Potsdam Museum

Potsdam Museum in the old town hall of the city

The Potsdam Museum - Forum for Art and History has one of the largest art, cultural and regional history collections in Brandenburg with over 250,000 objects. The holdings reflect the civic engagement and passion for collecting, from whose source it originated at the beginning of the 20th century. The diverse collections encompass cultural and military-historical areas as well as works of art.

Parallel to the permanent exhibition, special exhibitions on the history of the city, art and culture are shown, as well as events and discussion series on current topics in the city. After several moves, the museum was reorganized and realigned in 2012 in the old town hall on the old market , where it was founded. Jutta Götzmann has been director of the Potsdam Museum since 2008 .

history

From the foundation to the end of the First World War

On April 20, 1909, citizens of the city founded the Museum Association in Potsdam. According to the statutes, his goal was to build a city museum. This was preceded by donations from Potsdam citizens to the city: by 1909 485 pieces of "patriotic objects" had been collected. In the same year, a call was made to the city's residents to donate for the first furnishing of the future museum. The donation income of 15,000 marks formed the basis for the first exhibition in the north wing of the town hall on the old market. The following exhibitions and the collections donated to the museum revealed the shortage of space shortly after the museum was founded. In 1910, the municipal authorities decided to give the Municipal Museum one floor in the Brauerstraße 8 building for exhibitions. The years up to the beginning of the First World War were marked by important acquisitions for the museum (e.g. 800 measurement images from the Royal Measurement Image Institute) and a wide range of exhibition activities. From 1914 the financial situation of the museum association deteriorated increasingly. In 1917 the city of Potsdam took over the collections and set up a municipal museum department that was responsible for the museum's finances. The museum association remained responsible for the technical and organizational side. From 1914 to 1918, the painter and collector Fritz Rumpf was honorary museum director.

From 1918 until the outbreak of World War II

The reopening of the city museum was enforced in 1920. After renovations, the Potsdam Garrison Museum was opened on May 19, 1923 in the former stables . After the economic crisis, the cultural history department moved into new rooms in the building at Am Neuen Markt 6 in 1926. There is evidence of brisk exhibition activity. At the beginning of the thirties the city museum had five departments:

• Cultural History Department (Am Neuen Markt 6)
• Prehistoric collection (tower room of the town hall)
• Natural History Department (City Palace)
• Garrison Museum (Marstall)
• Municipal painting collection (Marstall)

From 1939 until the end of the Second World War

Museum holdings were gradually relocated during the Second World War. Places of outsourcing were e.g. B. the former Hagensche Villa in Potsdam, the Paretz Castle and the Wartenburg / Elbe Castle near Wittenberg. During the British bombing raid on April 14, 1945, the museum lost almost all of its inventories, as well as a large part of its collections, so that it was not possible to draw up an exact list of losses. Already in May 1945, shortly after the end of the war, the first salvage work began in the rubble.

From 1946 to the present

Potsdam Museum in the Dutch Quarter 2011

In 1946 the administration decided in favor of the former Leibreitstall as a house to accommodate and display the stocks that were still available. The Potsdam Museum of Local History was opened in this building on October 16, 1946, with great difficulty in obtaining materials. In the following years the municipal museum was housed in different locations in Potsdam. The Hiller-Brandtschen houses were temporarily the exhibition site of the museum, a house in the Dutch Quarter (No. 3) and the museum house Im Güldenen Arm in Hermann-Elflein-Straße 3. The latter houses collections from the Brandenburgischer Kulturbund up to the present day e. V. be looked after.

In April 2008, the city council decided to reorganize the Potsdam Museum on the Alter Markt . In August 2012, with the opening of the exhibition "Friedrich and Potsdam - the invention (s) of a city", the museum moved back to its traditional location in the Old Town Hall . One year later the permanent exhibition on the history of the city “Potsdam - a city makes history” was opened.

