The erection of the industrial facility for leather business commenced in 1864.
It gradually became the largest industrial plant in Zagreb and beyond.
Since its beginnings, the leather factory was continuously adding buildings to its complex through
buy-offs of the surrounding plots
.
The great fire of 1926 destroyed the major part of the plant and the storerooms. The leather factory closed in 1938.
From the very beginning, as well as subsequently, the leather factory produced sole and saddle leather, as well as other leather products. It was the largest exporter of army footwear in the Austro-Hungarian era.
The Glyptotheque of the Croatian Academy of Sciences and Arts is presently housed within the complex of the former Zagreb leather factory, one of finer examples among the preserved industrial architectural monuments of the 19th century in Zagreb.
The area where the present museum is located, and the entire surrounding part of the city of Zagreb, were oriented to the
Medveščak Brook. Together with Melinski Brook, it gave this area
production character, as the first mills had been here since the
Middle Ages (as of the 18th century, along the brook, there were various manufactures that subsequently grew into early-industrial plants).
The advancement of industry disturbed the ecological balance in the brook, whose pollution became a major
communal problem and provoked discontent among the local population that complained in the media about the unpleasant odour,
as well as about air and water pollution.
Not long after the leather factory had ceased to operate in 1938, the decision was made that the former
factory facilities were to become museum premises. Thereby, the milieu gained its cultural and social importance.
..."We have already experienced hot days, with temperatures reaching up to 30°C. At certain times of the day, all the windows are wide open.
However, something has been happening in Palmotićeva Street almost every day lately, causing all the residents to shut their windows as if on
command. The reason: All the goods from the state railway station are transported through this street. Among these transports are large wagons
filled with raw leather and horns, destined for the Zagreb factory in Nova Ves. A terrible stench emanates from these wagons, so unbearable that
it cannot be tolerated. Even after the wagons with the hides have passed, the air remains foul, and the entire street reeks of the odor for a long time.
We acknowledge that our renowned leather factory is of great benefit to the city, and, generally speaking, the value of individual cities is judged more
by the number of factories than by the number and size of parks. It is also clear that raw hides must be delivered to the leather factory. However, this
delivery could be organized in such a way that the air does not become polluted, and human health is not endangered, especially in a time when so many
diseases are spreading. There are two ways to address this issue. The hides could be transported in well-sealed containers, or they could be covered
tightly in the wagons to prevent the stench from escaping. Additionally, the hides could be transported at night, via marketplace and side roads leading
to the leather factory. We kindly request that something be done about this immediately, as it can be achieved without any costs."
The City of Zagreb made for the museum available wooden storerooms at 23 Bednjanska Street, 21 Ksaverska Street and 11 Opatovina, on city locations. All of them were storage premises unsuitable for the needs of the museum.
In addition, museum items belonging to the Plaster Cast Museum were scattered in private flats, the premises housing the Archaeology Institute at 3 Boškovićeva Street, the basement of the main University building (presently on The Republic of Croatia Square), the shed of the Academy of Fine Arts at 85 Ilica, and different studios of many artists who donated their artworks to the museum.
New museum in Zagreb
Collected Materials for the Museum of Plaster Casts Temporarily Stored at the City Estate on Bednjanska Street, Awaiting Transfer to a More Suitable Location
Thanks to Professor Antun Bauer, an active assistant at the Archaeological Institute of the Faculty of Philosophy in Zagreb, the idea of establishing a museum of plaster casts in Zagreb has been initiated. As a student of Professors Dr. Schneider and Hoffiller, and as a demonstrator at the Archaeological Institute, Professor Bauer has been collecting plaster models of modern Croatian sculpture for several years, as well as casts of Greek, Roman, and medieval sculptures, and ancient glyptics (gems, coins), hoping that one day this collection would prompt the responsible authorities to take moral and material action towards the founding of a Zagreb Gipsoteka (plaster cast collection). During his student travels, Professor Bauer visited plaster cast collections abroad, such as in Vienna, Munich, Salzburg, and Athens, and understood the importance of establishing a similar museum in Zagreb.
