THE OTHER DOWNTOWN OF INTERWAR WARSAW
Przemysław Kaniecki
Collections of personal memorabilia show the world from an individual, private perspective. They show us specific people, but also remind us of spaces and their various inhabitants, users. They make the space visible and allow us to imagine the people. In this way, they complement the panorama of knowledge and reflections concerning the past world. Let us look at this kind of memorabilia from the collection of the POLIN Museum – a few selected objects relating to inter-war Warsaw. They will enrich, each in their own way, the image of Warsaw which we know from other sources.
Photographed on her uncle Koral family's balcony, on a high floor of a big-city tenement house, Halina Róża née Baruch looks out over Nowosienna street (soon to be renamed Sienkiewicza Street). Behind her, it is possible to see the windows of the top floors of the tenement building opposite (at Jasna street 8) and, on the right, the roof of the famous Gebethner and Wolff publishing house (the building was not rebuilt after the war). However, we also see the windowless walls of neighbouring tenement houses, on the side of the outbuildings, probably not visible from the elegant streets of downtown.
Photograph of Halina née Baruch on the Korals’ balcony
circa 1918
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Feliks Matuszelański
Commemorative album
1920-1945
And this is another unusual photograph that shows the roofs and top floors of Warsaw buildings. Unfortunately, the tapes of the "Rywale" [Rivals] action film have not survived the war. However, reportage photos, documenting the work of the film crew in unusual locations in Warsaw, have been preserved in the albums of the cameraman Feliks Matuszelański.
A souvenir from a walk in Warsaw: Barbara Grzelachowska, with her son Jerzy, on ul. Leszno (view towards the corner of ul. Bielańska and ul. Tłomackie). The family was not Jewish. However, Jerzy Grzelachowski donated this photograph to the POLIN Museum's collection, because another person was accidentally captured in it – a traditionally dressed Jew. This provides an idea of the everyday life of Warsaw's streets, where – often forgotten – the passers-by were Jews in bekishes [frock coats].
Photograph of Leszno street
circa 1935
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A photograph from a walk by Misia Langbart taken at the corner of the plac Trzech Krzyży (the Three Crosses Square). In a caption addressed to her sister, Dora, the photographed person emphasises the chicness of her outfit. The abbreviated label of the fur maker is difficult to read. Perhaps, this is an indication of the well-known Warsaw store of Maksymilian Apfelbaum at Marszałkowska street 125. The caption ends with a very lofty description – even if it was written half-seriously – regarding other passers-by - "the mob". From our perspective today, it is these passers-by whom we find fascinating – no less than the striking fur coat, the handwarmer, Misia's hat and the snow-covered tenements. Someone rides a sledge by a heap of snow. A coachman stands by a vehicle. A woman, who walks hurriedly on the left, notes that she enters the frame and - unlike the main portraitist- looks at the camera.
Photo of Misia Langbart at the plac Trzech Krzyży
1920s. (?)
Two souvenir photos that Mania Żelazna took with her when she left for Palestine in the mid-1930s. The first, taken in early spring, shows a group of friends by the Vistula River, next to the now non-existent Kierbedzia Bridge, at that time one of the city's symbols. The photograph also shows a wooden structure that could be climbed down to the river from the Royal Castle gardens. And one more thing that may surprise today - the group is sitting on some sort of boat. At that time, there were many various boats on the Vistula.
Photograph of a group of people in front of Kierbedź Bridge
1934
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Photograph of seven people in front of a glovemaker's workshop: E. Talikowska/B. Bentman
1934
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The second photo shows, as we can guess, Mania's family in front of a store at Marszałkowska street 140. "A store with gloves and leather goods" by Emilia Talikowska, and later the partnership of Talikowska and Bentman, was located on this prestigious street for many decades. The photo captures part of the composition of the storefront design at the impressive signboard.
Store hangers from: Tailoring Storage for Men and Women's Clothing H. Abendsztern, Celib Warsaw Confectionery Factory, Factory Wood Products Store G.Lebensold, Fur and Fur Confectionery Products Store B. Szwec
1918–1939
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We have information about the companies – where they were located, who owned them, what they produced – from archival and library sources such as address books, telephone directories, newspaper advertisements and files saved in archives. Company hangers as a historical source are no different, it might seem, from newspaper advertisements, and yet these items speak to us in a different way. Thanks to their material character, they seem as if they were part of the places where they were sold or added to the bought goods – stores on Elektoralna, Długa and Graniczna streets. As many as two of the hangers in our collection come from the shop of Berek (Berl) and Hana Szwec of Nalewki street.
