefore, the Zvenigorod Museum acquired for its noblewoman a rich chest of the late 17th - early 18th centuries, trimmed with leather and cut iron plates. Similar chests were in royal and boyar use, among the highest pillar nobility. What gives this chest particular interest and significance is that it belongs to the type of expensive chests made in European fashion, which at that time had just appeared in Russian everyday life. Such a significant and rare item immediately took its rightful place in the exhibition “The Chambers of the 17th Century Boyaryn”. The chest was purchased with funds allocated by the Ministry of Culture of the Moscow Region under the “Culture of the Moscow Region” program.
The collection of the Zvenigorod Museum has been replenished with works People's Artist USSR Nikolai Zhukov
As part of the purchase made by the Ministry of Culture of the Moscow Region, the graphic collection of the Zvenigorod Museum received four works by People's Artist of the USSR Nikolai Zhukov (1908 - 1973): “Sonechka” (1957), “Rural News” (1954), “Grandfather Matvey” (1953) ), “Photographer Tomashevich” (1954). Along with these drawings is a collection of works by this outstanding artist The Zvenigorod Museum already has 32 units and, we hope, will continue to be replenished.
The collection of the Zvenigorod Museum has recently been replenished with items peasant life, donated: several carved and painted spinning wheels, a chest and a hand-held butter churn. Of particular value for the ethnographic collection of the museum are spinning wheels, very diverse in types and places of use. For example, one of them belongs to the group of spinning wheels, similar in general type to Vologda spinning wheels. This completely exotic species lived in the north of the Kostroma province in the Soligalichsky district in the border with the Gryazovets district on the Sovega River. Another very interesting type of spinning wheel that arrived at the museum is the so-called “spinning wheel with lanterns”: this spinning wheel is an original example of Kostroma spinning wheels, which existed on the territory of the Galich district of the Kostroma province. The legs of such spinning wheels are multi-tiered, solid and consist of several polyhedrons of different shapes, placed one on top of the other. Pieces of multi-colored chintz, wallpaper, and fragments of colored glass or mirror were placed under the glass on each face of the polyhedra. That’s why the peasants called them spinning wheels “with lanterns.” The material for decorating the “lanterns” was brought by the customer, collecting everything she found suitable: pieces of fabric from dresses, pieces of candy, pieces of a broken mirror.
Rare exhibits have been added to the museum's collectionXVIIcentury
At the exhibition “Chambers of the 17th Century Boyaryn” and in the historical exhibition “Ancient Zvenigorod” you can see rare items acquired by the museum at own funds in the Russian Estate salon.
1. Brass inkwell second half XVII century, decorated on one side with the image of a horseman blowing a horn among floral curls, and on the other with the image of buffoons. Inkwells, which were an indispensable accessory of all kinds of “official” and “service” people, were a portable writing instrument made from an inkwell with a screw cap connected by a chain or a leather cord with a cap in the form of a copper tube for goose feather. In a complete set or individually, these items were attached with laces to a belt at the waist, but to this day they have survived only in scattered form.
2. The copper jug belongs to the products of domestic production and corresponds to the type of jugs of the late 17th century - the first half of the XVIII century. This type of jugs was traditionally produced in cities north-east of Moscow (including Yaroslavl, Kostroma, Vologda), historically marked by the production of utensils from domestic copper (from the 17th century jugs for the “Kholmogory craft” are mentioned).
Based on its design features, material and decorative design, bast boxes can be dated back to the late 17th - early 18th centuries. and is classified as an original and rare example of early Russian chest items. The extraordinary use of structural elements made of wood in combination with iron frames indicates the custom-made nature of the box and the high cost during the period of its creation. Made by craftsmen from Veliky Ustyug, this box reproduces the typology of Novgorod bast boxes from the 16th – first half of the 17th centuries, which have practically not survived.
Zvenigorod Museum acquired a lady's dress
Recently, the collection of our museum was replenished with an interesting exhibit - a lady’s velvet dress, sewn in the mid-1890s. The owner of the dress, Anastasia Andreevna Evstigneeva (nee Egorova), was the daughter of a Moscow merchant Andrei Grigorievich Egorov, who traded in grain and flour and had a house in Moscow on Zubovsky Boulevard. She married the official Evstigneev Konstantin Nikolaevich and lived with him in Kolomna; died in 1950. The dress was donated to the museum by the owner's heiress.
The life of this dress was influenced by more than one fashion trend of those years. The original silhouette of the dress can be seen in an 1895 photograph of its first wearer. It was a signature dress for the autumn-winter season, in line with fashion trends of the 1890s. – puffs in the upper part of the sleeves, fur trim along the hem, embroidery decoration with black and metal faceted beads. Later, perhaps in the 1910s, due to changes in fashion, the dress was altered - the puffs were removed, the lower edge of the sleeves was changed, and the fur trim at the hem was removed. Currently, restorers have to great job to study the dress and bring it into exposition form.