In 2004, the Friends of the Potsdam Museum eV was founded to support the museum financially and ideally.

Collections

In its 100-year history, the Potsdam Museum has built up one of the most extensive regional history collections. Just like the militaria and photo collections, the art collection is also of national importance.

Visual arts

The areas of painting, graphics and sculpture from the late Middle Ages to the present include almost 13,500 objects.

The historical painting collection includes vedute of the city of Potsdam and portraits of its citizens. The graphic topography collection of the Potsdam Museum includes views of the city since the end of the 17th century. The earliest vedute include copperplate engravings and etchings by Jean Baptiste Broebes , Johann David Schleuen the Elder. Ä. and Andreas Ludwig Krüger , who artistically documented the construction work around the city ​​palace and around the old market . Hand drawings by architects of the 19th century document the building boom at the time of King Friedrich Wilhelm III. and Friedrich Wilhelm IV .

Another thematic focus of the collection is landscape painting. A first large artistic estate was acquired in 1918 from the heirs of the painter Carl Gustav Wegener . Works by Eduard Freyhoff, CG Gemeinert and Wilhelm Barth followed.

With the establishment of the municipal painting collection in the Marstall in 1930, contemporary regional artists were included in the collection, including Karl Hagemeister , Heinrich Basedow the Elder. J. and Philipp Franck . In the 1960s and 1970s, the museum acquired artistic estates and holdings from the Potsdam painters Otto Heinrich, Hans Klohss and Siegward Sprotte .

In 1976 the “Socialist Art Gallery” (GSK) was founded as a department of the district museum. With around 5200 works of painting, graphics and sculpture - and to a lesser extent photography and commercial graphics - it forms the largest part of the art collection after 1945 in today's Potsdam Museum - Forum for Art and History.

The fine arts collection continues into the present. The beginning was the painting "Brocken V" by Bernd Krenkel about Saskia and Andreas Hüneke from Potsdamer Kunstverein e. V. In recent years, works by Claudia Berg, Christoph Bouet, Frank Gottemeier, Barbara Raetsch , Peter Rohn, Stefan Pietryga , Ulla Walter and Anna Werkmeister have been acquired. Large series of graphics reached the Potsdam Museum through donations from Gernot Ernst and Christian Heinze.

Artistic and building-related sculpture forms another area of ​​the Fine Art Collection. Between 1945 and 1970, the spoils for demolition of town houses and churches in the city center were recovered by museum employees. Especially sculptural parts of the garrison and the Holy Spirit Church should be mentioned here. The artistic sculpture also includes religious sculptures from Brandenburg churches as well as portrait busts of the Prussian kings and their architects.

Photographic collection

The photographic collection currently comprises around 100,000 motifs on the urban, political and cultural history of the city of Potsdam and its surroundings from the mid-19th century to the present day.

Stadtische Lichtbildstelle Potsdam, Schillerplatz, 1937, gelatin dry plate, Potsdam Museum

A particularly important focus of the collection and research is on architecture and urban photography. Further thematic focuses are portraits and landscapes, depictions of events and everyday life, photojournalistic work and, increasingly, artistic photography.

In addition to mapping the topographical and social history of the city, this department researches the history of photography in Potsdam. The inventory therefore exemplarily includes the spectrum of photographic works from the earliest Potsdam studio photographers (e.g. Hermann Selle, Atelier Selle & Kuntze and Ernst Eichgrün ) to well-known Potsdam photographers like Max Baur to contemporary Potsdam and Berlin photographers (e.g. Frank Gaudlitz, Göran Gnaudschun and Manfred Hamm ). Integrated into the collection are e.g. Partly extensive bundles of professional Potsdam photographers and amateur photographers, as well as image holdings from the photography office that was affiliated to the municipal building administration in the 1930s / 1940s.

