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60th session - Decisions

Collection of woodcarving products known as the Mulić’s Record Museum, the movable property

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Status of monument -> National monument

"Official Gazette of BiH", no. 63/06


Pursuant to Article V para. 4 Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina and Article 39 para. 1 of the Rules of Procedure of the Commission to Preserve National Monuments, at a session held from 14 to 20 March 2006 the Commission adopted a

 

D E C I S I O N

 

I

 

The movable property of the collection of woodcarving products known as the Mulić’s Record Museum in Konjic is hereby designated as a National Monument of Bosnia and Herzegovina (hereinafter: the National Monument).

The National Monument consists of 63 items.

The National Monument is owned by Sejfudin Vila housed in the family house of Zulejha Vila in Varda street, Konjic.

 

II

 

The Government of the Federation of Bosnia and Herzegovina (hereinafter: the Government of the Federation) shall be responsible for ensuring and providing the legal, scientific, technical, administrative and financial measures necessary to protect, conserve, and display the National Monument.

The Commission to Preserve National Monuments (hereinafter: the Commission) shall determine the technical requirements and secure the funds for preparing and setting up signboards with the basic data on the monument and the Decision to proclaim the property a National Monument.

 

III

 

In order to ensure the on-going protection of the National Monument the following protection measures are hereby stipulated:

  • the items in the collection shall be labelled,
  • the collection shall be presented.

 

The protection measures stipulated above shall be carried out by the owner of the National Monument in line with conditions to be determined by the Federal ministry responsible for culture and under the expert supervision of the said ministry.

 

IV

 

Everyone, and in particular the competent authorities of the Federation of Bosnia and Herzegovina, the Canton, and urban and municipal authorities, shall refrain from any action that might damage the National Monument or jeopardize the preservation thereof.

 

V

 

The removal of the complete collection or individual parts thereof (hereinafter: the movable heritage) from Bosnia and Herzegovina is prohibited.

By way of exception to the provisions of paragraph 1 of this Clause, the temporary removal from Bosnia and Herzegovina of the movable heritage for the purposes of display or conservation shall be permitted if it is established that conservation works cannot be carried out in Bosnia and Herzegovina.

Permission for temporary removal of the movable heritage from Bosnia and Herzegovina under the conditions stipulated in the preceding paragraph shall be issued by the Commission to Preserve National Monuments (hereinafter: the Commission), if it is determined beyond doubt that it will not jeopardize the movable heritage in any way. 

In granting permission for the temporary removal of the movable heritage from Bosnia and Herzegovina, the Commission shall stipulate all the conditions under which the removal may take place, the date by which the items shall be returned to Bosnia and Herzegovina, and the responsibility of individual authorities and institutions for ensuring that these conditions are met, and shall notify the Government of the Federation of Bosnia and Herzegovina, the relevant security service, the customs authority of Bosnia and Herzegovina, and the general public accordingly.

 

VI

 

The Government of the Federation, the Federal Ministry responsible for regional planning, the Federation heritage protection authority, and the Municipal Authorities in charge of urban planning and land registry affairs, shall be notified of this Decision in order to carry out the measures stipulated in Articles II to V of this Decision.

 

VII

 

The elucidation and accompanying documentation form an integral part of this Decision, which may be viewed by interested parties on the premises or by accessing the website of the Commission (http://www.aneks8komisija.com.ba) 

 

VIII

 

Pursuant to Art. V para 4 Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina, decisions of the Commission are final.

 

IX

 

This Decision shall enter into force on the date of its adoption and shall be published in the Official Gazette of BiH.

 

This Decision has been adopted by the following members of the Commission: Zeynep Ahunbay, Amra Hadžimuhamedović, Dubravko Lovrenović, Ljiljana Ševo and Tina Wik.

 

No 04-02-143/05-2

15 March 2006

Sarajevo

 

Chair of the Commission

Dubravko Lovrenović

 

E l u c i d a t i o n

 

I – INTRODUCTION

 

Pursuant to Article 2, paragraph 1 of the Law on the Implementation of the Decisions of the Commission to Preserve National Monuments, established pursuant to Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina, a “National Monument” is an item of public property proclaimed by the Commission to Preserve National Monuments to be a National Monument pursuant to Articles V and VI of Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina  and property entered on the Provisional List of National Monuments of Bosnia and Herzegovina (Official Gazette of  BiH no. 33/02) until the Commission reaches a final decision on its status, as to which there is no time limit and regardless of whether a petition for the property in question has been submitted or not.

On 15 October 2004 the Office of the Economy, Finance and Social Affairs of Konjic Municipality submitted to the Commission a proposal to designate the collection of woodcarving products known as the Mulić’s Record Museum in Konjic as a national monument of Bosnia and Herzegovina.

Pursuant to the provisions of the law, the Commission proceeded to carry out the procedure for reaching a final decision to designate the movable items of the «Mulić’s Record» Woodcarving Museum in Konjic as a National Monument, pursuant to Article V of Annex 8 and Article 35 of the Rules of Procedure of the Commission to Preserve National Monuments.

 

II – PROCEDURE PRIOR TO DECISION

 

In the procedure preceding the adoption of a final decision to proclaim the property a national monument, the following documentation and items were inspected:

  • The collection of woodcarving products known as the Mulić’s Record Museum in Konjic,
  • Existing literature

          The findings based on the review of the above documentation and an inventory of the items are as follows:

 

1. Details of the property

Location

The items in the collection of woodcarving products known as the Mulić’s Record Museum are housed in several rooms in the family house of Zulejha Vila, daughter of Ismail Mulić, the founder of the museum, in Varda street, Konjic.

Historical information

The travel chronicler Heinrich Renner twice stayed in Konjic, in 1885 and 1885, and wrote about the woodcarving of Konjic as follows:

 «It is also worth recommending the direct outing from Konjic to the Bijela valley, which we have already referred to.  Here very fine woodcarving and items are made, particularly the chests in which the peasants keep their clothes and valuables.» (Renner, 1899, 295).

This is also one of the first items of information in writing on the craft of woodcarving in Konjic.  However, Konjic was already known prior to this for its many talented woodcarvers.

It was before Austro-Hungarian rule in Bosnia and Herzegovina that the skills of woodcarving were introduced to the Konjic region, or in other words the upper reaches of the river Neretva (from Bijela to Grušča) by labourer-woodcarvers who moved here from Herzegovina.  They centred on the villages of Grušča, Ribari, Čičevo and Bijela. The best-known woodcarving families in Grušča were the Fršić, Brkan, Bubalo and Tabak families, in Ribari the Bajić family, and in the village of Čičevo members of the Šmrkić family (Mulić, 1990, 135).  The village of Bijela is also referred to in an 1892 tourist guide to Bosnia and Herzegovina as a place in which there are to be found «very attractive woodcarving and other wooden items.» (Mulić, 1990, 137).  Generally speaking, as well as in the villages, these items could be purchased at fairs in the surrounding areas, and at times a peasant or two would take his products as far even as Dalmatia.  However, there was no organized sales mechanism.

The Austro-Hungarian period brought many changes to society.  The ever growing demand for «European goods» led to the gradual decline of individual esnafs (guilds) or crafts. In order to rescue some of these from immediate decline, the Austro-Hungarian authorities took certain steps to prevent crafts from dying out.  It was in this context that state workshops were set up, to which trained specialists – architects, artists, technologists of varioius kinds, chemists – were brought.  In 1885 the Provincial Arts and Crafts Workshop was set up in Sarajevo.  The workshop had six departments: the departments of marquetry, of intarsia, of enchasing, of engraving, of electroplating and enamelling, and of joinery and cabinet-making.  The workshop was also a school where full-time education lasted four years.  In addition, courses lasting from four to six months were held.  It was from this workshop that the so-called Sarajevo school evolved, representing a specific style of high-quality carved wooden furniture. The school was a model and a source of imitation of the technique of surface carving for many craftsmen.