Hanger from the Igol Women's Clothing Factory
not after 1939
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Certificate concerning Joel Łazebnik
6.09.1939
(state before maintenance)
Sometimes items from completely different sources and collections "meet" in the museum storehouse and complement each other. For example, it turns out that two items come from the same place or the protagonists of various collections were neighbours or went to the same summer camps. This is how one of the hangers "supplemented" an item from the archive collection: a document by Joel Łazebnik. Until the end of August 1939, Łazebnik worked at Icek Goldsztajn's factory, known from advertisements from archival newspapers and address records (in fact, it operated in two locations: initially on Długa street and, later, on Senatorskastreet). The company is presented in more detail in a singular document - Łazebnik's work certificate - and thanks to the hangers, it shows itself to us in its fragmentary material character.
Zarząd Miejski w m.st. Warszawie
Two acknowledgements of notifying a change in the address within the Capital City of Warsaw
July 1937
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Other archival material appeals to us in a specific way due to its ephemeral, fragmentary and random nature of preservation. Confirmation of registration on Graniczna street, which has been found among the documents that Fajga Pessa (Paulina) née Justman and Aron (Artur) Włodawer took with them during their wandering through the Soviet Union.
Through the courtyards of their tenement house, it was possible to walk to the Saxon Garden. It was located opposite the house in which, for many years and presumably also after the war, a wooden iron goods store was in operation, including hangers, established by Godel Lebensold.
Diary of Paulina Włodawer
1980–1982
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"Of course I know, and I have always been convinced of this, that post-war Warsaw was much more beautiful, more extensive and I don't know what else, than the old one. But I had such a truly emotional attitude towards this old Warsaw of mine, to this city of mine, in which I was born and from which I hardly ever left. I don't know if it was beautiful. It was bustling, it was full of life, and it was actually mine (somehow I never had that feeling for the post-war capital anymore)." This is what Paulina Włodawer wrote about Warsaw many years after the war. The nostalgic record comes from excerpts from her diary, in which she described the streets burning in September 1939. And it was just the first of the three great flames bringing death to the city and its inhabitants.
Photograph of the Kacman and Rabinowicz families in a park
1937–1939
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Fajga Rabinowiczowa, who lived in Lublin, came with her children in the winter of 1937/1938 or 1938/1939, to visit her sister, Chana née Terbiler, in Warsaw. During a walk with her family, she took a photo of them together. We do not know which of the downtown green areas – quite sparse - included the fence visible in the photo. Chana Terbiler (married to Kacman), like Paulina Włodawer, avoided the Shoah (survived in the depths of the Soviet Union). Unlike her family that remained in Poland.
Photograph of Hanna Woch by the fountain on plac Bankowy
1930s.
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A photograph from a walk around the Saxon Garden area of another person of our collection: Hania Woch (after the war – Rajber. She survived the Holocaust hidden by her paternal grandmother, who was not Jewish). Hania is standing by a fountain, which was then located at plac Bankowy, which is slightly north of Graniczna street and the Saxon Garden. This fountain was moved after the war to the north, to the square in front of the Mostowski Palace.
Cecylia Goldman-Landau Girls’ Junior High School in Warsaw
Felicia Blumental's school card
1923
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Ul. Przejazd (now non-existent), before the war, stretched approximately to the location where the fountain is currently located. It housed the significantly important, not only for Jewish Warsaw, Cecylia Goldman-Landau Girls’ Junior High School. Several women included in our collection attended the school, including the future pianist, Felicia Blumental. The archives include, for example, cards (records) as well as some notebooks - beautiful documents of the famous graduate and also memorabilia from this well-known school.
Photograph probably showing Ewelina (née Mamelok) and Gustaw Paprocki
turn of the 19th and 20th centuries
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Cecylia Goldman-Landau ran a junior high school (later a junior high school and a senior high school) from the beginning of the 20th century. The school was established by Julia Paprocka (née Eisenbaum) in the 1850s. It was the first school for Jewish girls in Warsaw. The collection of photographs of Halina Róża (née Baruch), whose portrait opens this exhibition, includes a mysterious photograph, probably from the turn of the 20th century, signed "probably Ewelina and Gustaw Paprocki". This is an example how various items from various collections "meet" in the collection and surprisingly complement each other. It turns out that, next to the memorabilia from the junior high school, we perhaps have memorabilia of a family that established it. That is because Gustaw Paprocki was, in fact, the son of Julia Paprocka. Ewelina (née Mamelok) was the sister-in-law of Halina Róża.
Photograph of Sara Tenenbaum and a young man (fiancé?)
1926–1932
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Parallel to ul. Przejazd was ul. Nalewki, one of the main streets in the Northern District, arguably the most important in general. Apart from the great number of stores, plants, and workshops, it included photographic establishments attended by the people featured in our collection.
