On the path of life
Renata Piątkowska
Of our everyday items, clothing is closest to us. It protects us against the cold and the heat, decorates, sometimes constitutes a carrier of meanings significant to people - religious or national identity, as well as a sign of prestige and fame. Sometimes, it is a barrier, even a protective shield. Often, behind the choice of fabric, its physicality - colour and pattern - as well as the cut of the clothing, there is a symbolic and personal dimension to the clothes we wear.
Because there is no human existence beyond items, opening up to items has changed the way the museum thinks about the past and about memory. Items accompany people in their daily lives, but also - as elements of material culture - co-create and co-shape their nature. Items, like people, have a history and a memory, while their persistence, in time and space, allows us to see a past that is different from the one people write for themselves.
A journey through the POLIN Museum collection
By inviting you to wander through the POLIN Museum collection, we bring out the clothes in storage. We will not talk about traditional Jewish clothes or military uniforms. Nor will we talk about fashion (although we are not forgetting it), but about the clothes, daily and festive, protective and ornamental, bought in elegant shops and acquired through hardship, that Jewish men and women wore more and more often since the 19th century. Their clothes were no longer an expression of belonging to a religious group - they had a personal and individual character.
Caps and gloves - about weddings
One of the oldest items in our collection is the modest, but elegant, white voile cap in which, at the turn of the 20th century, Amelia née Eiger (her great-grandfather was the famous Rabbi Akiba Eger of Poznań) married Edward Natanson. Religious tradition dictates that married Jewish women must cover their hair – already, during the wedding ceremony, young brides wore head coverings. The wedding location - the synagogue on Tłomackie Street in Warsaw - was no coincidence. Edward's father was Ludwik Natanson, an eminent doctor and, from 1871, president of the Jewish Community Council (gmina) in Warsaw Edward held a doctorate in physics and was a financier. The couple amassed a large art collection in their apartment on Królewska Street in Warsaw.
Wedding cap of Amelia Natanson, née Eiger, 1899/1900.
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1899/1900
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The cap survived two world wars, presumably stored all the time by Amelia. Her grandson recounted that "Grandma hid in Tomaszów Mazowiecki for the last years of the occupation. She died at the end of the war. My mother [Halina Świerczewska, daughter of Amelia and Edward] and I were in Tomaszów and took my grandmother's belongings. My sister found the cap by emptying out the apartment after my mother's death" (Królewska. Witold Swierczewski was interviewed by Przemysław Kaniecki, [in:] Przynoszę rzecz, przynoszę historię. Rozmowy z darczyńcami, eds. J. Pawlak, P. Kaniecki, Warsaw 2016, p. 57).
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Chana (Henia) Mühlrad-Lehrer's wedding gloves
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In the nineteenth-century gallery, in the wedding display case of the core exhibition, next to the cap, lie the white cotton gloves that Chana (Henia) Mühlrad wore when she stood under the chupa with Leon Lehrer. We have no further information concerning them. The tragic story of Chana's daughter, Holocaust survivor Chana Rifka Elner, was told to us by her daughter, Ewa Bocewicz (Strzępki. Interviewed by Judyta Pawlak, [in:] Przynoszę rzecz, przynoszę historię. Rozmowy z darczyńcami, eds. J. Pawlak, P. Kaniecki, Warsaw 2016, pp. 83-84).
In the salons
Wacław Moszkowski's tailcoat
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Let us now recall the visiting clothes of the architect Wacław Moszkowski (1881-1943). In 1907, he graduated from the Architecture Faculty of Karlsruhe University of Technology (Germany). His few architectural works include the building at Karowa Street 18 (1932, currently the home of the Institute of Sociology of the University of Warsaw). Moszkowski was also the creator of the sets for the films Romans panny Opolskiej (1928) and Mogiła nieznanego żołnierza (1927). Thanks to family accounts, we know that Wacław was a music aficionado and a frequent visitor to the Philharmonic. Perhaps he visited it wearing the elegant clothes that are now in the POLIN Museum collection - black woollen tailcoats with refined waistcoats or a tuxedo jacket.
Wacław Moszkowski's waistcoat
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One of the tailcoats was created for the young architect by the Brussels tailor Edmund Canonne. A piece of paper, sewn inside the pocket, retained the name of the customer and the date of collection: "EDMUND CANONNE | BRUXELLES. | M.W. Moszkowski | Le 25 II 1909”.
The simple, yet chic, tuxedo jacket is also black.
Wacław Moszkowski's tailcoat
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Even Moszkowski's waistcoats were black and woollen.
Wacław Moszkowski's waistcoat
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Wacław Moszkowski's waistcoat
Wacław Moszkowski's waistcoat
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Wacław Moszkowski's waistcoat
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... only one was sewn using purple silk.
A gentleman's outfit would not be complete without a hat. The bowler hat was purchased, by Moszkowski, in Warsaw, either at J. Młodkowski's men's hat store at plac Trzech Krzyży 18 or at his branch located in a house on the corner of Nowogrodzka Street 33 and Marszałkowska Street 92. This bowler hat came from far away, as it was made by Dunn & Co. in Birmingham.
Wacław Moszkowski's bowler hat
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Wacław Moszkowski's waistcoat
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Good quality, exquisite clothes were cared for, so it is not surprising that the formal tailcoats, jackets and waistcoats have been preserved in good condition. They confirm that Wacław Moszkowski belonged to Warsaw’s cultural and social elite. It is only in the light of knowledge concerning Wacław Moszkowski's wartime fate - the architect, who was subject to the Nuremberg Laws, hid on the "Aryan side", was arrested and murdered at the Pawiak Prison (?) - that we realise that the preservation of these clothes is something extraordinary. They survived not only the death of their owner, but also the 1944 Warsaw Uprising, and the period of looting. The clothes, donated to the POLIN Museum's collection, encourage us to try to imagine the everyday life of the Warsaw architect.
... and in theatres
Woollen shawl
1930–1950
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What was the significance of a colourful folk ("highland") woollen, floral shawl kept, for years, by Dora Kalinówna (1900-1985), the pre-war star of the Warsaw cabaret "Morskie Oko" and film actress. This souvenir, from Poland, in faraway Brazil, where she found herself during the Second World War, probably protected her against the cold on winter evenings but, at the same time, reminded her of her native country.
Photograph of Dora Kalinówna
pre-1939
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In Brazil, Dora Kalinówna continued her stage career and participated in the life of the Polish community there. Her sister, Liliana Syrkis, a resident of Łódź, who for many years ran one of the most famous fashion salons in Rio de Janeiro, also found refuge in the distant country. It was Liliana Syrkis who donated a rich archive of the actress's life (including photographs, documents, and notes) to the POLIN Museum.
Roman Kramsztyk
Portrait of Joanna Kramsztykówna
ca. 1928
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When a daughter, Joanna, was born into the wealthy, intellectual family of Irena (née Silbermintz) and Andrzej Kramsztyk, they thought about having her portrait created, especially since the girl's uncle was the well-known painter Roman Kramsztyk. Around 1928, when she was about two years old, Joanna was dressed in festive clothes - a dress, an apron decorated with pompoms, a jumper and an embroidered cap, from under which her fringe poked out in a playful way. Of course, the artist paid most attention to the child's round, childlike face, but he also detailed her outfit. The Kramsztyk family lived at Boduena Street 3 in Warsaw, opposite the painter's mother, Helena Kramsztykowa née Fajans. Roman came to Warsaw every year. Joasia's portrait was probably created in her parents' apartment.