In performing their administrative duties in the villages around Konjic, Austro-Hungarian civil servants observed the gifted village woodcarvers.  In 1894 a teacher from the Sarajevo workshop, who was visiting the village of Bijela, submitted an exhaustive report to the Provincial Administration on the woodcarving of Konjic.  The report notes that the ornamentation is of primitive expression, but that the importance of these products cannot be denied, since they are evidence of considerable talent (Mulić, 1990, 140).

After this, organized training began for the Konjic woodcarvers in the Provincial Arts and Crafts Workshop. Ilija Arapović, from the village of Donja Bijela near Konjic, was the first woodcarver to complete a course in Sarajevo and to return to Konjic, following which many more attended full-time education or courses in the Workshop.

In 1905 the Provincial Arts and Crafts Workshop in Sarajevo drew up a plan to train woodcarvers in Konjic, and submitted it to the Provincial Government for BiH for consideration.  The Provincial Government for BiH forwarded it to the Common Finance Ministry in Vienna with an explanatory note that «. . . of late the District Office in Konjic has been concerned with the development of woodcarving, which represents a significant source of funds for a large number of families in the Bijela district and the town of Konjic.» (Mulić, 1990, 152).  In early 1906, after approval was granted, the carpenter Ivan Ramljak came to Konjic to hold the first woodcarving course.  Along with a few other teachers, Ramljak held courses in Konjic until 1911, when he officially registered his workshop.  Until just before the end of the Austro-Hungarian period he trained future woodcarvers in the workshop as part of a three-year full-time apprenticeship.  On completion of their apprenticeship, the woodworkers usually opened their own carpentry and joinery workshops.  One of the first to be opened was that of Sulejman Hadžizukić (1885-1947), under whom Ismail Mulić learned his trade.  It was this generation of trained carpenters and joiners who were later the proponents of the woodcarving of Konjic.

Simultaneously with these events, the woodcarvers of Konjic also took part in international exhibitions.  Among the first to show his produced was Ilija Arapović, at the Millennium Exhibition in Budapest in 1896.  He also took part in the exhibition in Vienna in 1898, where he obtained a medal and diploma for his sehara (wooden chest used by girls to keep their trousseau in) and peškun (small stool, often hexagonal). Another who took part in this same exhibition was Mato Lozinović. Ilija Logarić took part in the World Exhibition in Brussels in 1897.

The founder of Mulić’s Record was Ismail Mulić (1907-1978), who was born in Konjic.  After completing primary school, he attended Trade School in Sarajevo, but a severe illness in his final year left him deaf, compelling him to leave the school.   Since he had a gift for art, he began painting under the sculptor Srećko Domić(1). Later, he graduated in woodcarving under Sulejman Hadžizukić, and opened his own independent woodcarving workshop in 1929.

His work was a turning-point in the way the trade had been conducted up to that time.  He created new products, generating a range of previously unknown new products for every room in the home or commercial premises.  He executed his works to his own drawings and designs.  He exhibited at numerous fairs and exhibitions at home and abroad, receiving many awards and prizes.

Ismail Mulić advocated constant advances in production, and in 1936 introduced woodworking machines into his workshop.  These were in fact the only machines of their kind in Konjic between the two World Wards.  In addition, to make his products as attractive as possible, he hired gifted women of Konjic to embroider various items – mats, tablecloths, cushion covers – to decorate and supplement his wooden products.

After World War II, Mulić’s Record was nationalized. Ismail Mulić was appointed as manager of the newly-formed state corporation known as the Urban Woodcarving Corporation. Here Mulić set up four plants: one for carved furniture, one for interior fittings and small carved items including small items of furniture by the item, one for haberdashery and furnishings, and one for children's toys.  In 1955 he again opened his own workshop, but also turned the ground floor of his house into a museum, opening it to the public, as it has remained to this day.  Since World War II, Anđelko Stanić, a fine professional and gifted woodcarver, has been working with him, continuing to run the workshop since Mulić's death in 1978.

The Mulić house was damaged by war action in 1992-1995.  The roof and part of the first floor were destroyed by shelling.  Part of the furniture was taken from the house to another flat in Konjic, and part remained in the house – mainly built-in items such as musanderas, wall panelling and sećije (built-in settees).  During 1998, 1999 and 2000 these items were repaired in their workshop before being returned to their original positions and use.

Since 1993, Mulić’s Record and museum has been run by Ismail's grandson, Sejfudin Vila.

 

2. Description of the property

Only wood from the Konjic region is used to make carved items.  The woods most commonly used are fruit woods – walnut, pear, cherry, apple and mulberry – but maplewood, wafer ash, elm, oak and beech are also used.

In order to meet the quality required for carved products, the wood must possess certain specific mechanical and aesthetic characteristics.  Most important of all, it must have a degree of elasticity, rigidity and resistance to wear, while the most important aesthetic qualities it must possess are colour, texture, brilliance and fineness of the wood.

The wood was usually bought from sawmills (Mulić, 1985, 15).

The woodworking part of the work consisted of two parts.  First the various components of intended item would be cut somewhat larger than the required size, after which it would be cut back to size, and the appropriate holes and pegs made.  The item would be «dry assembled» to check that the sizes were correct, and to determine the surfaces to be carved and with what kind of work.  The item would then be marked up and dismantled, and the relevant parts carved.  After the carving was complete, the item would be reassembled with carpenter's glue.

The surface areas of the items were treated in two ways.  Items made of wood of one colour would be left with the natural colour showing, while those made of varicoloured woods would be stained.

The woodcarving method used in Konjic is extremely interesting, and rarely used in other regions.  While rural woodcarving made use only of a small knife to achieve plane-relief designs, and for high relief only of a chisel with a handle that was used both for cutting and for carving out wood to shape the relief, the Konjic woodcarvers used a chisel without a handle for cutting and one with a handle to carve out the wood.  The use of both types of chisel resulted in a relief effect (Mulić, 1985, 16).

The carving process consisted of several stages, depending on the kind of ornamentation and effects required.  The order was as follows:

a.     Drawing is the process of outlining the required design on the wood in pencil using a ruler and calipers.  Not all the details of the surface to be carved are drawn, only the basic lines. This is the process used for Bosnian ornament. In the case of Arabic and deep-cut ornament, since the design is not composed of straight lines, a stencil or template is used, which can be used over and over again.  The stencil is cut out of thick waxed paper to ensure it lasts longer.  First the appropriate design is drawn, and the areas to be carved are cut out.    The stencil is laid on the wood, and the design transferred using a brush moistened with a dark stain.  This leaves the required design on the wood as a negative, and the wood is ready for decorating.

b.     Decorating or cutting is a technique of cutting the wood along the lines drawn.  This is done by means of a metal chisel struck perpendicularly by a hammer.  By using a combination of suitable tools, the decorated surface is ready for the next stage – carving.  The depth of gouging depends on the type of decoration, and ranges from two to five millimetres, or sometimes even deeper.  The plank on which the decoration is being carved must be laid on a level base, lest the force of the blows cause it to crack.

c.      Gouging is the process of hollowing out the wood to the depth of the cut made during cutting.

d.     Embellishment or decoration is used in the case of Bosnian ornament and deep-cut ornament if individual details on a rose, leaf or leaflet on the carved item are to be highlighted.

e.     Copanje is used in the case of Arabic and deep-cut decoration, but rarely in the case of Bosnian decoration (Mulić, 1985, 8-14).