Portrait photograph of Sara Tenenbaum
Photograph of Krysersztejn
1926–1932
1926–1932
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Their photographs are preserved in the collection of Mania Żelazna. Mania received many commemorative photographs from family and friends before her departure for Palestine and also, afterwards, in letters from the second half of the 1930s.
Almost all those portrayed were probably murdered in the Holocaust. The photographs commemorate them and, at the same time, constitute material traces of the studios of Jewish photographers.
Photograph of Perl Ajz[...]
1926–1932
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Photograph for the documents of a young man in half-profile
1926–1932
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Several photographs from this collection come from the atelier of Sz. (?) Miller (Nalewki 34). They include various stamps that have changed over the years.
atelier Borensztejn
Fotografia portretowa młodego mężczyzny w półprofilu
nie przed 1931
Więcej o obiekcie
atelier Rys
Photograph of Sabina (Grünberżanka?) and Hilek (Hilel? last name unknown)
1932
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atelier Rys
Photograph of Regina Ostrzega
1935–1939?
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Photographer Ch. Borensztejn had his establishment in the neighbouring house, also on the even-numbered side of the street, at Nalewki street 32. The Rys atelier, owned by M. Byk, operated at Nalewki street 26.
atelier Murillo
A photograph of a man and a woman from card 13 of the album of the Garnek family
before 1936(?)
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The photographic studios, probably including those mentioned above, were, for the most part, somewhat crude. This is made clear by the details that can be seen in the various photographs, such as the rubbing of the background boards or curtains, sometimes slight damage to the props. In full-figure portraits, attention is sometimes drawn to the planks of the floor covered with a frayed carpet – as in this photograph, from another collection, showing an unknown couple. It was made in an atelier that was probably located on Leszno street.
Fanny Vaucher
„Nalewki” / „La rue Nalewki”
watercolour, 2016
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Nalewki street has a rich visual representation in archive photographs. Based upon photographs, Fanny Vaucher created illustrations for a historical guide to Warsaw published in 2016. As one of the largest commercial streets in the city, it simply had to be included in it.
Olga Wróbel (drawing)
I saw cramped courtyards, dirt, scratched walls...
watercolour, 2011
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Olga Wróbel also painted Nalewki street, emphasising the aspect of poverty of many local small craftsmen and residents. Olga Wróbel and Monika Powalisz's graphic novella “Przemiana” [Transition] was an adaptation of the authentic memoirs of Abraham Rotfarb, a child from a poor Jewish family.
In his pre-war report sent to the Vilnius YIVO (Institute for Jewish Research, Jidyszer Wisnszaftlecher Institut), he described the moment when he became acutely aware of the reality of the surrounding world. The rest of Abraham's story constitutes a complaint concerning the discrimination he suffered and the rejection the Polish culture in which he felt settled.
Unknown Warsaw public school
Class III lesson log
1937–1938
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We know these surroundings, including their poverty, from yet another archive- corresponding to the story of Abraham Rotfarb. This is a lesson log book from one of the local schools. Among the more than 60 (!) people in Class III, we can find two Jewish children. The lesson log book has been preserved as a bookbinding pad for a first communion souvenir of a girl from Pruszków. The bookbinder, still during the war, used most of the log book's sheets and both parts of the cover (unfortunately without the page indicating the number and address of the school) as a frame back.
Two cards with surnames, first names, religion (mainly Roman-Catholic), addresses (such as Smocza, Stawki, Pawia, Gęsia, or Okopowa), and employment data for the parents of the students (locksmith, wire worker, messenger, charwoman, unemployed). The information is so partial and yet so suggestive. An entire map of the downtown life, and especially the northern district, emerges from this information. It was not inhabited exclusively by Jews, as the lesson log book explicitly reminds us.
Typescript of memoirs of Edwarda (Etla) Bomsztyk
18.05.1953
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The perspective of the lower social classes - the despised "mob" - is therefore strongly represented by the items in our collection, both directly and indirectly. An item, which expresses it in a direct manner, is a fragmentary biography of Etla Bomsztyk, a pre-war servant and communism activist fighting for the rights of "house workers". This aspect resonates strongly, especially in the introduction to her story. From various source materials and biographical studies, we know the addresses of the houses where Bomsztyk worked in the late 1920s and early 1930s - in Pawia, Gęsia, and Stawki. The address Nalewki 32 is associated with a story of the founding meeting of one of the largest trade unions (the Union of Jewish Servants, established in 1919).
Monika Powalisz (script), Olga Wróbel (illustration),
Charts Boards for the graphic novella "Przemiana"
akwarela, 2011
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These are the streets whose names are included in the lesson log book and around which our presentation of Warsaw revolved. Filled with anger and pain, the voices of the excluded remind us of the shadows of the city.