Militaria

The history of the city has been inextricably linked with the garrison since 1713, which led to the establishment of the Garrison Museum after the First World War . Large parts of the extensive inventory fell victim to the destruction and relocation during the Second World War . As the police report of the museum director in June 1945 shows, some objects had survived the Second World War, such as 186 rifles, 24 pistols, 184 sabers and rapiers, a number of spontons and lances and two cannons donated by the Krupp company . Since further information is missing in the files of the house archive, it can be assumed that the objects were handed in. After a short period of renewed collecting since 1950, these objects had to be given to the newly founded Museum of German History in 1952 . From the 1960s onwards, the employees of the Potsdam Museum began to rebuild the militaria collection and, in addition to weapons, uniforms and equipment, expanded it to include souvenirs and documents. In 2013, the collection received a further increase of over 5,000 objects, some of which were of supraregional relevance, through the donation of the association for the establishment of a Brandenburg-Preußen eV military museum

Cultural history collection

With almost 15,500 objects, the applied art collection of the Potsdam Museum contains works made from glass, ceramics, porcelain, cast zinc and iron, textiles and furniture. In addition to objects of bourgeois provenance, glass also includes crystal goblets from the Potsdam glassworks by Johannes Kunckel and his successor. The faience collection consists of around 200 beer mugs, vases, plates and apothecary jars from the 18th century made in Potsdam and Berlin. They came into the holdings of the museum through a testamentary decree of the art historian and faience specialist Paul Heiland . Testimonials from the Königliche Porzellan-Manufaktur Berlin with a focus on Biedermeier products are another highlight of the arts and crafts collection. Selected objects from the iron art foundries in Berlin, Gleiwitz and Sayn offer insights into a special chapter of Prussian-Brandenburg handicrafts. Since the 18th century, Potsdam has also been an important center for textile manufacturers. The highlights of the collection are a baroque chasuble and a silk jacket from the 18th century. Just like the textile collection, the furniture collection had to be almost completely rebuilt after the Second World War due to the high losses. The collection comprises 450 objects, including Biedermeier chairs and cupboards, copies of royal furniture from Paretz Palace and writing secretaries. Potsdam guilds also belong to the Spiegel collection and trade chests.

Writing and printing

This collection brings together written testimonies from all areas of life, based on which various spheres of life in the city can be understood. The collection is organized according to thematic priorities such as politics, industry, handicrafts, culture, education, military, sport, media and many more. The few documents from the 17th and 18th centuries are among the highlights. Another rare collection are poetry albums, primarily from the 19th century, from which connections between Potsdam families can be derived. As a result of war losses, numerous autographs were lost up to 1945, including the letters of the architect Georg Christian Unger . On the other hand, those by the Potsdam painter Johann Gottlieb Puhlmann from the years 1774–1787 have been preserved. Unsurprisingly, since they can be traced back to the general increase in the number of documents, most of the documents and brochures date from the 20th century and give a rich insight into the (cultural) life of Potsdam at that time.

Library

The book inventory of the Potsdam Museum is one of the oldest collection groups in the house and has formed a technical basis for the scientific exhibition and inventory work since 1909. It currently comprises over 31,000 volumes of books and journals, the majority of which, for historical reasons, can only be formally identified through handwritten inventories and card indexes. Electronic registration of the library has been carried out on a voluntary basis since 2010. The available literature deepens all of the museum's collection focuses, especially Potsdam's city history and art. It owes further thematic diversity to individual acquisitions, e.g. B. through estates, bequests and foundations (including from Fritz Rumpf , Otto Hundt, Richard Hoffmann, Friedrich Mielke ). The most extensive recent addition in 2013 was the library of the dissolved association for the establishment of a Brandenburg-Preußen military museum. V. with around 4,000 media units as well as collections from private individuals.

The collection also includes the areas of wrought iron, posters and commercial graphics, historical maps, handicrafts / technology / everyday culture, watches, models, badges / plaques, numismatics and toys.