 

When embellishing their work, the woodcarvers of Konjic used the following types of ornamentation on the basis of this kind of work:

§         «Bosnian ornament»(2)  arose from a merger between individual elements of rural woodcarving and the carved designs of the oriental house (on musanderas, interior doors, šiše ceilings and wall cupboards).  Typical of Bosnian ornament is a network of rhomboids, squares or hexagons, or talisum(3), as the Konjic craftsmen calll them (Mulić, 1985, 6).

§         Arabic decoration was adopted from buildings of Islamic architecture.  The rich arabesque decoration is composed of intertwined geometric and stylized floral and foliage lines.  It is harder to work than Bosnian ornament (Mulić, 1985, 7).

§         Deep-cut decoration is the hardest of all to do, and it is here that the individuality of the craftsman comes into play.  The designs of deep-cut decoration are mainly of floral or foliar origin, usually vines with bunches of grapes, oak leaves with acorns, and other fruits, depending on the intended use of the carved item  (Mulić, 1985, 7-8).

 

In all three kinds of decoration, rešma (chain, linked or meshwork) features as additional decoration for edging carved surfaces, frames and finishes on various products.  This is the simplest technique, and is carried out as a single, double or multirowed chain.  This is most commonly used in the case of Bosnian decoration, while in the case of deep-cut ornament it is used only as edging or framing.  In the case of Arabic decoration it is rarely used; when it is, it is usually on the frames and finishes of the carved item (Mulić, 1985, 7-8).

 

COLLECTION OF WOOCARVING PRODUCTS KNOWN AS THE MULIĆ’S RECORD MUSEUM IN KONJIC

Description of items:

 

  • 1st FLOOR
  • ROOM ONE

1. HANGING CORNER CUPBOARD

Inventory no.: 1

Technique: carving, varnishing

Date: circa 1956 (4)  

Size: 100x84x75 cm,

Description:

Double-doored hanging corner cupboard, walnut.

The upper part terminates in an undulating pediment.  The central area of the pediment is decorated with a rosette, with a carved semi-rosette on either side.  The lower edge of the pediment is decorated with a chain design of rhombuses.  The chain consists of six rhombuses on either side of the central rosette.

The cupboard has double doors, with identical decoration.  Each measures 39x59 cm.  The outer edge of the doors is decorated with double zigzag lines.  The lower and upper, inner, inset rectangular panels of the doors terminate in a row of blind arcades.  The central area is decorated with a carved segment of a circle with a centrally inscribed rosette set in a circular floral form composed of seven semi-rosettes.  Quarter-rosettes are carved in the corners of the inset rectangular panels of the doors.

The metal ring handles of the doors are fitted at the base.  The exterior hinges of the doors are visible.

2. L-SHAPED SETTEE

Inventory no.: 2

Technique: carving, varnishing, upholstering

Date: circa 1956

Size:

-     longer section of settee:

o        length 205 cm

o        height to seat 44 cm

o        height with backrest 102 cm

o        height of cresting 15 cm

o        width 90cm

-     corner of settee:

o        size: 90x90 cm

o        height with backrest 95 cm

-     shorter section of settee:

o        length 103 cm

o        height to seat 44 cm

o        height with backrest 102 cm

o        height of cresting 15 cm

o        width 90cm

Description:

The settee is covered with gold Syrian silk.  Floral designs are woven into the materiall on the backrest of the settee.

The upper edge of the backrest of the settee is finished with a wooden fillet to which the cresting is attached.  The corner of the settee has no cresting.  The fillet is decorated with carved Bosnian ornament – a chain of rosettes in square panels.

Cresting – there is a rosette in the centre, with to the right and left of it a chain of ten semi-rosettes.  The same design features on the shorter side of the settee, except that the chain is composed of nine semi-rosettes.

3. BUREAU BOOKCASE – ŠKRABIJA

Inventory no.: 3

Technique: carving, varnishing

Date: circa 1956

Size: 93x82,5x29 cm,

Description:

A škrabija is a narrow bureau intended to hold books and papers.  The top is used as a writing desk.  The closed back of the bureau always faces the settee.

The appearance of the bureau bookcase reveals its dual function, the lower open part and the upper part consisting of a drawer.

The rectangular top of the bureau is surrounded by a row of carved blind arcades.  The rectangular form of the top, towards the central section, is then echoed by a row of semi-rosettes.  The central area is filled with small-scale floral and geometric ornaments.  This row is interrupted at three points by three rosettes.

The back of the bureau, where the drawer is, is decorated in the same way as the top, except that it lacks the row of semi-rosettes.

The front of the drawer is decorated with small zigzag lines and with floral and geometric designs.  In the centre is a rosette into which the metal ring-handle is set.

Below the drawer is the arched, open section of the bureau. The upper corners around the arch are decorated with quarter rosettes.

The front of the bureau where the drawer is is decorated in the same place and with the same design as the back of the bureau.

The open section consists of three arched sections in each of the upper corners of which are two quarter rosettes.

The item is made of walnut.

4. BUREAU BOOKCASE

Inventory no.: 4

Technique: carving, varnishing

Date: circa 1956

Size: 93x82,5x29 cm,

Description:

The appearance of the bureau bookcase reveals its dual function, the lower open part and the upper part consisting of a drawer.

The rectangular top of the bureau is surrounded by a row of carved blind arcades.  The rectangular form of the top, towards the central section, is then echoed by a row of semi-rosettes.  The central area is filled with small-scale floral and geometric ornaments.  This row is interrupted at three points by three rosettes.

The back of the bureau, where the drawer is, is decorated in the same way as the top, except that it lacks the row of semi-rosettes.

The front of the drawer is decorated with small zigzag lines and with floral and geometric designs.  In the centre is a rosette into which the metal ring-handle is set.

Below the drawer is the arched, open section of the bureau. The upper corners around the arch are decorated with quarter rosettes.

The front of the bureau where the drawer is is decorated in the same place and with the same design as the back of the bureau.

The open section consists of three arched sections in each of the upper corners of which are two quarter rosettes.

The item is made of walnut.

5. TABLE

Inventory no.: 5

Technique: carving, varnishing

Date: circa 1956

Size: 137x52x68 cm,

Description:

Four-legged table.

The legs are joined below the tabletop by a horizontal stretcher with wavy edge.  The central motif on the stretcher consists of a rosette from which a chain of 11 semi-rosettes extends to the right and left. The chain of semi-rosettes follows the wavy outer line of the stretcher.  The shorter section of the stretcher is decorated in the same way as the longer one, except that the wavy line extending from the central rosette consists of four semi-rosettes on each side.

The tabletop has rounded inlaid corner elements.  The outer edge consists of a garland of semi-rosettes.  The central panel of the tabletop is decorated with marquetry consisting of an inlay of various types of wood.  Some of the panels are decorated with rosettes.

The table is made of walnut.

6. STOOL – PEŠKUN

Inventory no.: 6

Technique: carving, varnishing

Date: circa 1956

Size: 15,5x14,5x16,5 cm,

Description:

Hexagonal stool. The top is decorated with a design of a central rosette from which a circle of semi-rosettes unfurls.  This design is set in a circle consisting of a series of blind arcades, which follow the sides of the stool.

The stool has six legs.  The apron between them is decorated with carved semi-rosettes and geometric forms. These carved aprons extend down to almost half the height of the stool, where the arches begin.

It is made of walnut.

7. STOOL

Inventory no.: 7

Technique: carving, varnishing

Date: circa 1956

Size: 15,5x14,5x16,5 cm,

Description:

Hexagonal stool. The top is decorated with a design of a central rosette from which a circle of semi-rosettes develops.  This design is set in a circle consisting of a series of blind arcades. The same arcades follow the sides of the stool.

