Prussian Cultural Heritage Foundation
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Museum of European Cultures
| Museum Europäischer Kulturen Eingang Bruno-Paul-Bau © Staatliche Museen zu Berlin; Foto: Ute Franz-Scarciglia |
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| Blick in die neue Dauerausstellung
© Staatliche Museen zu Berlin; Foto: Ute Franz-Scarciglia |
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| Blick in die neue Dauerausstellung
© Staatliche Museen zu Berlin; Foto: Ute Franz-Scarciglia |
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| Blick in die neue Dauerausstellung
© Staatliche Museen zu Berlin; Foto: Ute Franz-Scarciglia |
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| Blick in die neue Dauerausstellung
© Staatliche Museen zu Berlin; Foto: Ute Franz-Scarciglia |
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| Blick in die neue Dauerausstellung
© Staatliche Museen zu Berlin; Foto: Ute Franz-Scarciglia |
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| Blick in die neue Dauerausstellung
© Staatliche Museen zu Berlin; Foto: Ute Franz-Scarciglia |
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| Blick in die neue Dauerausstellung
© Staatliche Museen zu Berlin; Foto: Ute Franz-Scarciglia |
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| Blick in die neue Dauerausstellung
© Staatliche Museen zu Berlin; Foto: Ute Franz-Scarciglia |
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| Cart with opulent imagery: “carrettu sicilianu” 1904; Sicily, Italy; wood, painted, metal Emperor Wilhelm II brought this ostentatious version of a colourful cart typical for Sicily back with him from a journey to the island. For a long time it was kept in the Roman baths of Sanssouci Park in Potsdam, until being handed over to the European department of the Museum of Ethnology by the Administration of State-Owned Palaces and Gardens in 1937. The donkey-drawn two-wheeled carretti remained in use as a means of transport in Sicily and large parts of the Mediterranean until the mid-19th century, but today they have been consigned to folklore and miniaturized into small souvenirs, while the historic original carts are shown in pageants and museums in Sicily. © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Claudia Obrocki |
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| Promotional doner replica 2003; Berlin, Germany; plastic, metal; manufacturer: Xellox, Sonneberg, Germany The red-brown doner replica imitates a real doner made of layered, spiced meat; green peppers and a tomato heighten the illusion. The plastic dummy is used to advertise snack bars outdoors. An advertising sign can be posted on a metal support at the top, identifying the respective producer – in this case Kaplan, one of the largest producer of doner spits in Berlin. © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Football shirts of the German national men’s and women’s teams “No. 8 - Mesut Özil”, “No. 19 - Fatmire ‘Lira’ Bajramaj“ 2010; Germany; synthetic fibre, machine-sewn donated by the German Football Association (DFB) Black and white are the two colours identifying the German national teams, and although the same of course also applies to the national colours of Germany, black, red and gold, these are kept quite small and only appear in thin stripes on the shirtfronts. The football players wear black shorts and white shirts at home matches. The shirts may be a national identification symbol, but have an international background nonetheless. They are distributed by a German manufacturer of sports equipment, but produced in Thailand, and some of their wearers not only have German roots: Mesut Özil is the child of Turkish immigrants and grew up in Gelsenkirchen, Fatmire ‘Lira’ Bajramaj came to Germany from Kosovo at the age of four. Both of them number amongst the players who represent Germany in international sports. © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| “Salzburg Perchten” 18th century; Salzburg Land, Austria; wood, painted, horn, leather, felt, glass Perchten roam the villages during the so-called ‘Rauhnächte’ period, i.e. the twelve days between Christmas and Epiphany on January 6, in order to chase away the “evils and darkness”. © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Cabinet 1791; Rättvik, Sweden; pinewood, painted The two-part top-mounted cabinet (Swedish: dalaskåp) with stylized floral décor was presumably created in the workshop of Per Lars Olsson (1754-1803), a painter from Dalarna in central Sweden. This manner of decorating interiors and furniture with sprawling leaves and flowers (kurbits painting) is typical for the region and reached its peak between 1780 and 1870. While the region was increasingly marketed as a tourist destination in the 20th century, its motifs also appeared on souvenirs such as the ‘Dala horse’, a wooden toy regarded as the (inofficial) national symbol of Sweden. The style, which is also known as ‘Dala painting’, has been undergoing a renaissance for a number of years now and can be seen on household objects, garments and accessories. © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Souvenir cloth “The ideal European should be …” 1990s; Strasbourg, France; blended fabric, linen / cotton, printed The cloth was made in Ireland and using a cartoon style describes the attributes and virtues of natives from various EU member states – for example “humorous as a German”. The centre features the European flag framed by the slogan “The ideal European should be …”. © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Bead necklaces 19th century; Ukraine, at the time Austria-Hungary; black and brown glass beads from Venice, appliquéd with multi-coloured molten glass bugles