Permanent exhibition: "Potsdam - a city makes history"

After the renovation of the new museum location on the Alter Markt, the Potsdam Museum - Forum for Art and History opened its permanent exhibition in 2013 under the title “Potsdam - a city makes history”. The exhibition extends over the entire first floor over an area of ​​around 800 m². It is divided into eleven subject areas that do not necessarily adhere to the chronological sequence of events. In this way, it shows a diversity in urban development. More than 400 original exhibits from the museum's collections as well as interactive stations convey a picture of the city's history.

• Giving and pledging

In this part of the exhibition, the more recent findings from the excavations on the Old Market - in connection with the construction work for the state parliament - occupy an important place. A faithful copy of the document from the year 993, with which the places Geliti and Poztupimi in the Havelland were transferred to the Quedlinburg monastery, point to the origin of the city. Other original finds from the Middle Ages complete this exhibition area.

• Reside and create

Original column capital of the temple of Pomona

The focus is on the rulers who made Potsdam a royal seat and the architects and garden designers commissioned by them, to whom Potsdam still owes its reputation as a World Heritage City. The vision of Johann Moritz von Nassau-Siegen: The whole Eyland must become a paradise , is a model for the development of the residence up to the 19th century. An original component of the Pomona temple ( Karl Friedrich Schinkel ) on the Pfingstberg, which had already fallen into disrepair in 1990, attests to this claim.

• Produce and protect

At the beginning of the 18th century, Potsdam was an economically poorly developed place. Under the kings Friedrich Wilhelm I and Friedrich II , the city developed into an important location for factories and later factories. The starting point for this development was the Prussian army's need for fabrics, clothing and weapons. Later, furnishing the castles required luxury goods such as silk, glass and faience . Selected pieces from manufactory production illustrate the development of handicraft and trade.

Albert Moores: Julius Kann with his sister, 1849, Potsdam Museum

• Come and stay

The focus of this exhibition area is on the immigrants who Friedrich Wilhelm I also came to Potsdam as a result of the policy of “Peuplication” of Prussia, Swiss, Salzburgers, Huguenots, Dutch, Bohemians. Their churches and houses influence the cityscape and urban development.

• Billing and parading

In 1713 Potsdam became a garrison town. The "Soldier King" Friedrich Wilhelm I had his bodyguards, the " Tall Guys ", relocated to the city. Soldiers and garrisons shaped the cityscape of Potsdam for centuries: the soldiers of the Prussian army, the French occupiers from 1806 to 1813 and the soldiers of the group of the Soviet armed forces in Germany. Information and military exhibits give an impression of the time.

Base micrometer, part of a Brunner base apparatus by Carl Bamberg, around 1890

• Reforming and Preserving

As a municipal museum, bourgeois Potsdam moves into the center of attention, the cultural and artistic characteristics of which have been observable since the beginning of the 19th century with the growing bourgeois self-confidence. From 1808, with the Stein-Hardenberg reforms , municipal self-government began in Potsdam. The few citizens entitled to vote elected Carl Christian Horvath , publisher and bookseller in Potsdam , as the first head of the city council . The Jewish banker Wilhelm Kann opened his bank at Nauener Straße 32 in 1842.

Otto Mueller, poster for the Potsdam Art Summer, 1921, woodcut, Potsdam Museum

• Research and invent

This part of the exhibition describes the extensive activities in the fields of science and research. Thus, the 1832 device was made of an optical telegraph line on the will Telegraphenberg , the landing of the LZ 10 Schwaben the DELAG on an air boat harbor on Lake Templin described as well as the works of Alexander von Humboldt , who in 1805 several years lived in Potsdam and in 1849 an honorary citizen of City became. The optical devices manufactured in Potsdam from the production of Edmund Hartnack's company find their place in the exhibition as well as the three- color photography technique invented by Adolf Miethe as an important contribution to the development of color photography . In 1924 the pharmacist Max Negwer relocated the production of the Ohropax product he had developed in 1907 from Berlin to Potsdam. The company worked there until 1958 and after the nationalization by the GDR authorities moved the company to Bad Homburg vor der Höhe . Other exhibits are dedicated to the work of Hermann von Helmholtz and the Einstein Tower in Potsdam .