The stool has six legs.  The apron between them is decorated with carved semi-rosettes and geometric forms. These carved aprons extend down to almost half the height of the stool, where the arches begin.

It is made of walnut.

8. TABLE

Inventory no.: 8

Technique: carving, varnishing

Date: circa 1956

Size: 122,5x48,5x62,5 cm,

Description:

The tabletop rests on twelve screen-shaped legs. The front of each leg is monodimensionally disjointed and decorated with a double vertical row of rosettes.  Between the legs of the table is a wooden infill divided into two sections by a horizontal row of rosettes. The upper, solid section is decorated with floral designs composed of a central rosette with two semi-rosettes beside it.  The lower section is decorated with a carved triangular design.

The tabletop is richly decorated with floral and geometric forms. Prominent among them are two octagonal sections decorated with numerous rosettes.  These sections are linked by rectangular central sections with an inscription in the centre.

The inscription reads:

MULIĆ’S RECORD

KONJIC FOUNDED1929.

To the right and left of this section are two semi-rosettes.  This design completes the central section of the tabletop.

The outer section of the tabletop is decorated with motifs of rosettes, semi-rosettes, and quarter rosettes. These forms are set in geometric panels of various shapes.

The table is made of walnut.

9. GLASS TABLE

Inventory no.: 9

Technique: carving, varnishing

Date: circa 1956

Size: 72 cm,

Description:

The glass tabletop rests on an octagonal carved wooden pedestal.  The faces of the pedestal are each decorated with three vertical rows of rosettes.  The central section of the pedestal is tulip-shaped, and decorated with triangular sections, at the base of each of which is a semi-rosettte.

The base of the pedestal is octagonal.  Each alternate face of the base is decorated with two carved rosettes.  Four slightly curved legs are affixed to the intervening faces.  The upper part of these is decorated with a semi-rosette.

The table is made of walnut.

10. CHAIR

Inventory no.: 10

Technique: upholstering, varnishing

Date: 19th century

Size:

-     height with backrest: 95 cm

-     height to seat: 45 cm

-     depth of seat: 42 cm

-     width of seat: 48 cm

-     width of backrest: 45 cm

Description:

The backrest and seat of the chair are covered with red and white silk fabric.

According to Sejfudin Vila, it was bought a few years ago at an auction in Switzerland.

11. CHAIR

Inventory no.: 11

Technique: upholstering, varnishing

Date: 19th century

Size:

-     height with backrest: 95 cm

-     height to seat: 45 cm

-     depth of seat: 42 cm

-     width of seat: 48 cm

-     width of backrest: 45 cm

Description:

The backrest and seat of the chair are covered with red and white silk fabric.

According to Sejfudin Vila, it was bought a few years ago at an auction in Switzerland.

12. CHAIR

Inventory no.: 12

Technique: upholstering, varnishing

Date: 19th century

Size:

-     height with backrest: 95 cm

-     height to seat: 45 cm

-     depth of seat: 42 cm

-     width of seat: 48 cm

-     width of backrest: 45 cm

Description:

The backrest and seat of the chair are covered with red and white silk fabric.

According to Sejfudin Vila, it was bought a few years ago at an auction in Switzerland.

13. CHAIR

Inventory no.: 13

Technique: upholstering, varnishing

Date: 19th century

Size:

-     height with backrest: 95 cm

-     height to seat: 45 cm

-     depth of seat: 42 cm

-     width of seat: 48 cm

-     width of backrest: 45 cm

Description:

The backrest and seat of the chair are covered with red and white silk fabric.

According to Sejfudin Vila, it was bought a few years ago at an auction in Switzerland.

 

  • ROOM TWO – LIBRARY

14. CORNER CABINET FOR BOOKS

Inventory no.: 14

Technique: carving,  varnishing

Date: 1931

Size:

-     lower part of cabinet:

o        height 80 cm,

o        width 110 cm,

o        depth 20 cm

-     upper part

o        height 124 cm,

o        width 82 cm,

o        depth 10 cm

Description:

The lower part of the corner cabinet for books is in fact a cupboard with double doors.  Above this is a drawer.

The entire front surface of the cupboard is divided into four vertical rectangular sections, and the horizontal upper section with the drawer.  The surface is decorated with a relief motif of a vine with leaves and bunches of grapes, and a few rosettes.

The upper, narrower section of the cabinet consists of three vertical elements.

The lower vertical element is a wooden shelf, in the form of the top of the lower cupboard of the cabinet.  The top of the shelf ends in a shallow arch.

The cupboard forms a continuation of the shelf with the cupboard, with its arched double doors.

The third vertical section is a shelf ending in three arches similar to those on a peškun stool.

The upper part of the cabinet is decorated with the same relief motifs as the lower.

The sides of the cabinet are also decorated with a twining relief vine motif.

The cabinet is topped by a decorated fillet on which rosette designs are carved.

15. CORNER BOOK CABINET

Inventory no.: 15

Technique: carving,  varnishing

Date: 1931

Size:

-     lower part of cabinet:

o        height 52 cm,

o        width 128 cm,

o        depth 41,5+6,5+2 cm

-     upper part

o        height 149 cm,

o        width 89,5 cm,

o        depth 11 cm

Description:

The cabinet consists of two sections, a wider lower part and a narrower upper part.

The lower part has a double-doored cupboard.  The edges of the cupboard are decorated with a relief motif of a vine, and the doors with a large flower motif around which a number of lines extend to form an oval. The ends of the lines form a motif of vine leaves and bunches of grapes.  The upper surface of the cupboard is also decorated with a relief motif of a vine.

The narrower upper section of the cabinet forms a continuation of the cupboard.  Visually it can be divided into two sections, lower and upper.

The lower section consists of three shelves with double glazed doors terminating in arches.

The upper section of the narrower part of the cabinet terminates in a shelf ending in three arches similar to those on a peškun stool.

The entire surface of the front and sides of the cabinet is decorated with a motif of vines and a few flower motifs.

16. BOOK CABINET

Inventory no.: 16

Technique: carving,  varnishing

Date: 1931

Size: 163x152,5x46 cm

Description:

Visually, the cabinet can be divided vertically and horizontally into three sections, plus the pediment topping the cabinet.

The lower part of the cabinet is a cupboard with triple doors.  The cupboard has shelves inside.

The central section of the cabinet consists of three drawers, above which are three removable shelves, designed to hold books that are being read.

The upper part of the cabinet is a continuation of the drawer section.  It is in fact identical to the lower part, except that the doors are glazed, creating a different impression.  The doors are arched.  The inside of this cupboard is divided into two by a shelf.

The ogee-shaped decorative pediment is set at the back of the cupboard.  The central motif of the pediment is a rosette from which extends a vine motif.

The entire surface of the front and sides of the cabinet is decorated with a motif of vines and a few flower motifs.

17. CABINET

Inventory no.: 17

Technique: carving,  varnishing

Date: 1931

Size: 80,5x201x38 cm

Description:

Visually, the cabinet can be divided bottom to top into four levels.

The lower part consists of a cupboard with double doors.

Two drawers rest on the cupboard.

The drawers support a shelf the upper edge of which ends in a shallow stylized arch.

A cupboard with double glazed doors forms the continuation of the shelf.  The doors terminate in a stylized arch.

The entire surface of the cabinet is decorated with a motif of vines and a few rosettes.

18. CABINET

Inventory no.: 18

Technique: carving,  varnishing

Date: 1931

Size:

-     lower part:

o        47x147,5x102 cm

-     upper part:

o        31x147,5x102 cm

Description:

Visually, the cabinet can be divided bottom to top into four levels.

The lower part consists of a cupboard with double doors.

Two drawers rest on the cupboard.

The drawers support a shelf the upper edge of which ends in a shallow stylized arch.