War
Photograph of Grunia Klitenik
1944
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The fate of Jewish men and women during the Second World War, the Holocaust, is also told to us through personal belongings. These are stories about escapes and heart-wrenching breakups, about living in constant danger and about the deaths of loved ones, which only sometimes tell us about salvation. Sewn into the blue woollen dress of Grunia Klitenik (1911-1996) is the story of her escape with her husband Leon and son Joseph, who was born in 1940, deep inside the Soviet Union. In the summer of 1941 (after the Third Reich attacked the USSR), the Klitenik family lived in Telechany (currently Belarus), where they both came from. Almost all members of their family were killed in the mass murder of the Jewish population in August 1941. During their chaotic escape, the Klitenik family lost contact with each other (they did not find each other until 1944), and their son, given by Leon to a 24-hour crèche in Gomel, also disappeared - he himself enlisted in the Red Army. The crèche was evacuated and the couple never managed, despite many years of searching, to find any trace of their son.
Grunia Klitenik
Grunia Klitenik's dress
1942
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Grunia Klitenik found herself in eastern Volga. She first worked at the kolkhoz and, from autumn 1941, at a cooperative in Krasny Kut. From the age of 17, she worked as a seamstress and was employed at a sewing shop named after the German communist Ernst Thälmann. When autumn came, she sewed herself a warm woollen dress from the remnants of military chinelas - aviator coats that were blue in colour. This dress, made from scraps, speaks volumes about the condition of the USSR's wartime economy. It also witnesses Grunia's personal story of not being able to afford the fabric. When sewing the dress, Grunia put her sewing skills to good use - she neatly stitched together the pieces of fabric, and decorated the seams (on the hips, torso, and sleeves) with handmade additions made of the same material.
Marek Oberländer (1922-1978) was a painter and co-creator of the groundbreaking National Polish Exhibition of Young Visual Art "Against War - Against Fascism" at the Arsenal in Warsaw in 1955. When in 1946, as part of the repatriation campaign, gulag prisoners, exiles, soldiers and inhabitants of the former lands of the Second Polish Republic began to return from the Soviet Union, Oberländer also moved to Poland. A wooden suitcase and leather shoes - equipped in this manner, he set off on his long journey. He was returning to the country, but not to his family home. Oberländer was born and grew up in the town of Szczerzec near Lwów. He was drafted into the Red Army, where he served from 1941 to 1943, when his allegedly planned desertion was reported to the command. For this he was exiled to the militarised Labour Battalions - he worked in a mine in the Ural Mountains. The battalions constituted a formation only appeared to have the character of freedom. In fact, they were a form of forced labour.
Mark Oberländer's shoes
ca. 1946
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Oberländer had carefully prepared for the long journey. Tied shoes with a solid wooden sole, leather uppers, sewn by hand from tan (pig?) leather. They have no lining or padding, but have been reinforced both inside and out. The heel - with a double-stitched strip of leather, the tip - with an additional piece of leather stitched with a triple seam. The section between the tongue and the collar has been reinforced with metal studs and stitched. The holes have been reinforced with metal fittings - the light brown laces are still stuck in them. The mudguard - the part between the sole and the upper - was trimmed with a narrow, centimetre-long piece of leather nailed additionally with nails, approximately every 1 cm. High wooden soles with heels protected against both the cold and the inconvenience of the roads. Made from a solid, raw piece of wood, they were not, as can be inferred from their state of preservation, lined with thinner rubber or leather soles or otherwise protected. Only the heels and front of the shoe have been reinforced with crescent-shaped flat metal fleeces, nailed each with four nails.
The waistcoat of Teofila Wawrzyniak (Tola Raszbaum)
pre-1939
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Photography of Teofila Wawrzyniak
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This red waistcoat decorated with floral additions was bought for Teofila Wawrzyniak (Teofila Raszbaum-Hass, born 1938) by her grandfather during a holiday in Zakopane. During the war, the girl, smuggled out of the Warsaw ghetto by her aunt, her father's sister Zofia Raszbaum (later Hass) and was hidden by a Polish family. In 1947, the guardians gave Teofila over to a Jewish orphanage: "I was ten-years-old at the time. The photo was taken when I had to leave the family who was hiding me. At that time, I was handed over to a Jewish orphanage in Zabrze, so that they would receive money for hiding me during the occupation. I felt sold, because I was attached to them. It was also a shock for me to go from a religious Catholic family to a Jewish religious orphanage."
Woollen blanket
1944
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When, after the war, Maria (Salomea) Sowa née Hefner (1907-1982) returned to Jasło (where she lived for the rest of her life), she had a grey woollen blanket with her. A native of the village of Roztoki in the Podkarpacie region, Salomea married a Christian, Michal Sowa, at the beginning of the Second World War and took the name Maria. Arrested by the Germans on 28th July 1944, she was soon deported to the Auschwitz concentration camp (KL Auschwitz-Birkenau). From there, she was transferred to the Bergen-Belsen camp, where she remained until the liberation on 15th April 1945. At that time, the thin woollen blanket was her only possession. In the camp, it was invaluable - at night, it served as a covering, during the day it could be tucked under the clothes to protect oneself against the cold (Karolina Sulej, Rzeczy osobiste. Opowieść o ubraniach w obozach koncentracyjnych i zagłady, Warsaw 2020, p. 154). Stored for years, it remained Maria's most important link to her camp experience.
Emigration
Helena Lemberg's dress
1937
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The clothes also tell the story of their owners’ emigration experience or, more precisely, their female owners, as all the outfits discussed here belonged to girls and women.
This sumptuous burgundy dress, made from synthetic taffeta with decorative inserts in light beige, was sewn in Warsaw in 1937 for the then eight-year-old Helena Lemberg (1929-1989 – married surname Frumer). Together with her mother Dwojra Lemberg (1904-1991) and younger sister Tauba (1930-1960?), she was then preparing to leave Żychlin for the United States. From 1935, their husband and father, Aron Lemberg (1895-?), was already there. Later, Helena recounted that, after leaving Poland, she never wore this dress. Perhaps "Warsaw chic" - pleats and a bolero jacket, imitation collar in "narrow rays", decorative buttons and a bow, short buff sleeves - did not fit in with American everyday life. However, she kept it, along with the doll that accompanied her on the journey (MPOLIN-M1427), as a memento of her emigration.
Helena Lemberg's rag doll
pre-1937
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Helena's "rag doll", with blue eyes, blush, and yellow wool hair, had her own stylish outfit. She is still dressed in a navy-blue skirt, a light-coloured shirt with a printed floral pattern, and a red, ruff-like collar, as well as a bright apron. Her outfit could not lack the batiste pantaloons. She wears a red felt corset on top and a pointed green felt hat on her head. One white yarn sock and black lace-up shoes also survived.
This photograph was taken by Dwojra Lemberg during one of her stays in Warsaw (as evidenced by the name of the atelier "RAPHAEL | VARSOVIE"), in preparation for a trip to see her husband. Her daughters, Helena and Tauba, have pretty dresses and bows woven into their hair.