• Potsdam in focus

Using the photographic medium, a chronology of the cityscape from the end of the 19th century to the present is presented. Personal views of Potsdam photographers on the city correspond here with the view of the Old Market as a museum location. Pictures of current reconstruction projects complete the photographic tour.

• Modernize and persist

The focus of this exhibition area is on the cultural development after the First World War. Well-known publishers (e.g. Kiepenheuer Verlag ) were based in Potsdam, well-known artists (e.g. Max Liebermann , Henry van der Velde ) met in the city's salons and patrons organized exhibitions. The Potsdamer Kunstverein, Fritz Rumpf and the art dealer Ferdinand Möller initiated an art exhibition in the Orangery of Sanssouci between the poles Expressionism and Historicism in 1921. Peter Behrens' studio in Neubabelsberg became the nucleus of modernity. Ludwig Mies van der Rohe was one of the architects of modern construction, as was the urban planner Reinhold Mohr. Selected pieces from the museum's collection of paintings show the diversity of artistic creation in the city.

New forum and ARGUS 1990

• World stage Potsdam

The tour of the exhibition is followed by the module on the history of dictatorship in Potsdam under the title “World Stage Potsdam. Potsdam in the time of two dictatorships (1933–1989) ”. In the 20th century the city is the stage for world historical events. Potsdam's “world stages” are linked to three places where the city came into the light of the world: on the “ Day of Potsdam ” (1933), at the “ Potsdam Conference ” (1945) and at Glienicker Bridge (1961–1989).

• Identity and home

The last module of the permanent exhibition presents Potsdam's recent times in reunified Germany. In 1989 citizens “conquered” their city. The fight against the demolition of historical buildings and for civil rights is traced and explained with original posters and boards of contemporary civil movements. The focus is also on the awarding of the UNESCO world cultural title and interviews with Potsdam's citizens at important historical locations in the city.