and mica, metal clips The Hutsuls are sheep-farming seminomads who live in the border regions between the Ukraine, Poland and Romania, with the largest part of this ethnic group belonging to the Ukraine. At the end of the 19th and beginning of the 20th century a number of them lived in Venice as soldiers or workers and bought necklaces for their wives left behind in the Carpathian Mountains, or they simply sold the beads on there. © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Traditional costume: “Lindhorst circular overcoat” first half of the 20th century; Lindhorst, Schaumburg-Lippe, Germany; wool, cotton, hand- and machine-sewn The Schaumburg-Lippe area in terms of traditional costume includes Bückeburg, Frille and Lindhorst. The traditional costumes of this cultural landscape are interrelated, but also differ from one region to the next. Particularly striking are the large circular overcoats protecting the costume in bad weather. Their shape follows in the medieval tradition of capes with circular or semi-circular cuts. The bonnet used to cover the hair bun worn above the forehead. Young girls used to dress in this type of costume for church attendance. © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Wilhelm Kiesewetter Harem eines tatarischen Kaufmanns Krim/ Ukraine, zw. 1845-1847 Öl auf Leinwand H: 46 cm, B: 40 cm Fotografin: Ute Franz-Scarciglia © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Gondola around 1910; Venice, Italy; wood, varnish, fabric, leather, zinc, bronze This magnificent black gondola weighs in at approx. 700 kg and was given to a businessman from Berlin by a Venetian trader in 1975 as a present. In the beginning the former used it for boating on the Halensee lake, but then it fell into disrepair and was ultimately moved to the depot of the then Ethnological Museum in 1982 in a spectacular trip across the frozen lake. The gondola was next elaborately restored by two boat builders from Kiel in order to present it to the public for the very first time in the exhibition “Boats from around the World” (1985). The accessories comprising a wooden rowlock (forcula) and gondola decorations such as two small horses and a vase were acquired in 1985. Gondolas of this type had been in use as a local transport vehicle on the lagoons and canals of the Venetian region since around 1440. From the 19th century onwards they are considered a popular means of tourist transport. They are distinguished by their narrow and slightly asymmetrical, curved shape, which improves their manoeuvrability. Bow and stern are equipped with a flat roof the gondolier stands on, the passenger seating is located in the middle. The most important feature in technical terms is the wooden rowlock. Lavish relief carvings and gold leaf decorations turn this gondola into a commanding representational object. © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Claudia Obrocki |
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| Schattenspielfigur aus dem Karagiosis-Theater: Ali-Pascha von Ioannina (1741-1822, Statthalter der epirotischen Provinz des Osmanischen Reiches) Piräus/Griechenland, Mitte 1970er Jahre Pergament, Pappe H: 92 cm Foto: Sandra Steiß © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Spange Lettland, Region Kurzeme (Kurland), Ende 18. Jh. Messing, Kupfer, rote Glassteine Schmiedearbeit, Vorderseite vergoldet, Rückseite vernickelt H: 2,5 cm, Durchmesser: 16,5 cm Foto: Ute Franz-Scarciglia © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Spanschachtel Thüringen oder Böhmen, ca. 1810 Motiv: Napoleon zu Pferd mit Aufschrift: „Ich habe es mir vorgenommen durch die ganze Welt zu kommen“ Holz, farbig gefasst H: 45,5 cm, B: 29 cm, T: 18,5 cm Foto: Ute Franz-Scarciglia © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Elefant und Gnu Deutschland, 1945 von einem Kind aus Hühnerknochen, Stoff und Zwirn gebastelt B: 6 cm, H: 5 cm, T: 10 cm Foto: Sandra Steiß © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Jan Skoczylas Madonna, die Beschützende Polen, um 1960 Holz, farbig gefasst H: 83,5 cm, B: 44,5 cm, T: 5 cm Slg. Hans-Joachim und Christina Orth. Depositum der Stadt Nürnberg im Museum Europäischer Kulturen Foto: Sandra Steiß © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Szene aus dem mechanischen Weihnachtsberg Erzgebirge, Ende 19. Jh. L: 12 m Foto: Ute Franz-Scarciglia © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Puppenwagen Deutschland, um 1950 Metall, Kunststoff, Textil B: 80 cm, H: 65 cm, T: 45 cm Foto: Sandra Steiß © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Abendkleid Berlin 1920er Jahre © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Ensemble mit Souvenirs aus der Sojwetunion von Raissa Gorbatschowa 1986 © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Brauthaube Makedonien, 19. Jh. © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| “Uterus” late 19th century; Valle di Tures, Italy; wood, carved, glued, wire © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Haarschmuck Lombardei, Italien, Ende 19. Jh. © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Ikone aus Flussperlen Israel, 19. Jh. © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Kaffeeservice Anf. 20. Jh. © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Papiertheater Deutschland, 1890-1900 © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Samowar Berlin, Anfang 1920er-Jahre © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Tabakstopf Limburg, Niederlande, 1893 © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
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| Tracht Olympos, Insel Karpathos, Griechenland, 1980er-Jahre © Staatliche Museen zu Berlin; Museum Europäischer Kulturen; Foto: Ute Franz-Scarciglia |