A cupboard with double glazed doors forms the continuation of the shelf.  The doors terminate in a stylized arch.

The entire surface of the cabinet is decorated with a motif of vines and a few rosettes.

19. TABLE

Inventory no.: 19

Technique: carving,  turning, varnishing

Date: 1931

Size:

-     overall size:

o        120x79x80 cm

-     size of base:

o        83,5x7x53,5 cm

-     pedestals:

o        37x69x24 cm

Description:

In appearance, the table consists of three elements, the base, pedestals and tabletop.

Two rectangular cases rest on the base of the table; these support the turned pedestals, which terminate in a stylized arch.  The tabletop rests on the pedestals.

The entire surface of the table is decorated with relief motifs of vines with leaves and bunches of grapes, and a few rosettes.

20. CHAIR

Inventory no.: 20

Technique: carving,  varnishing

Date: 1931

Size:

-     height with backrest: 93 cm

-     height to seat: 45 cm

-     depth of seat: 47,5 cm

-     width of seat: 50, 5 cm

-     width of backrest: 41 cm

Description:

The entire surface of the chair is decorated with a relief motif of vines and a rosette on the backrest of the chair.  The central part of the chair seat is undecorated.  The entire surface of the chair legs is decorated.

21. CHAIR

Inventory no.: 21

Technique: carving,  varnishing

Date: 1931

Size:

-     height with backrest: 93 cm

-     height to seat: 45 cm

-     depth of seat: 47,5 cm

-     width of seat: 50, 5 cm

-     width of backrest: 41 cm

Description:

The entire surface of the chair is decorated with a relief motif of vines and a rosette on the backrest of the chair.  The central part of the chair seat is undecorated.  The entire surface of the chair legs is decorated.

22. CHAIR

Inventory no.: 22

Technique: carving,  varnishing

Date: 1931

Size:

-     height with backrest: 93 cm

-     height to seat: 45 cm

-     depth of seat: 47,5 cm

-     width of seat: 50, 5 cm

-     width of backrest: 41 cm

Description:

The entire surface of the chair is decorated with a relief motif of vines and a rosette on the backrest of the chair.  The central part of the chair seat is undecorated.  The entire surface of the chair legs is decorated.

23. CHAIR

Inventory no.: 23

Technique: carving,  varnishing

Date: 1931

Size:

-     height with backrest: 93 cm

-     height to seat: 45 cm

-     depth of seat: 47,5 cm

-     width of seat: 50, 5 cm

-     width of backrest: 41 cm

Description:

The entire surface of the chair is decorated with a relief motif of vines and a rosette on the backrest of the chair.  The central part of the chair seat is undecorated.  The entire surface of the chair legs is decorated with wavy lines in relief.

24. CHAIR

Inventory no.: 24

Technique: carving,  varnishing

Date: 1931

Size:

-     height with backrest: 93,5 cm

-     height to seat: 46 cm

-     height to armrests: 70 cm

-     depth of seat: 51 cm

-     width of seat: 53 cm

-     width of backrest: 43 cm

Description:

The entire surface of the chair is decorated with a relief motif of vines and a rosette on the backrest of the chair.  The central part of the chair seat is undecorated.  The entire surface of the chair legs is decorated with wavy lines in relief. Unlike the previous four chairs, this one has armrests, decorated with the same motif as the legs.

25. COFFER – CHEST

Inventory no.: 25

Technique: carving,  varnishing

Date: 1931

Size: 116x47,5x46 cm

Description:

The front and sides of the chest are decorated with relief in an arched panel with a design of the tree of life. On the sides this motif appears only once, and on the front it is repeated three times.  The lid is decorated with carved rosettes.  Inside, a drawer with a cover is attached at the right-hand upper corner.

26. CHAIR

Inventory no.: 26

Technique: carving,  varnishing

Date: 1931

Size:

-     height of chair with armrests: 75 cm

-     height of chair to seat: 47, 5 cm

-     width of seat: 61 cm

-     width of armrest: 79 cm

Description:

The chair seat is supported by four legs that curve outwards slightly above the seat to form the armrests.  The entire surface of the chair is decorated with motifs of vines and a few rosettes.   The central area of the seat is undecorated.

27. SHELF FOR PLANTS OR FLOWERS

Inventory no.: 27

Technique: carving,  varnishing

Date: 1931

Size:

-     64x29x33 cm

-     20x56x33 cm

-     20x82x33 cm

Description:

The shelf is stepped, with three levels, the lower of which is the longest.  The central area of each shelf is decorated with a relief motif of a rosette inscribed in a circle.   A vine motif extends out from this motif.  All sides of the shelf are decorated.

 

  • ROOM THREE – HAJAT

28. BUREAU BOOKCASE

Inventory no.: 28

Technique: carving, varnishing

Date: circa 1956

Size: 38x80x30 cm,

Description:

The appearance of the bureau bookcase reveals its dual function, the lower open part and the upper part consisting of a drawer.

The rectangular top of the bureau is surrounded by a row of rhombuses, in the centre of which is a carved rosette.  The same design features on the section occupied by the drawer.

Below the drawer is the arched, open section of the bureau. The upper corners around the arch are decorated with quarter rosettes.

The front of the open section consists of an arched section, and the sides  of three arched sections. There are rosettes in each of the upper corners.

Below this open section is a double carved row of rhombuses with a rosette at the centre.

29. BUREAU BOOKCASE

Inventory no.: 29

Technique: carving, varnishing

Date: circa 1956

Size: 38x80x30cm,

Description:

The appearance of the bureau bookcase reveals its dual function, the lower open part and the upper part consisting of a drawer.

The rectangular top of the bureau is surrounded by a row of rhombuses, in the centre of which is a carved rosette.  The same design features on the section occupied by the drawer.

Below the drawer is the arched, open section of the bureau. The upper corners around the arch are decorated with quarter rosettes.

The front of the open section consists of an arched section, and the sides  of three arched section. There are rosettes in each of the upper corners.

Below this open section is a double carved row of rhombuses with a rosette at the centre.

30. STOOL

Inventory no.: 30

Technique: carving, varnishing

Date: circa 1956

Size: 57,5x40 cm,

Description:

Rectangular stool. The top is decorated with a motif of a central rosette inscribed in a circle, from which there develops another circle of semi-rosettes.  This motif is set in a circle composed of a series of blind arcades.  The same arcades follow the sides of the stool.  Quarter rosettes are carved in the corners of the seat of the stool.

The stool has four legs, on which three grooves are engraved.  The apron between them is carved with a rosette motif, on each side of which is a semi-rosette.  The motif is set in a rectangle composed of a series of blind arcades.  Quarter rosettes are carved below this motif, above a stylized arch.

31. SETTEE

Inventory no.: 31

Technique: carving, varnishing, upholstering

Date: circa 1956

Size:

-     length 244 cm

-     height to seat 40 cm

-     height with backrest 80 cm

-     width 50cm

Description:

The settee is set in a wooden frame, which is decorated with a motif of carved rhombuses with a rosette at the centre.

32. SETTEE

Inventory no.: 32

Technique: carving, varnishing, upholstering

Date: circa 1956

Size:

-     length 244 cm

-     height to seat 40 cm

-     height with backrest 80 cm

-     width 50cm

Description:

The settee is set in a wooden frame, which is decorated with a motif of carved rhombuses with a rosette at the centre.

33. MUSANDERA – MULTIPURPOSE BUILT-IN WALL FIXTURE

Inventory no.: 33

Technique: carving,  varnishing

Date: circa 1956

Size:

-     length: 274 cm

-     height: 239 cm

Description:

The fixture lies north-east/south-west.

North-east wall.