Text: Przemysław Kaniecki Author biography: Przemysław Kaniecki (born 1982) - curator of collections at the POLIN Museum, adjunct at the Faculty of "Artes Liberales" at the University of Warsaw. He is academically engaged in the history of post-war Polish culture (literature, film, also graphic novels. At the Museum, he is, among other activities, the curator of the collection of comic charts). Among his publications is a book-length conversation with Tadeusz Konwicki "W pośpiechu" [In a Hurry] (2011). He edited the catalogue "Przynoszę rzecz, przynoszę historię. Rozmowy z darczyńcami" [Bringing an Item, Bringing a Story. Conversations with Donors] (together with Judyta Pawlak, 2016) Editing and proofreading: Marta Elas
Editing and proofreading (English): Andrew Rajcher Photographs and reproductions: Iwo Książek, Lech Sandzewicz
Graphic design: Karolina Królak
Implementation of the virtual exhibition was co-financed by the L. Kronenberg Citi Handlowy Foundation.
Implementing the virtual exhibition was co-financed by the German Federal Ministry for Foreign Affairs as part of the "Remembrance, Education, Inclusion" project.
A fragment of a map of Warsaw circa 1939, published by Świt, B. Wierzbicki i S-ka, collection of the National Library in Warsaw, has been used here.
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Mobile (ENG) - Inne śródmieście międzywojennej Warszawy
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Transcript
THE OTHER DOWNTOWN OF INTERWAR WARSAW
Przemysław Kaniecki
Collections of personal memorabilia show the world from an individual, private perspective. They show us specific people, but also remind us of spaces and their various inhabitants, users. They make the space visible and allow us to imagine the people. In this way, they complement the panorama of knowledge and reflections concerning the past world. Let us look at this kind of memorabilia from the collection of the POLIN Museum – a few selected objects relating to inter-war Warsaw. They will enrich, each in their own way, the image of Warsaw which we know from other sources.
Photographed on her uncle Koral family's balcony, on a high floor of a big-city tenement house, Halina Róża née Baruch looks out over Nowosienna street (soon to be renamed Sienkiewicza Street). Behind her, it is possible to see the windows of the top floors of the tenement building opposite (at Jasna street 8) and, on the right, the roof of the famous Gebethner and Wolff publishing house (the building was not rebuilt after the war). However, we also see the windowless walls of neighbouring tenement houses, on the side of the outbuildings, probably not visible from the elegant streets of downtown.
Photograph of Halina née Baruch on the Korals’ balcony
circa 1918
More about the item
Feliks Matuszelański
Commemorative album
1920-1945
And this is another unusual photograph that shows the roofs and top floors of Warsaw buildings. Unfortunately, the tapes of the "Rywale" [Rivals] action film have not survived the war. However, reportage photos, documenting the work of the film crew in unusual locations in Warsaw, have been preserved in the albums of the cameraman Feliks Matuszelański.
A souvenir from a walk in Warsaw: Barbara Grzelachowska, with her son Jerzy, on ul. Leszno (view towards the corner of ul. Bielańska and ul. Tłomackie). The family was not Jewish. However, Jerzy Grzelachowski donated this photograph to the POLIN Museum's collection, because another person was accidentally captured in it – a traditionally dressed Jew. This provides an idea of the everyday life of Warsaw's streets, where – often forgotten – the passers-by were Jews in bekishes [frock coats].
Photograph of Leszno street
circa 1935
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A photograph from a walk by Misia Langbart taken at the corner of the plac Trzech Krzyży (the Three Crosses Square). In a caption addressed to her sister, Dora, the photographed person emphasises the chicness of her outfit. The abbreviated label of the fur maker is difficult to read. Perhaps, this is an indication of the well-known Warsaw store of Maksymilian Apfelbaum at Marszałkowska street 125. The caption ends with a very lofty description – even if it was written half-seriously – regarding other passers-by - "the mob". From our perspective today, it is these passers-by whom we find fascinating – no less than the striking fur coat, the handwarmer, Misia's hat and the snow-covered tenements. Someone rides a sledge by a heap of snow. A coachman stands by a vehicle. A woman, who walks hurriedly on the left, notes that she enters the frame and - unlike the main portraitist- looks at the camera.
Photo of Misia Langbart at the plac Trzech Krzyży
1920s. (?)
Two souvenir photos that Mania Żelazna took with her when she left for Palestine in the mid-1930s. The first, taken in early spring, shows a group of friends by the Vistula River, next to the now non-existent Kierbedzia Bridge, at that time one of the city's symbols. The photograph also shows a wooden structure that could be climbed down to the river from the Royal Castle gardens. And one more thing that may surprise today - the group is sitting on some sort of boat. At that time, there were many various boats on the Vistula.