Last month, Professor Bauer donated a substantial collection of plaster casts and models of Croatian sculpture to the city of Zagreb, thus laying the foundations for a useful scientific institution—the future Zagreb Gipsoteka. The city municipality became interested in the matter and provided Professor Bauer with a room at the city estate on 25 Bednjanska Street for the temporary storage of the mentioned collection, entrusting him with organizing the establishment of the new museum and promising significant financial support. Not only the city municipality but also our scientific and cultural institutions, along with sculptors, have shown great interest in the founding of the Gipsoteka. For example, the Yugoslav Academy of Sciences and Arts expanded Professor Bauer's collection by donating 27 plaster models of Croatian sculptors Rendić and Valdec. The Academy of Fine Arts also contributed significantly with 18 student works. Among these plaster models are works by Kogovšek, Seger, Radauš, Lozica, Filipović, Krsturac, Gorše, Antunac, and Matijević. Particularly noteworthy in this series are the models of the young, talented, and prematurely deceased sculptor Seger, as they are probably the only preserved material from him.
The sculptors themselves have shown keen interest in Professor Bauer's efforts and have enriched his collection with their own plaster models, including contributions from Robert Frangeš, Vanja Radauš, Augustinčić, Kršinić, Kerdić, Juhn, Filipović, Cota, and Hudoklin.
The Numismatic Society in Zagreb lent Professor Bauer plaster casts of Renaissance medals by Pavle Dubrovčanin (Paulus de Ragusa), whose originals are in London, Naples, and Florence. The Committee for the Erection of the Monument to King Tomislav also recognized the importance of the Gipsoteka and entrusted its collection of casts of old Croatian monuments to Professor Bauer, in order to further expand the museum's collection. If the collection were supplemented with casts of the portals of Dalmatian cathedrals and Renaissance sculptures from Dalmatia, Croatian sculpture would be quite comprehensively represented. A Gipsoteka filled in this way would provide a complete overview of the entire artistic, cultural, and historical development of Croatian sculpture.
The primary beneficiaries of such an institution in Zagreb would be students of art history and archaeology, who would have valuable scientific material gathered in one place. On the occasion of the Gipsoteka's establishment, Professor Dr. Knoll announced that he would offer lectures on modern Croatian sculpture to art history students for the summer semester, to be held in the premises of the new Gipsoteka. Such lectures are unimaginable without a museum like this, where the monuments being discussed are gathered in one location. Ultimately, it would not only benefit students but also allow the public to become acquainted with models of monuments that are either in private collections or located outside Yugoslavia (such as Meštrović's Indians, Augustinčić's monument to Pilsudski, etc.). Such a museum would also benefit artists, who could store their plaster models there, which they would otherwise have to destroy due to a lack of space in their studios.
Professor Bauer's collection, increased by numerous contributions from our artists and scientific and cultural institutions, now includes around 300 large plaster models, 200 casts of old Croatian monuments, and approximately 2,000 pieces of small sculptures and glyptics. Only part of the collection has been stored in the adapted room at the city estate. The rest of the material is temporarily stored partly with Professor Bauer and partly with the artists themselves.
This material, which represents a significant collection of casts and models of Croatian sculpture, should be placed in suitable premises where it can be accessible to everyone. This raises the question of building a pavilion for the Gipsoteka. Our scientific and cultural institutions, as well as the city municipality, should take a greater interest in this collection and provide the financial support necessary to build a pavilion to house the plaster casts and models, as they will otherwise deteriorate due to the winter and damp conditions in the unsuitable storage at the city estate."