This wall has two windows. The musandera is affixed to the parts of the wall not occupied by the windows, meaning that it covers the ends of the wall to a length of 40 cm, and the space between the windows to a length of 64 cm.

The musandera is divided bottom to top into four levels.

The first level is a shelf above a settee.

The second level is a framed panel with a central stylized arch.  A third panel with a framed picture forms the continuation of this.  The musandera terminates in a shelf.

South-east and north-west wall

The musandera is divided side to side into three sections symmetrically set on a central vertical axis. All the sections are divided bottom to top into four levels.

The first level is a shelf above the settee.

The second level is three framed panels.  Each panel is decorated with three stylized arches (88x64 cm).

The third level is three framed pictures (88x64 cm).

The fourth level is a shelf.

 

  • GROUND FLOOR
  • ROOM ONE

34. STOOL

Inventory no.: 34

Technique: carving, varnishing

Date: circa 1954

Size: 44,5x39.5 cm,

Description:

Hexagonal stool. The top is decorated with a design of a central rosette from which a circle of semi-rosettes develops.  This design is set in a circle consisting of a series of blind arcades. The same arcades follow the sides of the stool.

The stool has six legs.  The apron between them is decorated with carved semi-rosettes and geometric forms. These carved aprons extend down to almost half the height of the stool, where the arches begin.

It is made of walnut.

35. STOOL

Inventory no.: 35

Technique: carving, varnishing

Date: circa 1954

Size: 44,5x39.5 cm,

Description:

Hexagonal stool. The top is decorated with a design of a central rosette from which a circle of semi-rosettes develops.  This design is set in a circle consisting of a series of blind arcades. The same arcades follow the sides of the stool.

The stool has six legs.  The apron between them is decorated with carved semi-rosettes and geometric forms. These carved aprons extend down to almost half the height of the stool, where the arches begin.

It is made of walnut.

36. STOOL

Inventory no.: 36

Technique: carving, varnishing

Date: circa 1954

Size: 44,5x39.5 cm,

Description:

Hexagonal stool.  The top is decorated with a motif of a central rosette, set in a circle composed of a series of blind arcades.  A six-pointed star surrounds the circle, pointing towards the edges of the stool.  The spaces between the points of the star are decorated with relief rosettes.

The stool has six legs.  The apron between them is decorated top to bottom with two triangles meeting at the tips.  There is a semi-rosette in the empty space to the left and right of the triangles.  The apron extends down to almost half the height of the stool, where the arches begin.

37. STOOL

Inventory no.: 37

Technique: carving, varnishing

Date: circa 1954

Size: 44,5x39.5 cm,

Description:

Hexagonal stool.  The top is decorated with a motif of a central rosette, set in a circle composed of a series of blind arcades.  A six-pointed star surrounds the circle, pointing towards the edges of the stool.  The spaces between the points of the star are decorated with relief rosettes.

The stool has six legs.  The apron between them is decorated top to bottom with two triangles meeting at the tips.  There is a semi-rosette in the empty space to the left and right of the triangles.  The apron extends down to almost half the height of the stool, where the arches begin.

38. STOOL

Inventory no.: 38

Technique: carving, varnishing

Date: circa 1954

Size: 44,5x39.5 cm,

Description:

Hexagonal stool.  The top is decorated with a motif of a central rosette.  A six-pointed star surrounds the circle.

The stool has six legs.  The apron between them is decorated top to bottom with two triangles meeting at the tips.  There is a semi-rosette in the empty space to the left and right of the triangles.  The apron extends down to almost half the height of the stool, where the arches begin.

39. STOOL

Inventory no.: 39

Technique: carving, varnishing

Date: circa 1954

Size: 44,5x39.5 cm,

Description:

Hexagonal stool.  The top is decorated with a motif of a central rosette.  A six-pointed star surrounds the circle.

The stool has six legs.  The apron between them is decorated top to bottom with two triangles meeting at the tips.  There is a semi-rosette in the empty space to the left and right of the triangles.  The apron extends down to almost half the height of the stool, where the arches begin.

40. STOOL

Inventory no.: 40

Technique: carving, varnishing

Date: circa 1954

Size: 44,5x39.5 cm,

Description:

Hexagonal stool.  The top is decorated with a motif of a central rosette.  A six-pointed star surrounds the circle.

The stool has six legs.  The apron between them is decorated top to bottom with two triangles meeting at the tips.  There is a semi-rosette in the empty space to the left and right of the triangles.  The apron extends down to almost half the height of the stool, where the arches begin.

41. TABLE

Inventory no.: 41

Technique: carving, varnishing

Date: circa 1956

Size: 65,5x59 cm,

Description:

The table is six-legged, and resembles a stool, but is larger in size.

The tabletop is decorated with a relief flower motif from which a motif of branchlets tipped with leaves and bearing small acorns extends towards the edges of the tabletop.  There are relief flowers between each of the leaves.

The table legs are turned, and terminate  below the tabletop in a stylized arch similar to that of a peškun stool but much shallower.  To the left and right of the arch the space is decorated with a carved quarter rosette.

At the base of the table the legs are joined by a solid tier, around which is a decorative fillet.  This tier itself is undecorated.

42. TABLE

Inventory no.: 42

Technique: carving, varnishing

Date: circa 1956

Size: 81x59 cm,

Description:

The table is six-legged, and resembles a stool, but is larger in size.

The tabletop is decorated with a relief flower motif from which vines with leaves and fruits and flowers extend towards the edges of the tabletop.  The edges of the sides terminate in relief blind arcades.

The table legs are turned, and terminate below the tabletop in a stylized arch similar to that of a stool but much shallower.  To the left and right of the arch is a carved quarter rosette.

At the base of the table the legs are joined by a solid tier, around which is a decorative fillet.  The tier itself is undecorated.

43. TABLE

Inventory no.: 43

Technique: carving

Date: circa 1956

Size: 81,5x70,5 cm,

Description:

The table is six-legged, and resembles a stool, but is larger in size.

The tabletop is decorated with a six-pointed star inscribed with a central motif of a rosette from which unfold six petals.  There is a relief rosette in each of the points of the star.  This motif is surrounded by a band in the form of hexagons following the outline of the table.  Outside and following this band is a carved chain of semi-rosettes facing the centre of the table. Beyond this is a second chain of stylized semi-rosettes facing the edges of the table.  The tabletop is edged with a row of blind arcards.

The table legs are turned, and terminate below the tabletop in a stylized arch similar to that of a peškun stool but much shallower.  To the left and right of the arch is a carved quarter rosette.

At the base of the table the legs are joined by a solid tier, decorated with a circle in which is inscribed a rosette, around which extends a ring of semi-rosettes.  Six petals extend from this motif towards the edges, with a relief rosette between each.

A decorative fillet in the form of a shallow arch surrounds the tier.  Each arch is decorated with two quarter-rosettes.

44. TABLE

Inventory no.: 44

Technique: carving, varnishing

Date: circa 1956

Size: 90,5x59 cm,

Description:

The table is six-legged, and resembles a stool, but is larger in size.

The tabletop is decorated with a relief flower motif from which there extends towards the edges of the table a three-pointed motif of a vine with leaves and bunches of grapes.  The edges of the tabletop end in relief blind arcades and a chain of semi-rosettes.

The table legs are turned, and terminate below the tabletop in a stylized arch similar to that of a stool but much shallower.  To the left and right of the arch is a carved quarter rosette.

At the base of the table the legs are joined by a solid tier, around which is a decorative fillet. 

45. TABLE

Inventory no.: 45

Technique: carving, varnishing

Date: circa 1956

Size: 113x60,5 cm,

Description:

The table is nine-legged, and resembles a stool, but is larger in size.