Atelier ,,RAPHAEL | VARSOVIE”
Photograph of Dwojra Lemberg with her daughters Helena and Tauba
pre-1937
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March ’68
Among the items taken with them on their "forever" trip, the most important were those necessary to function in a foreign country - documents, diplomas, as well as everyday items. However, not only useful items and practical ones were taken on the long journey. Souvenirs of a former life close to the heart, such as the children's clothes of Ania Trachtenherc, were also taken. When the Trachtenherc family was forced to leave Poland in 1969, Anna, born in 1946, was already a student. And yet, she and her parents packed Anna's school notebooks (for Polish history and the Polish language), the cards she had drawn, or her school diary into their suitcases (MPOLIN-A44.2.1). They also took Anna's baby clothes - dress, jumper, top, socks, cap, and school apron. Anna's parents, Maria and Natan Trachtenhertz, were doctors, and had survived the war in the Soviet Union. Their families perishedin the Holocaust.
Goodbye forever. Krystyna Pajes on March '68
Dress designed by Katja of Sweden
1968
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A similar black, green, and purple simple mini dress by the well-known brand Katja of Sweden, created by Katja Geiger for Malmö Mekaniska Tricotfabrik, has probably been the dream for many women around the world. Krystyna Pajes (née Sigalin) received it as part of the aid for emigrants in the camps, for which funds were donated by King Gustav VI Adolf of Sweden.
Clothes are seemingly only practical items that, when worn out, can simply be thrown away. It turns out that they often stay with us forever. We keep them because, on the one hand, they constitute a testimony to our lives while , on the other hand, they are a direct, physical link to our past.
A few years later, during the Second World War, Joanna Prochaska née Kramsztyk (1926-2011) would play an important role in the lives of her relatives hiding near Warsaw. During the German occupation, she would become the only link to the world of her hiding parents and her grandmother Felicja Kramsztykowa (née Mutermilch). Throughout the war, she will always carry with her, like a shield, a devotional booklet with a picture of St. Teresa (which can also be found in the POLIN Museum, MPOLIN-A9.3.1).
Grunia Klitenik continued to wear the dress for several years after returning to Poland. It was later worn by her daughter Helena, who was born after the war. It was she who decided to donate this dear piece of memorabilia to the POLIN Museum collection, along with the story of her parents.
Marek Oberländer's suitcase and shoes are the only surviving items from the war. The artist's widow, Halina, does not remember her husband ever talking about them. They have simply "lived" with them forever.
The waistcoat – the only material witness to Tola Raszbaum's pre-war life – survived the time of the Holocaust, kept by a relative in hiding. When Teofila Wawrzyniak travelled to Sweden with her family during March '68, she also took this highland waistcoat with her.
Children's dress
ca. 1946
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For Holocaust survivors, the birth of a child constituted hope for the survival of the family memory, a hope for a "normal" life. This is probably why Anna Trachtenherc's childhood memorabilia travelled with her family to Sweden, only to return to Poland years later, to be included in the POLIN Museum collection. Krystyna Pajes' farewell to Poland was the beginning of her new life. She started it off in a fashionable dress "from the king". Without these stories, torn, with gaps, these clothes would still attest to material culture, but their individual stories and personal dimension would be lost.
Tekst: Renata Piątkowska PhD Author's biography: I have been involved in Jewish art and culture for many years and am the author of numerous articles and publications, including the book "Między Ziemiańską a Montparnassem. Roman Kramszyk" (Between Ziemiańska and Montparnass. Roman Kramsztyk) [Warsaw 2004]. I worked at the Museum of the Jewish Historical Institute, where I curated many exhibitions, including: "Maurycy Trębacz 1861-1941" (1993); "Artur Markowicz 1872-1934" (1995); "Roman Kramsztyk (1885-1942)" (1997); "Przyjaciele. Simon Mondzain, Jan Hrynkowski, Władysław Zawadowski" (Friends. Simon Mondzain, Jan Hrynkowski, Władysław Zawadowski) (1999); "Nasi Starsi Bracia. Malarstwo, grafika i rysunki z kolekcji Żydowskiego Instytutu Historycznego" (Our elder brothers. Paintings, prints, and drawings from the collection of the Jewish Historical Institute") (2001). I have been working at the Museum of the History of Polish Jews since 1999, currently as Chief Curator of Collections. Editing and proofreading: Marta Elas, Andrew Rajcher (English) Visual documentation: Iwo Książek, Lech Sandzewicz Graphic design: Karolina Królak 3D documentation: Natalia Parandyk
Implementing 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.
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Mobile (ENG) - Ubrania - w drodze życia
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Transcript
On the path of life
Renata Piątkowska
Of our everyday items, clothing is closest to us. It protects us against the cold and the heat, decorates, sometimes constitutes a carrier of meanings significant to people - religious or national identity, as well as a sign of prestige and fame. Sometimes, it is a barrier, even a protective shield. Often, behind the choice of fabric, its physicality - colour and pattern - as well as the cut of the clothing, there is a symbolic and personal dimension to the clothes we wear.
Because there is no human existence beyond items, opening up to items has changed the way the museum thinks about the past and about memory. Items accompany people in their daily lives, but also - as elements of material culture - co-create and co-shape their nature. Items, like people, have a history and a memory, while their persistence, in time and space, allows us to see a past that is different from the one people write for themselves.
A journey through the POLIN Museum collection
By inviting you to wander through the POLIN Museum collection, we bring out the clothes in storage. We will not talk about traditional Jewish clothes or military uniforms. Nor will we talk about fashion (although we are not forgetting it), but about the clothes, daily and festive, protective and ornamental, bought in elegant shops and acquired through hardship, that Jewish men and women wore more and more often since the 19th century. Their clothes were no longer an expression of belonging to a religious group - they had a personal and individual character.
Caps and gloves - about weddings
One of the oldest items in our collection is the modest, but elegant, white voile cap in which, at the turn of the 20th century, Amelia née Eiger (her great-grandfather was the famous Rabbi Akiba Eger of Poznań) married Edward Natanson. Religious tradition dictates that married Jewish women must cover their hair – already, during the wedding ceremony, young brides wore head coverings. The wedding location - the synagogue on Tłomackie Street in Warsaw - was no coincidence. Edward's father was Ludwik Natanson, an eminent doctor and, from 1871, president of the Jewish Community Council (gmina) in Warsaw Edward held a doctorate in physics and was a financier. The couple amassed a large art collection in their apartment on Królewska Street in Warsaw.
Wedding cap of Amelia Natanson, née Eiger, 1899/1900.
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1899/1900
More about the item
The cap survived two world wars, presumably stored all the time by Amelia. Her grandson recounted that "Grandma hid in Tomaszów Mazowiecki for the last years of the occupation. She died at the end of the war. My mother [Halina Świerczewska, daughter of Amelia and Edward] and I were in Tomaszów and took my grandmother's belongings. My sister found the cap by emptying out the apartment after my mother's death" (Królewska. Witold Swierczewski was interviewed by Przemysław Kaniecki, [in:] Przynoszę rzecz, przynoszę historię. Rozmowy z darczyńcami, eds. J. Pawlak, P. Kaniecki, Warsaw 2016, p. 57).