literature

• Potsdam Museum (ed.): Collecting and preserving - with a sense of citizenship and knowledge of the local area. On the history of the Potsdam Museum. Potsdam 1996
  • Peter Herrmann, Thomas Wernicke: On the history of the municipal museum in Potsdam (1909-1946). In: Collecting and Preserving - with a sense of citizenship and knowledge of home . Potsdam 1996, pp. 9-19.
  • Monika Krüger: Furniture. In: Collecting and Preserving - with a sense of citizenship and knowledge of home. Potsdam 1996, pp. 41-42.
  • Gerhild Martens: Cultural-historical collections. In: Collecting and Preserving - with a sense of citizenship and knowledge of home. Potsdam 1996, pp. 45-47.
  • Edeltraut Volkmann block: writing and printing. In: Collecting and Preserving - with a sense of citizenship and knowledge of home . Potsdam 1996, p. 48.
  • Thomas Wernicke: Chronicle of the Museum (1909-1948). In: Collecting and Preserving - with a sense of citizenship and knowledge of home . Potsdam 1996, pp. 77-83.
• State capital Potsdam, The Lord Mayor (Hrsg.): Trigger Potsdam. Photographers and their pictures. Potsdam. From 1850 until today . Catalog for the exhibition in the Potsdam Museum. Potsdam 2006.
• Potsdamer Kunstverein e. V. and Potsdam Museum - Forum for Art and History of the State Capital Potsdam (Ed.): From Otto Mueller to Max Kaus. Graphic individual prints and portfolios from Ferdinand Möller Verlag. Catalog for the exhibition in the Potsdam Museum - Forum for Art and History from October 16, 2010 - January 16, 2011. Berlin 2010.
  • Jutta Götzmann: Potsdamer Kunstsommer 1921. In: From Otto Mueller to Max Kaus. Berlin 2010, pp. 30–40.
• Commissioned by the House of Brandenburg-Prussian History and the State Capital Potsdam, Potsdam Museum - Forum for Art and History, Thomas Wernicke, Jutta Götzmann and Kurt Winkler (eds.): Potsdam Lexicon. City history from A to Z. Berlin 2010.
  • Jutta Götzmann: Potsdam Museum - Forum for Art and History . In: Potsdam Lexicon . Berlin 2010, pp. 300-301.
• Potsdam Museum and Potsdamer Kunstverein e. V. (Ed.): Private and public collecting in Potsdam. 100 years of "Art without a King". Catalog for the exhibition on the occasion of the founding anniversary of the (II.) Potsdamer Kunstverein and the Potsdam Museum in the House of Brandenburg-Prussian History from May 15 to August 2, 2009. Berlin 2009.
  • Jutta Götzmann, Markus Wicke: New additions and repositioning . In: Private and public collecting in Potsdam. 100 years of "Art without a King". Berlin 2009, pp. 220-227.
• Jutta Götzmann, Iris Jana Magdowski: State of the city ​​museum. In: Museumsblätter , 15, 2009 pp. 12–17.
• Mathias Deinert: The Potsdam Museum as a district home museum. New quality standards. In: Museumsblätter , 20, 2012, pp. 60–65.
• On behalf of the state capital Potsdam, Potsdam Museum - Forum for Art and History, Jutta Götzmann (Ed.): Friedrich and Potsdam - The invention (s) of a city. Catalog for the exhibition in the Potsdam Museum - Forum for Art and History from August 20 to December 2, 2012. Munich 2012.
• Jutta Götzmann and Thomas Gädeke on behalf of the Potsdam Museum - Forum for Art and History and the State Museum for Art and Cultural History in the Schleswig-Holstein State Museums Foundation Gottorf Castle (ed.): Seeing the world in color - Siegward Sprotte retrospective. Seeing the World in Color - Siegward Sprotte Retrospective. Catalog for the exhibition in the Potsdam Museum - Forum for Art and History from April 14 to July 14, 2013; in the State Museum for Art and Cultural History in the Schleswig-Holstein State Museums Foundation Gottorf Castle from July 21 to October 20, 2013. Bönen 2013.
• Mathias Deinert: Suspicious stamps - On current provenance research in the Potsdam Museum . In: Museumsblätter , 23, 2013, pp. 24–29.
• Markus Wicke: A rocking horse tells history. In: Museumsblätter , 2013, p. 49.
• Frank Kallensee: A city makes history - To the new permanent exhibition of the Potsdam Museum. In: Museumsblätter , 23, 2013, pp. 50–51
• Jutta Götzmann, Wenke Nitz: Potsdam. A city makes history. Permanent exhibition . In: Museumsjournal , 4, 2013, pp. 46–47.
• On behalf of the state capital Potsdam, The Lord Mayor, Potsdam Museum - Forum for Art and History and the Foundation Fürst-Pückler-Museum Park and Schloss Branitz, Jutta Götzmann and Gert Streidt (eds.): Carl Blechen and Carl Gustav Wegener in Dialogue - Romanticism and realism in landscape painting. Catalog for the exhibition in the Potsdam Museum - Forum for Art and History from March 9th to May 18th, 2014; at the Fürst-Pückler-Museum Park and Branitz Castle from May 21st - October 31st, 2015. Berlin 2014.
  • Jutta Götzmann: From Potsdam via Rome to Naples. Carl Gustav Wegener and his special view of the landscape . In: Carl Blechen and Carl Gustav Wegener in Dialogue - Romanticism and Realism in Landscape Painting. Berlin 2014, pp. 21–27.
• Commissioned by the state capital Potsdam, The Lord Mayor, Potsdam Museum - Forum for Art and History, Center for Contemporary History Research Potsdam, Jutta Götzmann and Jürgen Danyel (eds.): Stadt-Bild / Kunst-Raum. City designs in works by artists from Potsdam and East Berlin (1949–1990). Catalog for the exhibition in the Potsdam Museum - Forum for Art and History from September 7, 2014 - January 11, 2015. Berlin 2014.
  • Jutta Götzmann: Retreats and experimental areas. Artistic thinking and freedom in the Socialist Art Gallery . In: Stadt-Bild / Kunst-Raum. City designs in works by artists from Potsdam and East Berlin (1949–1990). Berlin 2014, pp. 25–33.