Photograph of a group of people in front of Kierbedź Bridge
1934
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Photograph of seven people in front of a glovemaker's workshop: E. Talikowska/B. Bentman
1934
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The second photo shows, as we can guess, Mania's family in front of a store at Marszałkowska street 140. "A store with gloves and leather goods" by Emilia Talikowska, and later the partnership of Talikowska and Bentman, was located on this prestigious street for many decades. The photo captures part of the composition of the storefront design at the impressive signboard.
Store hangers from: Tailoring Storage for Men and Women's Clothing H. Abendsztern, Celib Warsaw Confectionery Factory, Factory Wood Products Store G.Lebensold, Fur and Fur Confectionery Products Store B. Szwec
1918–1939
More about the items
We have information about the companies – where they were located, who owned them, what they produced – from archival and library sources such as address books, telephone directories, newspaper advertisements and files saved in archives. Company hangers as a historical source are no different, it might seem, from newspaper advertisements, and yet these items speak to us in a different way. Thanks to their material character, they seem as if they were part of the places where they were sold or added to the bought goods – stores on Elektoralna, Długa and Graniczna streets. As many as two of the hangers in our collection come from the shop of Berek (Berl) and Hana Szwec of Nalewki street.
Hanger from the Igol Women's Clothing Factory
not after 1939
More about the item
Certificate concerning Joel Łazebnik
6.09.1939
(state before maintenance)
Sometimes items from completely different sources and collections "meet" in the museum storehouse and complement each other. For example, it turns out that two items come from the same place or the protagonists of various collections were neighbours or went to the same summer camps. This is how one of the hangers "supplemented" an item from the archive collection: a document by Joel Łazebnik. Until the end of August 1939, Łazebnik worked at Icek Goldsztajn's factory, known from advertisements from archival newspapers and address records (in fact, it operated in two locations: initially on Długa street and, later, on Senatorskastreet). The company is presented in more detail in a singular document - Łazebnik's work certificate - and thanks to the hangers, it shows itself to us in its fragmentary material character.
Zarząd Miejski w m.st. Warszawie
Two acknowledgements of notifying a change in the address within the Capital City of Warsaw
July 1937
More about the items
Other archival material appeals to us in a specific way due to its ephemeral, fragmentary and random nature of preservation. Confirmation of registration on Graniczna street, which has been found among the documents that Fajga Pessa (Paulina) née Justman and Aron (Artur) Włodawer took with them during their wandering through the Soviet Union.
Through the courtyards of their tenement house, it was possible to walk to the Saxon Garden. It was located opposite the house in which, for many years and presumably also after the war, a wooden iron goods store was in operation, including hangers, established by Godel Lebensold.
Diary of Paulina Włodawer
1980–1982
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"Of course I know, and I have always been convinced of this, that post-war Warsaw was much more beautiful, more extensive and I don't know what else, than the old one. But I had such a truly emotional attitude towards this old Warsaw of mine, to this city of mine, in which I was born and from which I hardly ever left. I don't know if it was beautiful. It was bustling, it was full of life, and it was actually mine (somehow I never had that feeling for the post-war capital anymore)." This is what Paulina Włodawer wrote about Warsaw many years after the war. The nostalgic record comes from excerpts from her diary, in which she described the streets burning in September 1939. And it was just the first of the three great flames bringing death to the city and its inhabitants.
Photograph of the Kacman and Rabinowicz families in a park
1937–1939
More about the item
Fajga Rabinowiczowa, who lived in Lublin, came with her children in the winter of 1937/1938 or 1938/1939, to visit her sister, Chana née Terbiler, in Warsaw. During a walk with her family, she took a photo of them together. We do not know which of the downtown green areas – quite sparse - included the fence visible in the photo. Chana Terbiler (married to Kacman), like Paulina Włodawer, avoided the Shoah (survived in the depths of the Soviet Union). Unlike her family that remained in Poland.
Photograph of Hanna Woch by the fountain on plac Bankowy
1930s.
More about the item
A photograph from a walk around the Saxon Garden area of another person of our collection: Hania Woch (after the war – Rajber. She survived the Holocaust hidden by her paternal grandmother, who was not Jewish). Hania is standing by a fountain, which was then located at plac Bankowy, which is slightly north of Graniczna street and the Saxon Garden. This fountain was moved after the war to the north, to the square in front of the Mostowski Palace.
Cecylia Goldman-Landau Girls’ Junior High School in Warsaw
Felicia Blumental's school card
1923
More about the item
Ul. Przejazd (now non-existent), before the war, stretched approximately to the location where the fountain is currently located. It housed the significantly important, not only for Jewish Warsaw, Cecylia Goldman-Landau Girls’ Junior High School. Several women included in our collection attended the school, including the future pianist, Felicia Blumental. The archives include, for example, cards (records) as well as some notebooks - beautiful documents of the famous graduate and also memorabilia from this well-known school.