The museum is actively working to expand its holdings with material relics, works of painting, sculpture, documentary sources, items of technology and numismatics. The collection is constantly growing thanks to donations of items government organizations and private individuals. Our museum accepts for permanent storage a wide variety of items related to the maritime industry. Among the recent acquisitions there are significant and interesting exhibits.
We present to your attention museum objects received in 2014 – 2019:
1. Memorial complex sea captain S.P. Myshevsky for the period from the 1920s to the 1960s of the twentieth century
Donated to the museum by Myshevskaya Galina Serafimovna. Entered in 2014.
The memorial complex includes documents indicating the years of training of S.P. Myshevsky as a navigator at the Odessa Maritime College, as well as his diploma, autobiography, photographs, reviews of practice, certificates, work reports, reports, newspaper clippings and other documents related to the professional activities of the captain. Among the listed exhibits, the most unique is S.P.’s nautical book. Myshevsky.
2. Dinghy boat “Lena”, on which navigator E.A. Gvozdyov made a single trip around the world in 1992
Donated to the museum by Yuri Borisovich Kantsev. Entered in 2014.
3. Samples of departmental awards of the Ministry of Transport of the Russian Federation, established by Order No. 130 of October 18, 2005 “On departmental awards of the Ministry of Transport of the Russian Federation”
Donated to the museum by the Federal Agency for Maritime and river transport. Received in 2015.
The awards set includes badges distinctions and medals, commemorative and anniversary, including in miniature.
4.Bust of Admiral G.I. Nevelskoy (late 20th century, artificial stone, tinting).
5.Chromolithograph “Vice Admiral Stepan Osipovich Makarov” (Odessa, 1904)
Donated to the museum by Pavel Gennadievich Derbentsev. Received in 2015.
6.Triptych “Ten years in the service of the Motherland” (2014, oil on canvas).
The triptych was created for the 10th anniversary of Rosmorrechflot. The picture shows the management team Federal agency sea and river transport.
7. Model of the Project PV05 crew vessel "Bars"
Received from the Federal Agency for Maritime and River Transport in 2016.
8. Models of vessels (Raid diving boat of project A 160-2 Yar "Vodolakh Kuzminykh", Situation vessel (Survey boat) of project 3050.1, Situation vessel of project SV 2407, Multifunctional rescue tug of project MPSV12, Rescue boat-boom-laying boat of project A40-2B-YAR)
Received from the Federal Institution "Directorate of the State Customer" in 2016-2017.
9. B aza "50th anniversary of the Moscow Canal. 1937-1987" (author's work by A.P. Kharitonov. Dmitrov Porcelain Factory, Verbilki, 1987)
Received from the Federal Agency for Maritime and River Transport in 2017.
Made of porcelain on the occasion of the 50th anniversary of the opening of the Moscow Canal (1937-1987). Polychrome overglaze painting illustrates landscapes with views of the canal.
10. Pocket calendars (USSR, 1960s - 1990s)
The collection was donated to the museum by Anton Borisovich Ponomarev in 2017-2018.
11. Memorial complex Alexander Alexandrovich Davydenko - head of Rosmorrechflot (2005-2016)
The collection was donated to the Davydenko Museum by Alexander Alexandrovich in 2019.
November 14 - January 31
Margarita Nikolaevna Zhuk not only for many years was a most valuable employee of the Gogol House, having worked in its library for 28 years, 25 of which as the head of the reading room. For her great contribution to the development of library science, Margarita Nikolaevna was awarded certificates of honor from the Moscow Department of Culture. At the same time, she is one of the main donors who donated a record number of items of museum significance to the Gogol House funds.
Thanks to her efforts, from 2009 to 2017, the collection of the memorial museum was replenished with 427 objects of graphics, decorative and applied art, rare book, representing great historical and cultural value. Of particular importance to the museum is a set of 19th-century objects reflecting the noble manor culture: a sortie de ball with feathers, a fan with white down trim, a rosewood-veneered box for papers, and many others.
Margarita Nikolaevna devoted her life to collecting a wide variety of artifacts. However, materials dedicated to N.V. Gogol, have always been of paramount importance to her. For example, in 2011, she donated phototypes to the museum - scenes from the comedy “The Inspector General” staged by the Moscow Art Theater in 1909.
Also special attention The collector paid attention to philatelic and philocarty items issued in honor of Gogol's anniversaries and characters: postcards and art cards, envelopes and stamps, pocket calendars. Of this series, the most significant interest for the museum is an envelope issued in Kyiv in 1959 and canceled with first-day special cancellation marks in honor of the 150th anniversary of the birth of N.V. Gogol.
With this exhibition, “Gogol’s House” expresses deep gratitude to Margarita Nikolaevna Zhuk for donating objects that have become true pearls of our museum collection.
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