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Chana (Henia) Mühlrad-Lehrer's wedding gloves
More about the item
In the nineteenth-century gallery, in the wedding display case of the core exhibition, next to the cap, lie the white cotton gloves that Chana (Henia) Mühlrad wore when she stood under the chupa with Leon Lehrer. We have no further information concerning them. The tragic story of Chana's daughter, Holocaust survivor Chana Rifka Elner, was told to us by her daughter, Ewa Bocewicz (Strzępki. Interviewed by Judyta Pawlak, [in:] Przynoszę rzecz, przynoszę historię. Rozmowy z darczyńcami, eds. J. Pawlak, P. Kaniecki, Warsaw 2016, pp. 83-84).
In the salons
Wacław Moszkowski's tailcoat
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Let us now recall the visiting clothes of the architect Wacław Moszkowski (1881-1943). In 1907, he graduated from the Architecture Faculty of Karlsruhe University of Technology (Germany). His few architectural works include the building at Karowa Street 18 (1932, currently the home of the Institute of Sociology of the University of Warsaw). Moszkowski was also the creator of the sets for the films Romans panny Opolskiej (1928) and Mogiła nieznanego żołnierza (1927). Thanks to family accounts, we know that Wacław was a music aficionado and a frequent visitor to the Philharmonic. Perhaps he visited it wearing the elegant clothes that are now in the POLIN Museum collection - black woollen tailcoats with refined waistcoats or a tuxedo jacket.
Wacław Moszkowski's waistcoat
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One of the tailcoats was created for the young architect by the Brussels tailor Edmund Canonne. A piece of paper, sewn inside the pocket, retained the name of the customer and the date of collection: "EDMUND CANONNE | BRUXELLES. | M.W. Moszkowski | Le 25 II 1909”.
The simple, yet chic, tuxedo jacket is also black.
Wacław Moszkowski's tailcoat
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Even Moszkowski's waistcoats were black and woollen.
Wacław Moszkowski's waistcoat
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Wacław Moszkowski's waistcoat
Wacław Moszkowski's waistcoat
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Wacław Moszkowski's waistcoat
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... only one was sewn using purple silk.
A gentleman's outfit would not be complete without a hat. The bowler hat was purchased, by Moszkowski, in Warsaw, either at J. Młodkowski's men's hat store at plac Trzech Krzyży 18 or at his branch located in a house on the corner of Nowogrodzka Street 33 and Marszałkowska Street 92. This bowler hat came from far away, as it was made by Dunn & Co. in Birmingham.
Wacław Moszkowski's bowler hat
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Wacław Moszkowski's waistcoat
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Good quality, exquisite clothes were cared for, so it is not surprising that the formal tailcoats, jackets and waistcoats have been preserved in good condition. They confirm that Wacław Moszkowski belonged to Warsaw’s cultural and social elite. It is only in the light of knowledge concerning Wacław Moszkowski's wartime fate - the architect, who was subject to the Nuremberg Laws, hid on the "Aryan side", was arrested and murdered at the Pawiak Prison (?) - that we realise that the preservation of these clothes is something extraordinary. They survived not only the death of their owner, but also the 1944 Warsaw Uprising, and the period of looting. The clothes, donated to the POLIN Museum's collection, encourage us to try to imagine the everyday life of the Warsaw architect.
... and in theatres
Woollen shawl
1930–1950
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What was the significance of a colourful folk ("highland") woollen, floral shawl kept, for years, by Dora Kalinówna (1900-1985), the pre-war star of the Warsaw cabaret "Morskie Oko" and film actress. This souvenir, from Poland, in faraway Brazil, where she found herself during the Second World War, probably protected her against the cold on winter evenings but, at the same time, reminded her of her native country.
Photograph of Dora Kalinówna
pre-1939
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In Brazil, Dora Kalinówna continued her stage career and participated in the life of the Polish community there. Her sister, Liliana Syrkis, a resident of Łódź, who for many years ran one of the most famous fashion salons in Rio de Janeiro, also found refuge in the distant country. It was Liliana Syrkis who donated a rich archive of the actress's life (including photographs, documents, and notes) to the POLIN Museum.
Roman Kramsztyk
Portrait of Joanna Kramsztykówna
ca. 1928
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When a daughter, Joanna, was born into the wealthy, intellectual family of Irena (née Silbermintz) and Andrzej Kramsztyk, they thought about having her portrait created, especially since the girl's uncle was the well-known painter Roman Kramsztyk. Around 1928, when she was about two years old, Joanna was dressed in festive clothes - a dress, an apron decorated with pompoms, a jumper and an embroidered cap, from under which her fringe poked out in a playful way. Of course, the artist paid most attention to the child's round, childlike face, but he also detailed her outfit. The Kramsztyk family lived at Boduena Street 3 in Warsaw, opposite the painter's mother, Helena Kramsztykowa née Fajans. Roman came to Warsaw every year. Joasia's portrait was probably created in her parents' apartment.
War
Photograph of Grunia Klitenik
1944
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The fate of Jewish men and women during the Second World War, the Holocaust, is also told to us through personal belongings. These are stories about escapes and heart-wrenching breakups, about living in constant danger and about the deaths of loved ones, which only sometimes tell us about salvation. Sewn into the blue woollen dress of Grunia Klitenik (1911-1996) is the story of her escape with her husband Leon and son Joseph, who was born in 1940, deep inside the Soviet Union. In the summer of 1941 (after the Third Reich attacked the USSR), the Klitenik family lived in Telechany (currently Belarus), where they both came from. Almost all members of their family were killed in the mass murder of the Jewish population in August 1941. During their chaotic escape, the Klitenik family lost contact with each other (they did not find each other until 1944), and their son, given by Leon to a 24-hour crèche in Gomel, also disappeared - he himself enlisted in the Red Army. The crèche was evacuated and the couple never managed, despite many years of searching, to find any trace of their son.
Grunia Klitenik
Grunia Klitenik's dress
1942
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Grunia Klitenik found herself in eastern Volga. She first worked at the kolkhoz and, from autumn 1941, at a cooperative in Krasny Kut. From the age of 17, she worked as a seamstress and was employed at a sewing shop named after the German communist Ernst Thälmann. When autumn came, she sewed herself a warm woollen dress from the remnants of military chinelas - aviator coats that were blue in colour. This dress, made from scraps, speaks volumes about the condition of the USSR's wartime economy. It also witnesses Grunia's personal story of not being able to afford the fabric. When sewing the dress, Grunia put her sewing skills to good use - she neatly stitched together the pieces of fabric, and decorated the seams (on the hips, torso, and sleeves) with handmade additions made of the same material.
Marek Oberländer (1922-1978) was a painter and co-creator of the groundbreaking National Polish Exhibition of Young Visual Art "Against War - Against Fascism" at the Arsenal in Warsaw in 1955. When in 1946, as part of the repatriation campaign, gulag prisoners, exiles, soldiers and inhabitants of the former lands of the Second Polish Republic began to return from the Soviet Union, Oberländer also moved to Poland. A wooden suitcase and leather shoes - equipped in this manner, he set off on his long journey. He was returning to the country, but not to his family home. Oberländer was born and grew up in the town of Szczerzec near Lwów. He was drafted into the Red Army, where he served from 1941 to 1943, when his allegedly planned desertion was reported to the command. For this he was exiled to the militarised Labour Battalions - he worked in a mine in the Ural Mountains. The battalions constituted a formation only appeared to have the character of freedom. In fact, they were a form of forced labour.