Many institutions were interested in the establishment of the new museum, and thus joined the process by donations. The museum holdings were gradually considerably enlarged as follows:
Transport of plaster casts from the Academy of Arts to the new Plaster Cast Museum, 1937, b/w photo, 13 x 8.5 cm, inv. no. F-13
Transport of Robert Frangeš Mihanović's plaster casts from the Academy of Arts to the new Plaster Cast Museum, 30 November 1937, b/w photo, 13 x 8.5 cm, inv. no. F-14
The Collection of Plaster Casts of Ancient Sculpture of the University Institute of Archaeology before moving to the Plaster Cast Museum, 1937, negative, film, 4 x 7 cm, inv. no. G/Č-8
Transport of Meštrović's plaster casts to the Plaster Cast Museum, August 1946, negative, film, 6 x 6 cm, inv. no. G/H-43
Transport of Meštrović's plaster casts to the Plaster Cast Museum, August 1946, negative, film, 6 x 6 cm, inv. no. G/H-45
Transport of sculptures from the Museum of Crafts to the Plaster Cast Museum, 4 February 1939, b/w photo
The interior of the machinery compartment of the Plaster Cast Museum, November 1948, b/w photo, 17 x 12.5 cm, phototheque, inv. no. F-1
The interior of the boiler room of the Plaster Cast Museum, Babcock & Wilcox boilers, November 1948, b/w photo, 17.5 x 12.5 cm, phototheque, inv. no. F-3
Large boiler in front of the machinery compartment the Plaster Cast Museum (ca 16 tons), June 1949, b/w photo, 17.5 x 12.5 cm, phototheque, inv. no. F-4
The yard with the remains of leather machinery, negative, film, book of negatives, 3.5 x 4.5 cm, inv. no. G/A-81
The entrance to the Plaster Cast Museum (with anti-fascist paroles), 1946, negative, film, book of negatives, 6 x 6 cm, inv. no. G/A-40
School furniture in the yard of the Plaster Cast Museum, 1945, negative, film, book of negatives, 3.5 x 4.5 cm, inv. no. G/A-78
The City Archives located at the museum front building until August 1947, b/w photo, 14 x 8.5 cm
The City Archives located at the museum front building until August 1947, b/w photo, 14 x 8.5 cm
Event prepared by the prisoners of war at the Plaster Cast Museum, 1st April 1947, b/w photo, 14 x 9 cm
Adaptation to library on the first floor of the front building of the Plaster Cast Museum, January 1946, book of negatives, negative, film, 6 x 6 cm, inv. no. G/B-55
Based on the decision by the Ministry of the Interior of the Independent State of Croatia, on 20 April 1941,
Dr. Bauer received the decree to confiscate all the premises of the former leather factory, which went into liquidation.
Thus, the Plaster Cast Museum had the entire factory complex at its disposal.
The remains of the factory plant were blocking the area.
Numerous adaptations and reconstructions of the industrial complex were necessary for the museum needs: demolition of the pool for liming and tanning (2.75 m in depth), the large chimney and the porter’s lodge at the entrance to the complex; removal of partition walls, machinery, boilers and the remains of the plant; elimination of the poor state, stench, grease, etc.
Exhibition halls were arranged, greenery planted, electric lighting introduced, elevators secured, concrete ceilings between storeys set, and museum storerooms fixed.
The Ancient Collection initially opened to the public on 13 October 1945.