Photograph probably showing Ewelina (née Mamelok) and Gustaw Paprocki
turn of the 19th and 20th centuries
More about the item
Cecylia Goldman-Landau ran a junior high school (later a junior high school and a senior high school) from the beginning of the 20th century. The school was established by Julia Paprocka (née Eisenbaum) in the 1850s. It was the first school for Jewish girls in Warsaw. The collection of photographs of Halina Róża (née Baruch), whose portrait opens this exhibition, includes a mysterious photograph, probably from the turn of the 20th century, signed "probably Ewelina and Gustaw Paprocki". This is an example how various items from various collections "meet" in the collection and surprisingly complement each other. It turns out that, next to the memorabilia from the junior high school, we perhaps have memorabilia of a family that established it. That is because Gustaw Paprocki was, in fact, the son of Julia Paprocka. Ewelina (née Mamelok) was the sister-in-law of Halina Róża.
Photograph of Sara Tenenbaum and a young man (fiancé?)
1926–1932
More about the item
Parallel to ul. Przejazd was ul. Nalewki, one of the main streets in the Northern District, arguably the most important in general. Apart from the great number of stores, plants, and workshops, it included photographic establishments attended by the people featured in our collection.
Portrait photograph of Sara Tenenbaum
Photograph of Krysersztejn
1926–1932
1926–1932
More about the item
More about the item
Their photographs are preserved in the collection of Mania Żelazna. Mania received many commemorative photographs from family and friends before her departure for Palestine and also, afterwards, in letters from the second half of the 1930s.
Almost all those portrayed were probably murdered in the Holocaust. The photographs commemorate them and, at the same time, constitute material traces of the studios of Jewish photographers.
Photograph of Perl Ajz[...]
1926–1932
More about the item
Photograph for the documents of a young man in half-profile
1926–1932
More about the item
Several photographs from this collection come from the atelier of Sz. (?) Miller (Nalewki 34). They include various stamps that have changed over the years.
atelier Borensztejn
Fotografia portretowa młodego mężczyzny w półprofilu
nie przed 1931
Więcej o obiekcie
atelier Rys
Photograph of Sabina (Grünberżanka?) and Hilek (Hilel? last name unknown)
1932
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atelier Rys
Photograph of Regina Ostrzega
1935–1939?
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Photographer Ch. Borensztejn had his establishment in the neighbouring house, also on the even-numbered side of the street, at Nalewki street 32. The Rys atelier, owned by M. Byk, operated at Nalewki street 26.
atelier Murillo
A photograph of a man and a woman from card 13 of the album of the Garnek family
before 1936(?)
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The photographic studios, probably including those mentioned above, were, for the most part, somewhat crude. This is made clear by the details that can be seen in the various photographs, such as the rubbing of the background boards or curtains, sometimes slight damage to the props. In full-figure portraits, attention is sometimes drawn to the planks of the floor covered with a frayed carpet – as in this photograph, from another collection, showing an unknown couple. It was made in an atelier that was probably located on Leszno street.
Fanny Vaucher
„Nalewki” / „La rue Nalewki”
watercolour, 2016
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Nalewki street has a rich visual representation in archive photographs. Based upon photographs, Fanny Vaucher created illustrations for a historical guide to Warsaw published in 2016. As one of the largest commercial streets in the city, it simply had to be included in it.
Olga Wróbel (drawing)
I saw cramped courtyards, dirt, scratched walls...
watercolour, 2011
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Olga Wróbel also painted Nalewki street, emphasising the aspect of poverty of many local small craftsmen and residents. Olga Wróbel and Monika Powalisz's graphic novella “Przemiana” [Transition] was an adaptation of the authentic memoirs of Abraham Rotfarb, a child from a poor Jewish family.
In his pre-war report sent to the Vilnius YIVO (Institute for Jewish Research, Jidyszer Wisnszaftlecher Institut), he described the moment when he became acutely aware of the reality of the surrounding world. The rest of Abraham's story constitutes a complaint concerning the discrimination he suffered and the rejection the Polish culture in which he felt settled.
Unknown Warsaw public school
Class III lesson log
1937–1938
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We know these surroundings, including their poverty, from yet another archive- corresponding to the story of Abraham Rotfarb. This is a lesson log book from one of the local schools. Among the more than 60 (!) people in Class III, we can find two Jewish children. The lesson log book has been preserved as a bookbinding pad for a first communion souvenir of a girl from Pruszków. The bookbinder, still during the war, used most of the log book's sheets and both parts of the cover (unfortunately without the page indicating the number and address of the school) as a frame back.