The nine-sided tabletop is decorated with a central nonagon in which is inscribed a rosette surrounded by three courses of blind arcades.  Nine trapezoid panels extend ray-like from the nonagon towards the edges of the table.  Each panel is divided centrally.  The panels are filled with geometric motifs and garlands of semi-rosettes.  The tabletop is edged by a decorative fillet, 6 cm in height, decorated with a stylized meander (Greek key) motif.

The table legs are decorated with shallow grooves, and terminate in a stylized arch similar to that of a peškun stool but much shallower.  To the left and right of the arch is a carved quarter rosette.

At the base of the table the legs are joined by a solid tier, surrounded by an arched decorative fillet decorated in the same way as the upper fillet.

46. TABLE

Inventory no.: 46

Technique: carving, varnishing

Date: circa 1956

Size: 105,5x54 cm,

Description:

The table is nine-legged, and resembles a stool, but is larger in size.

The nine-sided tabletop is decorated with a central nonagon in which is inscribed a rosette surrounded by a carved ring.   The ring terminates in a course of blind arcades.  From each of the angles of the nonagon a stylized relief cypress points towards the central rosette.  Between each of the cypresses is a rosette.

Another nine stylized relief cypresses also extend from the angles of the nonagon outwards towards the edges of the tabletop.  The spaces between them are decorated with a stylized relief motif of the tree of life. The outer section of the tabletop is decorated with carved geometric and floral motifs, and edged with a decorative fillet 4.5 cm in height.

The legs of the table are in the form of the legs of a stool.  The apron above the stylized arches is decorated with a relief motif of a stylized tree of life.

47. TABLE

Inventory no.: 47

Technique: carving, varnishing

Date: circa 1956

Size: 65,5x76 cm,

Description:

The table is three-legged, and the tabletop is circular.  At the centre is a carved rosette surrounded by a ring.  The edge of the tabletop is decorated with a row of blind arcades and a garland of semi-rosettes.

The table legs are slightly curved inwards and attached to a lower tier with a diameter of 39 cm.  This is decorated in the same way as the table top, except that it has no central rosette.

48. TABLETOP

Inventory no.: 48

Technique: carving, varnishing

Date: circa 1956

Size: 99,5 cm,

Description:

The nine-sided tabletop is decorated with a central nonagon in which is inscribed a rosette surrounded by a relief ring, from which extend 18 stems, alternately terminating in a rosette and a stylized tulip with a central pistil.

Nine panels also extend outwards from the corners of the nonagon towards the edges of the tabletop.  Each panel is decorated with a stylized relief motif of a stem with leaves and flowers.

The tabletop is edged by a decorative fillet with a number of shallow grooves.  The fillet is 5.5.cm in height.

49. MUSANDERA – south-east wall

Inventory no.: 49

Technique: carving, varnishing

Date: circa 1956

Size: 80 cmx 6 section length x 233x40,5 cm,

Description:

The musandera is divided into six sections set symmetrically around a central vertical axis (2x3).  Each section is divided bottom to top into five levels, in a combination of closed and open elements.

In the case of the first section from the left (facing the wall north-east/south-east) the first three levels are closed – three cupboards with double doors.  The doors are decorated with a motif of a stylized arch on two stylized relief pilasters.  The spaces to the left and right of the arch are decorated with a motif of a rosette and two semi-rosettes. The arch encloses a panel filled with relief circles.

The fourth level is a shelf, enclosed by a shallow stylized arch at the front, dominated by a rosette motif.

The fifth level is in the form of a niche or open shelf. The upper and lower edges of the shelf are decorated with a fillet composed of a garland of semicircular elements.  This is the same on each section of the musandera.

In the case of the second section from the left (facing the wall north-east/south-east), the lower level is the same as that of the first section.

The second level is a cupboard with a single door opening vertically and decorated with the same motif.

The third and fourth levels are open and are identical to the fourth level of the first section.

In the case of the third section from the left, the lower level is identical to the previous lower levels.

The second and third levels compose a single opening enclosed by the same arch as the third level of the second section.

The fourth level is identical to the fourth levels of the previous sections.

50. MUSANDERA – corner element, north wall – corner

Inventory no.: 50

Technique: carving, varnishing

Date: circa 1956

Size: 93,5x233(165 from height of settee)x40 cm,

Description:

The corner element of the musandera with shelves is set above the backrest of the settee.  It is divided into four levels.

The first three levels, consisting of shelves, are identical in form.  The outer sides are enclosed with three stylized arches on pillars, forming two niches.  The central niche is also enclosed with a stylized arch, but is set back into the shelf by comparison with the outer niches.  The solid part of the arch is decorated with carved motifs of inscribed rosettes and semi-rosettes.

The fourth level is in the form of a niche or open shelf. The upper and lower edges are decorated with a fillet composed of a garland of semicircular elements.

51. MUSANDERA – corner element, north wall – corner

Inventory no.: 51

Technique: carving, varnishing

Date: circa 1956

Size: 120x 233x54cm,

Description:

The corner element of the musandera is divided bottom to top into five levels.

The lower level is a cupboard with double doors.  The doors are decorated with a motif of a stylized arch set on two stylized relief pilasters.  The space beside the arch to left and right is decorated with a motif of a rosette and two semi-rosettes.  The arch encloses a panel filled with relief circles.

The second, third and fourth levels are identical in form – shelves enclosed by shallow stylized arches set on two pilasters, decorated with motifs of rosettes and semi-rosettes.

The fifth level is in the form of a niche or open shelf. Theupper and lower edges are decorated with a fillet composed of a garland of semicircular elements.

52. SETTEE

Inventory no.: 52

Technique: carving, varnishing, upholstering

Date: circa 1956

Size:

-     left side of settee:

o        length 120 cm

o        height to seat 46 cm

o        height with backrest 69 cm

o        width 60cm

-     corner of settee:

o        size: 48x46 cm

o        height with backrest 95 cm

-     right side of settee:

o        length 103 cm

o        height to seat 46 cm

o        height with backrest 102 cm

o        width 60cm

Description:

The settee is set in a wooden frame, the upper and lower edges of which are decorated with a garland of rosettes with a course of blind arcades forming its continuation.  Every thirty centimetres or so there is a semi-rosette on the arcades.  The central panel is decorated with a motif of a rosette inscribed in a ring of blind ardades.  Two semi-rosettes extend from the central rosette.

53. BUREAU BOOKCASE

Inventory no.: 53

Technique: carving, varnishing

Date: circa 1956

Size: 83x80x32,5 cm,

Description:

The appearance of the bureau bookcase reveals its dual function, the lower open part and the upper part consisting of a drawer.

The rectangular top of the bureau is surrounded by a row of rosettes, to which a row of blind arcades forms the continuation. Every twenty centimetres or so there is a semi-rosette in the arcades (with a quarter rosette at the corners).  The central panel is decorated with a motif of a rosette inscribed in a ring of blind arcades.  Two semi-rosettes extend from the central rosette.  This design is repeated three times.

The part of the bureau where there is usually a drawer is decorated on all four sides with a motif identical to that of the central part of the top of the bureau.

The open section terminates in a shallow stylized arch, decorated with a motif of rosettes and semi-rosettes.

The back of the bookcase, below the area usually occupied by a drawer, is filled with relief motifs of circles.

54. BUREAU BOOKCASE

Inventory no.: 54

Technique: carving, varnishing

Date: circa 1956

Size: 83x80x32,5 cm,

Description:

The appearance of the bureau bookcase reveals its dual function, the lower open part and the upper part consisting of a drawer.