Mark Oberländer's shoes
ca. 1946
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Oberländer had carefully prepared for the long journey. Tied shoes with a solid wooden sole, leather uppers, sewn by hand from tan (pig?) leather. They have no lining or padding, but have been reinforced both inside and out. The heel - with a double-stitched strip of leather, the tip - with an additional piece of leather stitched with a triple seam. The section between the tongue and the collar has been reinforced with metal studs and stitched. The holes have been reinforced with metal fittings - the light brown laces are still stuck in them. The mudguard - the part between the sole and the upper - was trimmed with a narrow, centimetre-long piece of leather nailed additionally with nails, approximately every 1 cm. High wooden soles with heels protected against both the cold and the inconvenience of the roads. Made from a solid, raw piece of wood, they were not, as can be inferred from their state of preservation, lined with thinner rubber or leather soles or otherwise protected. Only the heels and front of the shoe have been reinforced with crescent-shaped flat metal fleeces, nailed each with four nails.
The waistcoat of Teofila Wawrzyniak (Tola Raszbaum)
pre-1939
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Photography of Teofila Wawrzyniak
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This red waistcoat decorated with floral additions was bought for Teofila Wawrzyniak (Teofila Raszbaum-Hass, born 1938) by her grandfather during a holiday in Zakopane. During the war, the girl, smuggled out of the Warsaw ghetto by her aunt, her father's sister Zofia Raszbaum (later Hass) and was hidden by a Polish family. In 1947, the guardians gave Teofila over to a Jewish orphanage: "I was ten-years-old at the time. The photo was taken when I had to leave the family who was hiding me. At that time, I was handed over to a Jewish orphanage in Zabrze, so that they would receive money for hiding me during the occupation. I felt sold, because I was attached to them. It was also a shock for me to go from a religious Catholic family to a Jewish religious orphanage."
Woollen blanket
1944
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When, after the war, Maria (Salomea) Sowa née Hefner (1907-1982) returned to Jasło (where she lived for the rest of her life), she had a grey woollen blanket with her. A native of the village of Roztoki in the Podkarpacie region, Salomea married a Christian, Michal Sowa, at the beginning of the Second World War and took the name Maria. Arrested by the Germans on 28th July 1944, she was soon deported to the Auschwitz concentration camp (KL Auschwitz-Birkenau). From there, she was transferred to the Bergen-Belsen camp, where she remained until the liberation on 15th April 1945. At that time, the thin woollen blanket was her only possession. In the camp, it was invaluable - at night, it served as a covering, during the day it could be tucked under the clothes to protect oneself against the cold (Karolina Sulej, Rzeczy osobiste. Opowieść o ubraniach w obozach koncentracyjnych i zagłady, Warsaw 2020, p. 154). Stored for years, it remained Maria's most important link to her camp experience.
Emigration
Helena Lemberg's dress
1937
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The clothes also tell the story of their owners’ emigration experience or, more precisely, their female owners, as all the outfits discussed here belonged to girls and women.
This sumptuous burgundy dress, made from synthetic taffeta with decorative inserts in light beige, was sewn in Warsaw in 1937 for the then eight-year-old Helena Lemberg (1929-1989 – married surname Frumer). Together with her mother Dwojra Lemberg (1904-1991) and younger sister Tauba (1930-1960?), she was then preparing to leave Żychlin for the United States. From 1935, their husband and father, Aron Lemberg (1895-?), was already there. Later, Helena recounted that, after leaving Poland, she never wore this dress. Perhaps "Warsaw chic" - pleats and a bolero jacket, imitation collar in "narrow rays", decorative buttons and a bow, short buff sleeves - did not fit in with American everyday life. However, she kept it, along with the doll that accompanied her on the journey (MPOLIN-M1427), as a memento of her emigration.
Helena Lemberg's rag doll
pre-1937
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Helena's "rag doll", with blue eyes, blush, and yellow wool hair, had her own stylish outfit. She is still dressed in a navy-blue skirt, a light-coloured shirt with a printed floral pattern, and a red, ruff-like collar, as well as a bright apron. Her outfit could not lack the batiste pantaloons. She wears a red felt corset on top and a pointed green felt hat on her head. One white yarn sock and black lace-up shoes also survived.
This photograph was taken by Dwojra Lemberg during one of her stays in Warsaw (as evidenced by the name of the atelier "RAPHAEL | VARSOVIE"), in preparation for a trip to see her husband. Her daughters, Helena and Tauba, have pretty dresses and bows woven into their hair.
Atelier ,,RAPHAEL | VARSOVIE”
Photograph of Dwojra Lemberg with her daughters Helena and Tauba
pre-1937
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March ’68
Among the items taken with them on their "forever" trip, the most important were those necessary to function in a foreign country - documents, diplomas, as well as everyday items. However, not only useful items and practical ones were taken on the long journey. Souvenirs of a former life close to the heart, such as the children's clothes of Ania Trachtenherc, were also taken. When the Trachtenherc family was forced to leave Poland in 1969, Anna, born in 1946, was already a student. And yet, she and her parents packed Anna's school notebooks (for Polish history and the Polish language), the cards she had drawn, or her school diary into their suitcases (MPOLIN-A44.2.1). They also took Anna's baby clothes - dress, jumper, top, socks, cap, and school apron. Anna's parents, Maria and Natan Trachtenhertz, were doctors, and had survived the war in the Soviet Union. Their families perishedin the Holocaust.
Goodbye forever. Krystyna Pajes on March '68
Dress designed by Katja of Sweden
1968
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A similar black, green, and purple simple mini dress by the well-known brand Katja of Sweden, created by Katja Geiger for Malmö Mekaniska Tricotfabrik, has probably been the dream for many women around the world. Krystyna Pajes (née Sigalin) received it as part of the aid for emigrants in the camps, for which funds were donated by King Gustav VI Adolf of Sweden.
Clothes are seemingly only practical items that, when worn out, can simply be thrown away. It turns out that they often stay with us forever. We keep them because, on the one hand, they constitute a testimony to our lives while , on the other hand, they are a direct, physical link to our past.
A few years later, during the Second World War, Joanna Prochaska née Kramsztyk (1926-2011) would play an important role in the lives of her relatives hiding near Warsaw. During the German occupation, she would become the only link to the world of her hiding parents and her grandmother Felicja Kramsztykowa (née Mutermilch). Throughout the war, she will always carry with her, like a shield, a devotional booklet with a picture of St. Teresa (which can also be found in the POLIN Museum, MPOLIN-A9.3.1).
Grunia Klitenik continued to wear the dress for several years after returning to Poland. It was later worn by her daughter Helena, who was born after the war. It was she who decided to donate this dear piece of memorabilia to the POLIN Museum collection, along with the story of her parents.
Marek Oberländer's suitcase and shoes are the only surviving items from the war. The artist's widow, Halina, does not remember her husband ever talking about them. They have simply "lived" with them forever.