Two cards with surnames, first names, religion (mainly Roman-Catholic), addresses (such as Smocza, Stawki, Pawia, Gęsia, or Okopowa), and employment data for the parents of the students (locksmith, wire worker, messenger, charwoman, unemployed). The information is so partial and yet so suggestive. An entire map of the downtown life, and especially the northern district, emerges from this information. It was not inhabited exclusively by Jews, as the lesson log book explicitly reminds us.
Typescript of memoirs of Edwarda (Etla) Bomsztyk
18.05.1953
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The perspective of the lower social classes - the despised "mob" - is therefore strongly represented by the items in our collection, both directly and indirectly. An item, which expresses it in a direct manner, is a fragmentary biography of Etla Bomsztyk, a pre-war servant and communism activist fighting for the rights of "house workers". This aspect resonates strongly, especially in the introduction to her story. From various source materials and biographical studies, we know the addresses of the houses where Bomsztyk worked in the late 1920s and early 1930s - in Pawia, Gęsia, and Stawki. The address Nalewki 32 is associated with a story of the founding meeting of one of the largest trade unions (the Union of Jewish Servants, established in 1919).
Monika Powalisz (script), Olga Wróbel (illustration),
Charts Boards for the graphic novella "Przemiana"
akwarela, 2011
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These are the streets whose names are included in the lesson log book and around which our presentation of Warsaw revolved. Filled with anger and pain, the voices of the excluded remind us of the shadows of the city.
Text: Przemysław Kaniecki Author biography: Przemysław Kaniecki (born 1982) - curator of collections at the POLIN Museum, adjunct at the Faculty of "Artes Liberales" at the University of Warsaw. He is academically engaged in the history of post-war Polish culture (literature, film, also graphic novels. At the Museum, he is, among other activities, the curator of the collection of comic charts). Among his publications is a book-length conversation with Tadeusz Konwicki "W pośpiechu" [In a Hurry] (2011). He edited the catalogue "Przynoszę rzecz, przynoszę historię. Rozmowy z darczyńcami" [Bringing an Item, Bringing a Story. Conversations with Donors] (together with Judyta Pawlak, 2016) Editing and proofreading: Marta Elas Editing and proofreading (English): Andrew Rajcher Photographs and reproductions: Iwo Książek, Lech Sandzewicz Graphic design: Karolina Królak
Implementation of the virtual exhibition was co-financed by the L. Kronenberg Citi Handlowy Foundation.
Implementing the virtual exhibition was co-financed by the German Federal Ministry for Foreign Affairs as part of the "Remembrance, Education, Inclusion" project.
A fragment of a map of Warsaw circa 1939, published by Świt, B. Wierzbicki i S-ka, collection of the National Library in Warsaw, has been used here.
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14. Slajd 14 z 29
29. Slajd 29 z 29
15. Slajd 15 z 29
16. Slajd 16 z 29
1. Slajd 1 z 29
17. Slajd 17 z 29
2. Slajd 2 z 29
18. Slajd 18 z 29
3. Slajd 3 z 29
19. Slajd 19 z 29
4. Slajd 4 z 29
20. Slajd 20 z 29
5. Slajd 5 z 29
21. Slajd 21 z 29