Web links

Commons : Potsdam Museum  - Collection of pictures, videos and audio files

• Official website

Individual evidence

1. ↑ Peter Herrmann, Thomas Wernicke: On the history of the Städtisches Museum zu Potsdam (1909-1946) , p. 9
2. ↑ Peter Herrmann, Thomas Wernicke: On the history of the Städtisches Museum zu Potsdam (1909-1946) , p. 9
3. ^ Peter Herrmann, Thomas Wernicke: On the history of the Städtisches Museum zu Potsdam (1909-1946) , p. 11
4. ^ Jutta Götzmann: Fritz Rumpf (1856-1927). Painter, collector and museum founder , p. 47
5. ↑ Thomas Wernicke: Chronicle of the Museum ( 1909-1948 ) , p. 79ff
6. ↑ Peter Herrmann, Thomas Wernicke: On the history of the Städtisches Museum zu Potsdam (1909-1946) , p. 16
7. ^ Peter Herrmann, Thomas Wernicke: On the history of the City Museum in Potsdam (1909-1946). P. 17.
8. ↑ permanent exhibition. Museum house “Im Güldenen Arm”, accessed on April 18, 2014 . 
9. ↑ Jutta Götzmann, Markus Wicke: New additions and repositioning. P. 222.
10. ↑ On behalf of the state capital Potsdam, Potsdam Museum - Forum for Art and History, Jutta Götzmann (Hrsg.): Friedrich and Potsdam - The invention (s) of a city. Munich 2012.
11. ↑ Issues of the Friends' Association. Friends of the Potsdam Museum eV, accessed on April 9, 2014 . 
12. ↑ Jutta Götzmann: From Potsdam via Rome to Naples. Carl Gustav Wegener and his special view of the landscape. In: Carl Blechen and Carl Gustav Wegener in Dialogue - Romanticism and Realism in Landscape Painting. P. 21.
13. ↑ Jutta Götzmann and Thomas Gädeke on behalf of the Potsdam Museum - Forum for Art and History and the State Museum for Art and Cultural History in the Schleswig-Holstein State Museums Foundation Gottorf Castle (ed.): Seeing the world in color - Siegward Sprotte retrospective. Seeing the World in Color - Siegward Sprotte Retrospective. Bönen 2013.
14. ↑ Jutta Götzmann: Retreats and experimental areas. Artistic thinking and freedom in the Socialist Art Gallery. In: Stadt-Bild / Kunst-Raum. City designs in works by artists from Potsdam and East Berlin (1949–1990). P. 25.
15. ^ Potsdamer Kunstverein donates paintings to the Potsdam Museum. Retrieved January 13, 2015 . 
16. ^ State capital Potsdam, The Lord Mayor (ed.): Trigger Potsdam. Photographers and their pictures. Potsdam. From 1850 until today. Potsdam 2006.
17. ^ Military history collection handed over to the Potsdam Museum. Retrieved January 13, 2015 . 
18. ↑ Gerhild Martens: Cultural History Collections , pp. 45–47
19. ↑ Monika Krüger: Furniture. Pp. 41-42.
20. ^ Edeltraut Volkmann block: writing and printing. P. 48.
21. ^ Military history collection handed over to the Potsdam Museum. Retrieved January 13, 2015 . 

Coordinates: 52 ° 23 '44.9 "  N , 13 ° 3' 43.3"  E