The waistcoat – the only material witness to Tola Raszbaum's pre-war life – survived the time of the Holocaust, kept by a relative in hiding. When Teofila Wawrzyniak travelled to Sweden with her family during March '68, she also took this highland waistcoat with her.
Children's dress
ca. 1946
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For Holocaust survivors, the birth of a child constituted hope for the survival of the family memory, a hope for a "normal" life. This is probably why Anna Trachtenherc's childhood memorabilia travelled with her family to Sweden, only to return to Poland years later, to be included in the POLIN Museum collection. Krystyna Pajes' farewell to Poland was the beginning of her new life. She started it off in a fashionable dress "from the king". Without these stories, torn, with gaps, these clothes would still attest to material culture, but their individual stories and personal dimension would be lost.
Tekst: Renata Piątkowska PhD Author's biography: I have been involved in Jewish art and culture for many years and am the author of numerous articles and publications, including the book "Między Ziemiańską a Montparnassem. Roman Kramszyk" (Between Ziemiańska and Montparnass. Roman Kramsztyk) [Warsaw 2004]. I worked at the Museum of the Jewish Historical Institute, where I curated many exhibitions, including: "Maurycy Trębacz 1861-1941" (1993); "Artur Markowicz 1872-1934" (1995); "Roman Kramsztyk (1885-1942)" (1997); "Przyjaciele. Simon Mondzain, Jan Hrynkowski, Władysław Zawadowski" (Friends. Simon Mondzain, Jan Hrynkowski, Władysław Zawadowski) (1999); "Nasi Starsi Bracia. Malarstwo, grafika i rysunki z kolekcji Żydowskiego Instytutu Historycznego" (Our elder brothers. Paintings, prints, and drawings from the collection of the Jewish Historical Institute") (2001). I have been working at the Museum of the History of Polish Jews since 1999, currently as Chief Curator of Collections. Editing and proofreading: Marta Elas, Andrew Rajcher (English) Visual documentation: Iwo Książek, Lech Sandzewicz Graphic design: Karolina Królak 3D documentation: Natalia Parandyk
Implementing 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.
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9. Slajd 9 z 31
25. Slajd 25 z 31
10. Slajd 10 z 31
26. Slajd 26 z 31
11. Slajd 11 z 31
27. Slajd 27 z 31
12. Slajd 12 z 31
28. Slajd 28 z 31
13. Slajd 13 z 31
14. Slajd 14 z 31
29. Slajd 29 z 31
30. Slajd 30 z 31
15. Slajd 15 z 31
16. Slajd 16 z 31
1. Slajd 1 z 31
31. Slajd 31 z 31
17. Slajd 17 z 31
2. Slajd 2 z 31
18. Slajd 18 z 31
3. Slajd 3 z 31
19. Slajd 19 z 31
4. Slajd 4 z 31
20. Slajd 20 z 31
5. Slajd 5 z 31
21. Slajd 21 z 31
6. Slajd 6 z 31
22. Slajd 22 z 31
7. Slajd 7 z 31
23. Slajd 23 z 31
8. Slajd 8 z 31
24. Slajd 24 z 31
9. Slajd 9 z 31
25. Slajd 25 z 31
10. Slajd 10 z 31
26. Slajd 26 z 31
11. Slajd 11 z 31
27. Slajd 27 z 31
12. Slajd 12 z 31
28. Slajd 28 z 31
13. Slajd 13 z 31
14. Slajd 14 z 31
29. Slajd 29 z 31
30. Slajd 30 z 31
15. Slajd 15 z 31
16. Slajd 16 z 31
1. Slajd 1 z 31
31. Slajd 31 z 31
17. Slajd 17 z 31
2. Slajd 2 z 31
18. Slajd 18 z 31
3. Slajd 3 z 31
19. Slajd 19 z 31
4. Slajd 4 z 31
20. Slajd 20 z 31
5. Slajd 5 z 31
21. Slajd 21 z 31
6. Slajd 6 z 31
22. Slajd 22 z 31
7. Slajd 7 z 31
23. Slajd 23 z 31
8. Slajd 8 z 31
24. Slajd 24 z 31
9. Slajd 9 z 31
25. Slajd 25 z 31
10. Slajd 10 z 31
26. Slajd 26 z 31
11. Slajd 11 z 31
27. Slajd 27 z 31
12. Slajd 12 z 31
28. Slajd 28 z 31
13. Slajd 13 z 31
14. Slajd 14 z 31
29. Slajd 29 z 31
30. Slajd 30 z 31
15. Slajd 15 z 31
16. Slajd 16 z 31
1. Slajd 1 z 31
31. Slajd 31 z 31
17. Slajd 17 z 31
2. Slajd 2 z 31
18. Slajd 18 z 31
3. Slajd 3 z 31
19. Slajd 19 z 31
4. Slajd 4 z 31
20. Slajd 20 z 31
5. Slajd 5 z 31
21. Slajd 21 z 31
6. Slajd 6 z 31
22. Slajd 22 z 31
7. Slajd 7 z 31
23. Slajd 23 z 31
8. Slajd 8 z 31
24. Slajd 24 z 31
9. Slajd 9 z 31
25. Slajd 25 z 31
10. Slajd 10 z 31
26. Slajd 26 z 31
11. Slajd 11 z 31
27. Slajd 27 z 31
12. Slajd 12 z 31
28. Slajd 28 z 31
13. Slajd 13 z 31
14. Slajd 14 z 31
29. Slajd 29 z 31
30. Slajd 30 z 31
15. Slajd 15 z 31
16. Slajd 16 z 31
1. Slajd 1 z 31
31. Slajd 31 z 31
17. Slajd 17 z 31
2. Slajd 2 z 31
18. Slajd 18 z 31
3. Slajd 3 z 31
19. Slajd 19 z 31