6. Slajd 6 z 29
22. Slajd 22 z 29
7. Slajd 7 z 29
23. Slajd 23 z 29
8. Slajd 8 z 29
24. Slajd 24 z 29
9. Slajd 9 z 29
25. Slajd 25 z 29
10. Slajd 10 z 29
26. Slajd 26 z 29
11. Slajd 11 z 29
27. Slajd 27 z 29
12. Slajd 12 z 29
28. Slajd 28 z 29
13. Slajd 13 z 29
14. Slajd 14 z 29
29. Slajd 29 z 29
15. Slajd 15 z 29
16. Slajd 16 z 29
1. Slajd 1 z 29
17. Slajd 17 z 29
2. Slajd 2 z 29
18. Slajd 18 z 29
3. Slajd 3 z 29
19. Slajd 19 z 29
4. Slajd 4 z 29
20. Slajd 20 z 29
5. Slajd 5 z 29
21. Slajd 21 z 29
6. Slajd 6 z 29
22. Slajd 22 z 29
7. Slajd 7 z 29
23. Slajd 23 z 29
8. Slajd 8 z 29
24. Slajd 24 z 29
9. Slajd 9 z 29
25. Slajd 25 z 29
10. Slajd 10 z 29
26. Slajd 26 z 29
11. Slajd 11 z 29
27. Slajd 27 z 29
12. Slajd 12 z 29
28. Slajd 28 z 29
13. Slajd 13 z 29
14. Slajd 14 z 29
29. Slajd 29 z 29
15. Slajd 15 z 29
16. Slajd 16 z 29
1. Slajd 1 z 29
17. Slajd 17 z 29
2. Slajd 2 z 29
18. Slajd 18 z 29
3. Slajd 3 z 29
19. Slajd 19 z 29
4. Slajd 4 z 29
20. Slajd 20 z 29
5. Slajd 5 z 29
21. Slajd 21 z 29
6. Slajd 6 z 29
22. Slajd 22 z 29
7. Slajd 7 z 29
23. Slajd 23 z 29
8. Slajd 8 z 29
24. Slajd 24 z 29
9. Slajd 9 z 29
25. Slajd 25 z 29
10. Slajd 10 z 29
26. Slajd 26 z 29
11. Slajd 11 z 29
27. Slajd 27 z 29
12. Slajd 12 z 29
28. Slajd 28 z 29
13. Slajd 13 z 29
14. Slajd 14 z 29
29. Slajd 29 z 29
15. Slajd 15 z 29
16. Slajd 16 z 29
1. Slajd 1 z 29
17. Slajd 17 z 29
2. Slajd 2 z 29
18. Slajd 18 z 29
3. Slajd 3 z 29
19. Slajd 19 z 29
4. Slajd 4 z 29
20. Slajd 20 z 29
5. Slajd 5 z 29
21. Slajd 21 z 29
6. Slajd 6 z 29
22. Slajd 22 z 29
7. Slajd 7 z 29
23. Slajd 23 z 29
8. Slajd 8 z 29
24. Slajd 24 z 29
9. Slajd 9 z 29
25. Slajd 25 z 29
10. Slajd 10 z 29
26. Slajd 26 z 29
11. Slajd 11 z 29
27. Slajd 27 z 29
12. Slajd 12 z 29
28. Slajd 28 z 29
13. Slajd 13 z 29
14. Slajd 14 z 29
29. Slajd 29 z 29
15. Slajd 15 z 29
16. Slajd 16 z 29
1. Slajd 1 z 29
17. Slajd 17 z 29
2. Slajd 2 z 29
18. Slajd 18 z 29
3. Slajd 3 z 29
19. Slajd 19 z 29
4. Slajd 4 z 29
20. Slajd 20 z 29
5. Slajd 5 z 29
21. Slajd 21 z 29
6. Slajd 6 z 29
22. Slajd 22 z 29
7. Slajd 7 z 29
23. Slajd 23 z 29
8. Slajd 8 z 29
24. Slajd 24 z 29
9. Slajd 9 z 29
25. Slajd 25 z 29
10. Slajd 10 z 29
26. Slajd 26 z 29
11. Slajd 11 z 29
27. Slajd 27 z 29
12. Slajd 12 z 29
28. Slajd 28 z 29
13. Slajd 13 z 29
14. Slajd 14 z 29
29. Slajd 29 z 29
15. Slajd 15 z 29
16. Slajd 16 z 29
1. Slajd 1 z 29
17. Slajd 17 z 29
2. Slajd 2 z 29
18. Slajd 18 z 29
3. Slajd 3 z 29
19. Slajd 19 z 29
4. Slajd 4 z 29
20. Slajd 20 z 29
5. Slajd 5 z 29
21. Slajd 21 z 29
6. Slajd 6 z 29
22. Slajd 22 z 29
7. Slajd 7 z 29
23. Slajd 23 z 29
8. Slajd 8 z 29
24. Slajd 24 z 29
9. Slajd 9 z 29
25. Slajd 25 z 29
10. Slajd 10 z 29
26. Slajd 26 z 29
11. Slajd 11 z 29
27. Slajd 27 z 29
12. Slajd 12 z 29
28. Slajd 28 z 29
13. Slajd 13 z 29
14. Slajd 14 z 29
29. Slajd 29 z 29
15. Slajd 15 z 29
16. Slajd 16 z 29
1. Slajd 1 z 29
17. Slajd 17 z 29
2. Slajd 2 z 29
18. Slajd 18 z 29
3. Slajd 3 z 29
19. Slajd 19 z 29
4. Slajd 4 z 29
20. Slajd 20 z 29
5. Slajd 5 z 29
21. Slajd 21 z 29
6. Slajd 6 z 29
22. Slajd 22 z 29
7. Slajd 7 z 29
23. Slajd 23 z 29
8. Slajd 8 z 29
24. Slajd 24 z 29
9. Slajd 9 z 29
25. Slajd 25 z 29
10. Slajd 10 z 29
26. Slajd 26 z 29
11. Slajd 11 z 29
27. Slajd 27 z 29
12. Slajd 12 z 29
28. Slajd 28 z 29
13. Slajd 13 z 29
14. Slajd 14 z 29
29. Slajd 29 z 29
15. Slajd 15 z 29