Demolition of the brick fence, 1946, book of negatives, negative, film, 6 x 6 cm, inv. no. G/B-5
Demolition of the porter’s lodge in the yard, 1946, book of negatives, negative, film, 6 x 6 cm, inv. no. G/B-8
Adaptation of the first floor of the front building of the Plaster Cast Museum (today the Management), book of negatives, negative, film, 6 x 6 cm, inv. no. G/B-28
Passage between the buildings of the Plaster Cast Museum, 1949, book of negatives, negative, film, 6 x 6 cm, inv. no. G/B-35
Adaptation of the ground floor of the back building of the Plaster Cast Museum, (pools – depth 2. 75 m), September 1947, book of negatives, negative, film, 6 x 6 cm, inv. no. G/B-48
Adaptation of the first floor of the front building, placing the wooden floor, 1951, b/w photo, 14,5 x 10,5 cm
Laying out grounds in the yard (by the employees), 1946, book of negatives, negative, film, 6 x 6 cm, inv. no. G/B-2
Arranging the Collection of Plaster Casts of Ancient Sculpture, 1946, b/w photo, 24 x 17.5 cm
The Medieval Art of the Peoples of Yugoslavia, exhibition in Paris, 1950, Palais de Chaillot, b/w photo, 23.5 x 18 cm
The Medieval Art of the Peoples of Yugoslavia, exhibition in Paris, 1950, b/w photo
The Medieval Art of the Peoples of Yugoslavia, exhibition in Paris, 1950, b/w photo, photographer: Tošo Dabac, 24 x 18 cm
Exhibition: Juraj Dalmatinac and His Circle at the Art Pavillion, 1967, b/w photo, 18 x 24 cm
Exhibition: Juraj Dalmatinac and His Circle at the Art Pavillion, 1967, b/w photo, 18 x 12.5 cm
Exhibition: Juraj Dalmatinac and His Circle at the Art Pavillion, 1967, b/w photo, 18 x 12.5 cm
Casting of a holy water vessel from the Radman House, Omiš, b/w photo
Casting of Buvina's doors with gelatin, 1950, book of negatives, negative, glass, 6 x 9 cm, inv. no. G/O-11
Casting of Buvina's doors with gelatin, 1950, book of negatives, negative, glass, 6 x 9 cm, inv. no. G/O-12
Preparatory workshop, August 1951, book of negatives, negative, film, 6 x 6 cm, inv. no. G/O-73
Taking molds from Trogir Cathedral in 1940, black and white photograph
Antun Dominik Fernkorn: Jelačić Monument, displayed in the square before removal, book of negatives, negative, glass, 10 x 15 cm, inv. no. 70/3a
Antun Dominik Fernkorn: Monument to Ban Josip Jelačić in the Glyptotheque depot, bust, book of negatives, negative, glass, 6 x 6 cm
Antun Dominik Fernkorn: Monument to Ban Josip Jelačić in the Glyptotheque depot, head of Emir the horse, book of negatives, negative, 6 x 6 cm
Monument to Ban Josip Jelačić in the courtyard of the Glyptotheque of the Yugoslav Academy of Sciences and Arts, 1990
Monument to Ban Josip Jelačić in the courtyard of the Glyptotheque of the Yugoslav Academy of Sciences and Arts, 1990
Monument to Ban Josip Jelačić in the courtyard of the Glyptotheque of the Yugoslav Academy of Sciences and Arts, 1990
The Croatian 19th–21st Century Sculpture Collection today, Hall IX: Vanja Radauš: Panopticum croaticum
The Croatian 19th–21st Century Sculpture Collection today, Hall II: Robert Frangeš Mihanović
The Croatian 19th–21st Century Sculpture Collection today, Hall VIII
The Collection of Medals and Plaques
The Collection of Plaster Casts of Ancient Sculpture
The Collection of Plaster Casts of Ancient Sculpture
The Collection of Plaster Casts of the 9th–15th Century Fragments of the Croatian Cultural Heritage
The Collection of Plaster Casts of the 9th–15th Century Fragments of the Croatian Cultural Heritage
The Collection of Juraj Matejev Dalmatinac’s Plaster Casts
The Collection of Plaster Casts of Standing Tombstones
Ivan Meštrović: Gospa od anđela, Mausoleum of the Račić family, Cavtat 1920–1922, 2008
Vitold Košir: 041-01, 2010
Vojta Braniš: Retrospective exhibition, 2010
Gorki Žuvela: Izmisliti sebe, 2009
IX Triennial of the Croatian Scupture, display, 2009
XII Triennial of the Croatian Scupture, display, 2015
XII Triennial of the Croatian Scupture, display, 2015
VIII Triennial of the Croatian Scupture, display, 2003
IX Triennial of the Croatian Scupture, display, 2009