4. Slajd 4 z 31
20. Slajd 20 z 31
5. Slajd 5 z 31
21. Slajd 21 z 31
6. Slajd 6 z 31
22. Slajd 22 z 31
7. Slajd 7 z 31
23. Slajd 23 z 31
8. Slajd 8 z 31
24. Slajd 24 z 31
9. Slajd 9 z 31
25. Slajd 25 z 31
10. Slajd 10 z 31
26. Slajd 26 z 31
11. Slajd 11 z 31
27. Slajd 27 z 31
12. Slajd 12 z 31
28. Slajd 28 z 31
13. Slajd 13 z 31
14. Slajd 14 z 31
29. Slajd 29 z 31
30. Slajd 30 z 31
15. Slajd 15 z 31
16. Slajd 16 z 31
1. Slajd 1 z 31
31. Slajd 31 z 31
17. Slajd 17 z 31
2. Slajd 2 z 31
18. Slajd 18 z 31
3. Slajd 3 z 31
19. Slajd 19 z 31
4. Slajd 4 z 31
20. Slajd 20 z 31
5. Slajd 5 z 31
21. Slajd 21 z 31
6. Slajd 6 z 31
22. Slajd 22 z 31
7. Slajd 7 z 31
23. Slajd 23 z 31
8. Slajd 8 z 31
24. Slajd 24 z 31
9. Slajd 9 z 31
25. Slajd 25 z 31
10. Slajd 10 z 31
26. Slajd 26 z 31
11. Slajd 11 z 31
27. Slajd 27 z 31
12. Slajd 12 z 31
28. Slajd 28 z 31
13. Slajd 13 z 31
14. Slajd 14 z 31
29. Slajd 29 z 31
30. Slajd 30 z 31
15. Slajd 15 z 31
16. Slajd 16 z 31
1. Slajd 1 z 31
31. Slajd 31 z 31
17. Slajd 17 z 31
2. Slajd 2 z 31
18. Slajd 18 z 31
3. Slajd 3 z 31
19. Slajd 19 z 31
4. Slajd 4 z 31
20. Slajd 20 z 31
5. Slajd 5 z 31
21. Slajd 21 z 31
6. Slajd 6 z 31
22. Slajd 22 z 31
7. Slajd 7 z 31
23. Slajd 23 z 31
8. Slajd 8 z 31
24. Slajd 24 z 31
9. Slajd 9 z 31
25. Slajd 25 z 31
10. Slajd 10 z 31
26. Slajd 26 z 31
11. Slajd 11 z 31
27. Slajd 27 z 31
12. Slajd 12 z 31
28. Slajd 28 z 31
13. Slajd 13 z 31
14. Slajd 14 z 31
29. Slajd 29 z 31
30. Slajd 30 z 31
15. Slajd 15 z 31
16. Slajd 16 z 31
1. Slajd 1 z 31
31. Slajd 31 z 31
17. Slajd 17 z 31
2. Slajd 2 z 31
18. Slajd 18 z 31
3. Slajd 3 z 31
19. Slajd 19 z 31
4. Slajd 4 z 31
20. Slajd 20 z 31
5. Slajd 5 z 31
21. Slajd 21 z 31
6. Slajd 6 z 31
22. Slajd 22 z 31
7. Slajd 7 z 31
23. Slajd 23 z 31
8. Slajd 8 z 31
24. Slajd 24 z 31
9. Slajd 9 z 31
25. Slajd 25 z 31
10. Slajd 10 z 31
26. Slajd 26 z 31
11. Slajd 11 z 31
27. Slajd 27 z 31
12. Slajd 12 z 31
28. Slajd 28 z 31
13. Slajd 13 z 31
14. Slajd 14 z 31
29. Slajd 29 z 31
30. Slajd 30 z 31
15. Slajd 15 z 31
16. Slajd 16 z 31
1. Slajd 1 z 31
31. Slajd 31 z 31
17. Slajd 17 z 31
2. Slajd 2 z 31
18. Slajd 18 z 31
3. Slajd 3 z 31
19. Slajd 19 z 31
4. Slajd 4 z 31
20. Slajd 20 z 31
5. Slajd 5 z 31
21. Slajd 21 z 31
6. Slajd 6 z 31
22. Slajd 22 z 31
7. Slajd 7 z 31
23. Slajd 23 z 31
8. Slajd 8 z 31
24. Slajd 24 z 31
9. Slajd 9 z 31
25. Slajd 25 z 31
10. Slajd 10 z 31
26. Slajd 26 z 31
11. Slajd 11 z 31
27. Slajd 27 z 31
12. Slajd 12 z 31
28. Slajd 28 z 31
13. Slajd 13 z 31
14. Slajd 14 z 31
29. Slajd 29 z 31
30. Slajd 30 z 31
15. Slajd 15 z 31
16. Slajd 16 z 31
1. Slajd 1 z 31
31. Slajd 31 z 31
17. Slajd 17 z 31
2. Slajd 2 z 31
18. Slajd 18 z 31
3. Slajd 3 z 31
19. Slajd 19 z 31
4. Slajd 4 z 31
20. Slajd 20 z 31
5. Slajd 5 z 31
21. Slajd 21 z 31
6. Slajd 6 z 31
22. Slajd 22 z 31
7. Slajd 7 z 31
23. Slajd 23 z 31
8. Slajd 8 z 31
24. Slajd 24 z 31
9. Slajd 9 z 31
25. Slajd 25 z 31
10. Slajd 10 z 31
26. Slajd 26 z 31
11. Slajd 11 z 31
27. Slajd 27 z 31
12. Slajd 12 z 31
28. Slajd 28 z 31
13. Slajd 13 z 31
14. Slajd 14 z 31
29. Slajd 29 z 31
30. Slajd 30 z 31
15. Slajd 15 z 31
16. Slajd 16 z 31
1. Slajd 1 z 31
31. Slajd 31 z 31
17. Slajd 17 z 31
2. Slajd 2 z 31
18. Slajd 18 z 31
3. Slajd 3 z 31
19. Slajd 19 z 31
4. Slajd 4 z 31
20. Slajd 20 z 31
5. Slajd 5 z 31
21. Slajd 21 z 31
6. Slajd 6 z 31
22. Slajd 22 z 31
7. Slajd 7 z 31
23. Slajd 23 z 31
8. Slajd 8 z 31
24. Slajd 24 z 31
9. Slajd 9 z 31
25. Slajd 25 z 31
10. Slajd 10 z 31
26. Slajd 26 z 31
11. Slajd 11 z 31
27. Slajd 27 z 31
12. Slajd 12 z 31
28. Slajd 28 z 31
13. Slajd 13 z 31
14. Slajd 14 z 31
29. Slajd 29 z 31
30. Slajd 30 z 31
15. Slajd 15 z 31
16. Slajd 16 z 31
1. Slajd 1 z 31
31. Slajd 31 z 31
17. Slajd 17 z 31
2. Slajd 2 z 31
18. Slajd 18 z 31
3. Slajd 3 z 31
19. Slajd 19 z 31
4. Slajd 4 z 31
20. Slajd 20 z 31
5. Slajd 5 z 31
21. Slajd 21 z 31
6. Slajd 6 z 31
22. Slajd 22 z 31
7. Slajd 7 z 31
23. Slajd 23 z 31
8. Slajd 8 z 31
24. Slajd 24 z 31
9. Slajd 9 z 31
25. Slajd 25 z 31
10. Slajd 10 z 31
26. Slajd 26 z 31
11. Slajd 11 z 31
27. Slajd 27 z 31
12. Slajd 12 z 31
28. Slajd 28 z 31
13. Slajd 13 z 31
14. Slajd 14 z 31
29. Slajd 29 z 31
30. Slajd 30 z 31
15. Slajd 15 z 31
16. Slajd 16 z 31
1. Slajd 1 z 31
31. Slajd 31 z 31
17. Slajd 17 z 31
2. Slajd 2 z 31
18. Slajd 18 z 31
3. Slajd 3 z 31
19. Slajd 19 z 31
4. Slajd 4 z 31
20. Slajd 20 z 31
5. Slajd 5 z 31
21. Slajd 21 z 31
6. Slajd 6 z 31
22. Slajd 22 z 31
7. Slajd 7 z 31
23. Slajd 23 z 31
8. Slajd 8 z 31
24. Slajd 24 z 31
9. Slajd 9 z 31
25. Slajd 25 z 31
10. Slajd 10 z 31
26. Slajd 26 z 31
11. Slajd 11 z 31
27. Slajd 27 z 31
12. Slajd 12 z 31
28. Slajd 28 z 31
13. Slajd 13 z 31
14. Slajd 14 z 31
29. Slajd 29 z 31
30. Slajd 30 z 31
15. Slajd 15 z 31
16. Slajd 16 z 31
1. Slajd 1 z 31
31. Slajd 31 z 31
17. Slajd 17 z 31
2. Slajd 2 z 31
18. Slajd 18 z 31
3. Slajd 3 z 31
19. Slajd 19 z 31
4. Slajd 4 z 31
20. Slajd 20 z 31
5. Slajd 5 z 31
21. Slajd 21 z 31
6. Slajd 6 z 31
22. Slajd 22 z 31
7. Slajd 7 z 31
23. Slajd 23 z 31
8. Slajd 8 z 31
24. Slajd 24 z 31
9. Slajd 9 z 31
25. Slajd 25 z 31
10. Slajd 10 z 31
26. Slajd 26 z 31
11. Slajd 11 z 31
27. Slajd 27 z 31
12. Slajd 12 z 31
28. Slajd 28 z 31
13. Slajd 13 z 31
14. Slajd 14 z 31
29. Slajd 29 z 31
30. Slajd 30 z 31
15. Slajd 15 z 31
16. Slajd 16 z 31
1. Slajd 1 z 31
31. Slajd 31 z 31
17. Slajd 17 z 31
2. Slajd 2 z 31
18. Slajd 18 z 31
3. Slajd 3 z 31
19. Slajd 19 z 31
4. Slajd 4 z 31
20. Slajd 20 z 31
5. Slajd 5 z 31
21. Slajd 21 z 31
6. Slajd 6 z 31
22. Slajd 22 z 31
7. Slajd 7 z 31
23. Slajd 23 z 31
8. Slajd 8 z 31
24. Slajd 24 z 31
9. Slajd 9 z 31
25. Slajd 25 z 31
10. Slajd 10 z 31
26. Slajd 26 z 31
11. Slajd 11 z 31
27. Slajd 27 z 31
12. Slajd 12 z 31
28. Slajd 28 z 31
13. Slajd 13 z 31
14. Slajd 14 z 31
29. Slajd 29 z 31
30. Slajd 30 z 31
15. Slajd 15 z 31
16. Slajd 16 z 31
1. Slajd 1 z 31
31. Slajd 31 z 31
17. Slajd 17 z 31
2. Slajd 2 z 31
18. Slajd 18 z 31
3. Slajd 3 z 31
19. Slajd 19 z 31
4. Slajd 4 z 31
20. Slajd 20 z 31
5. Slajd 5 z 31
21. Slajd 21 z 31
6. Slajd 6 z 31
22. Slajd 22 z 31
7. Slajd 7 z 31
23. Slajd 23 z 31
8. Slajd 8 z 31
24. Slajd 24 z 31
9. Slajd 9 z 31
25. Slajd 25 z 31
10. Slajd 10 z 31
26. Slajd 26 z 31
11. Slajd 11 z 31
27. Slajd 27 z 31
12. Slajd 12 z 31
28. Slajd 28 z 31
13. Slajd 13 z 31
14. Slajd 14 z 31
29. Slajd 29 z 31
30. Slajd 30 z 31
15. Slajd 15 z 31
16. Slajd 16 z 31
1. Slajd 1 z 31
31. Slajd 31 z 31
17. Slajd 17 z 31
2. Slajd 2 z 31
18. Slajd 18 z 31
3. Slajd 3 z 31
19. Slajd 19 z 31
4. Slajd 4 z 31
20. Slajd 20 z 31
5. Slajd 5 z 31
21. Slajd 21 z 31
6. Slajd 6 z 31
22. Slajd 22 z 31
7. Slajd 7 z 31
23. Slajd 23 z 31
8. Slajd 8 z 31
24. Slajd 24 z 31
9. Slajd 9 z 31
25. Slajd 25 z 31
10. Slajd 10 z 31
26. Slajd 26 z 31
11. Slajd 11 z 31
27. Slajd 27 z 31
12. Slajd 12 z 31
28. Slajd 28 z 31
13. Slajd 13 z 31
14. Slajd 14 z 31
29. Slajd 29 z 31
30. Slajd 30 z 31
15. Slajd 15 z 31
16. Slajd 16 z 31
1. Slajd 1 z 31
31. Slajd 31 z 31
17. Slajd 17 z 31
2. Slajd 2 z 31
18. Slajd 18 z 31
3. Slajd 3 z 31
19. Slajd 19 z 31
4. Slajd 4 z 31
20. Slajd 20 z 31
5. Slajd 5 z 31
21. Slajd 21 z 31
6. Slajd 6 z 31
22. Slajd 22 z 31
7. Slajd 7 z 31
23. Slajd 23 z 31
8. Slajd 8 z 31
24. Slajd 24 z 31
9. Slajd 9 z 31
25. Slajd 25 z 31
10. Slajd 10 z 31
26. Slajd 26 z 31
11. Slajd 11 z 31
27. Slajd 27 z 31
12. Slajd 12 z 31
28. Slajd 28 z 31
13. Slajd 13 z 31
14. Slajd 14 z 31
29. Slajd 29 z 31
30. Slajd 30 z 31
15. Slajd 15 z 31
16. Slajd 16 z 31
1. Slajd 1 z 31
31. Slajd 31 z 31
17. Slajd 17 z 31
2. Slajd 2 z 31
18. Slajd 18 z 31
3. Slajd 3 z 31
19. Slajd 19 z 31
4. Slajd 4 z 31
20. Slajd 20 z 31
5. Slajd 5 z 31
21. Slajd 21 z 31
6. Slajd 6 z 31
22. Slajd 22 z 31
7. Slajd 7 z 31
23. Slajd 23 z 31
8. Slajd 8 z 31
24. Slajd 24 z 31
9. Slajd 9 z 31
25. Slajd 25 z 31
10. Slajd 10 z 31
26. Slajd 26 z 31
11. Slajd 11 z 31
27. Slajd 27 z 31
12. Slajd 12 z 31
28. Slajd 28 z 31
13. Slajd 13 z 31
14. Slajd 14 z 31
29. Slajd 29 z 31
30. Slajd 30 z 31
15. Slajd 15 z 31
16. Slajd 16 z 31
1. Slajd 1 z 31
31. Slajd 31 z 31
17. Slajd 17 z 31
2. Slajd 2 z 31
18. Slajd 18 z 31
3. Slajd 3 z 31
19. Slajd 19 z 31
4. Slajd 4 z 31
20. Slajd 20 z 31
5. Slajd 5 z 31
21. Slajd 21 z 31
6. Slajd 6 z 31
22. Slajd 22 z 31
7. Slajd 7 z 31
23. Slajd 23 z 31
8. Slajd 8 z 31
24. Slajd 24 z 31
9. Slajd 9 z 31
25. Slajd 25 z 31
10. Slajd 10 z 31
26. Slajd 26 z 31
11. Slajd 11 z 31
27. Slajd 27 z 31
12. Slajd 12 z 31
28. Slajd 28 z 31
13. Slajd 13 z 31
14. Slajd 14 z 31
29. Slajd 29 z 31
30. Slajd 30 z 31
15. Slajd 15 z 31