The rectangular top of the bureau is surrounded by a row of rosettes, to which a row of blind arcades forms the continuation. Every twenty centimetres or so there is a semi-rosette in the arcades (with a quarter rosette at the corners).  The central panel is decorated with a motif of a rosette inscribed in a ring of blind arcades.  Two semi-rosettes extend from the central rosette.  This design is repeated three times.

The part of the bureau where there is usually a drawer is decorated on all four sides with a motif identical to that of the central part of the top of the bureau.

The open section terminates in a shallow stylized arch, decorated with a motif of rosettes and semi-rosettes.

The back of the bookcase, below the area usually occupied by a drawer, is filled with relief motifs of circles.

55. LIGHT FITTING

Inventory no.: 55

Technique: carving, varnishing

Date: circa 1956

Size of holder of light fitting: 100x100x22,5x19 cm,

Size of light fitting: 37,5x26,5 cm

Description:

The holder of the light fitting consists of six box-like elements.  Three sides of these are pierced in the form of a quadripartite interweave design.  The lights are set in the boxes.  The central surface of the light fitting holder is decorated with ray-like garlands of rosettes.  A hexagonal hanging light resembling a lantern is attached to the centre.  The sides are glazed and the wooden parts, the holders, are decorated with carved quarter rosettes.

56. DOOR IN SOUTH-EAST WALL

Inventory no.: 60

Technique: carving, varnishing

Date: circa 1956

Size: 84x193 cm,

Description:

Door viewed from corridor.

The lower third of the door is decorated with four horizontal panels variously carved with rosettes.

The middle third of the door is decorated with five vertical panels variously carved with rosettes.

These vertical panels contain a horizontal band with a motif of relief rosettes.  The band bears a triangular element filled with a motif of blind arcades.

A central circle around which an entire motif is constructed springs from the top of the trinagle.  Twelve panels radiate out from the circle; these panels are filled with relief rosettes, diminishing in size from the circle towards the corners of the door.  The motif is surrounded with a semicircular band filled with relief rosettes.

The upper left and right corners bear a rosette inscribed in a rosette.

The top of the door terminates in a band decorated with a row of rosettes.

 

§          ROOM TWO

 

57. CORNER CABINET

Inventory no.: 56

Technique: carving,  varnishing

Date: 1955/56

Size:

-     lower part of cabinet:

o        height 75 cm,

o        width 115,5 cm,

o        depth 49 cm

-     upper part

o        height 146,5 cm,

o        width 99 cm,

o        depth 36,5 cm

Description:

The corner cabinet can be divided bottom to top into four sections.

The lower section consists of a cupboard with double doors.

Above this is a shelf the upper part of which is enclosed by a stylized drawn-out arch.

The next section consists of a cupboard with double glazed doors. The upper part of the doors terminates in a stylized arch.

The final section consists of a shelf, divided by stylized pillars supporting stylized arches into three niches – a wider central and narrower side niches.

A decorative fillet is attached to the top of the cabinet.

58. BUREAU BOOKCASE

Inventory no.: 57

Technique: carving, varnishing

Date: circa 1956

Size: 88x80x32 cm,

Description:

The appearance of the bureau bookcase reveals its dual function, the lower open part and the upper part consisting of a drawer.

The central area of the rectangular top of the bureau is decorated with carved motifs of rhombuses, with a carved motif of a rosette in every alternate one.  Around this central motif, following the shape of the bureau, extends a row of triangles at the centre of which semi-rosettes are carved.

The part of the bureau occupied by the drawer is decorated with a motif of a rosette set in a ring surrounded by a circle of blind arcades, and with carved semi-rosettes on each side.

The open section of the bureau is arched, and the space around the arch is decorated with a motif of a central rosette and two semi-rosettes.

59. BUREAU BOOKCASE

Inventory no.: 58

Technique: carving, varnishing

Date: circa 1956

Size: 88x80x32 cm,

Description:

The appearance of the bureau bookcase reveals its dual function, the lower open part and the upper part consisting of a drawer.

The central area of the rectangular top of the bureau is decorated with carved motifs of rhombuses, with a carved motif of a rosette in every alternate one.  Around this central motif, following the shape of the bureau, extends a row of triangles at the centre of which semi-rosettes are carved.

The part of the bureau occupied by the drawer is decorated with a motif of a rosette set in a ring surrounded by a circle of blind arcades, and with carved semi-rosettes on each side.

The open section of the bureau is arched, and the space around the arch is decorated with a motif of a central rosette and two semi-rosettes.

60. SETTEE

Inventory no.: 61

Technique: carving, varnishing

Date: circa 1956

Size:

-     length: 204,5 cm

-     height to seat: 46 cm

-     height with backrest 80 cm

-     width 55cm

Description:

The settee is set in a wooden frame.  The front of the frame is divided into three identically decorated rectangular panels, surrounded by a band with a garland  of vines running along it.  The central area has a motif of a stylized flower inscribed in a circle.  A vine motif extends to the left and right of the circle.

61. DOOR IN NORTH-WEST WALL

Inventory no.: 58

Technique: carving, varnishing

Date: circa 1956

Size: 84x193 cm cm,

Description:

Door viewed from corridor

The lower third of the door is decorated with four horizontal panels variously carved with rosettes.

The middle third of the door is decorated with five vertical panels variously carved with rosettes.

These vertical panels contain a horizontal band with a motif of relief rosettes.  The band bears a triangular element filled with a motif of blind arcades.

A central circle around which an entire motif is constructed springs from the top of the trinagle.  Twelve panels radiate out from the circle; these panels are filled with relief rosettes, diminishing in size from the circle towards the corners of the door.  The motif is surrounded with a semicircular band filled with relief rosettes.

The upper left and right corners bear a rosette inscribed in a rosette.

The top of the door terminates in a band decorated with a row of rosettes.

Door viewed from inside room

The edges of the door are surrounded to a width of some twenty centimetres by an interweave design composed of two wide bands.  The same motif with three bands divides the door into four rectangular panels, the centre of which is filled with a motif of a rosette inscribed in a circle composed of blind arcades.  To the left and right of the central rosette are two rosettes, one larger and one smaller.

The motif is surrounded by a rectangle composed of blind arcades.

• STAIRWAY

62. CHAIR

Inventory no.: 62

Technique: carving,  varnishing

Date: 1931

Size:

-     height with backrest: 93,5 cm

-     height to seat: 46 cm

-     height to armrest: 70 cm

-     depth of seat: 51 cm

-     width of seat: 53 cm

-     width of backrest: 43 cm

Description:

The entire surface of the chair is decorated with a carved motif of rhombuses in which are inscribed a rosette and blind arcades. The central part of the seat is not decorated.  The legs of the chair are decorated with incised interlinked dots.  A rosette is carved at the end of the armrests.

63. CHAIR

Inventory no.: 63

Technique: carving,  varnishing

Date: 1931

Size:

-     height with backrest: 93,5 cm

-     height to seat: 46 cm

-     height to armrest: 70 cm

-     depth of seat: 51 cm

-     width of seat: 53 cm

-     width of backrest: 43 cm

Description:

The entire surface of the chair is decorated with a carved motif of rhombuses in which are inscribed a rosette and blind arcades. The central part of the seat is not decorated.  The legs of the chair are decorated with incised interlinked dots.  A rosette is carved at the end of the armrests.

 

3. Legal status to date

The collection of woodcarving products known as the Mulić’s Record Museum in Konjic has not so far enjoyed the status of protection.

 

4. Research and conservation and restoration works

Since the items of woodcarving in the collection of the Mulić’s Record Museum have not been subject to a protection regime, they have undergone no professional conservation and restoration works. However, according to Mr Vila, some of the items have been repaired in their workshop.

 

5. Current condition of the property

The items of woodcarving in the collection of the Mulić’s Record Museum are in good condition and kept regularly maintained.  Until details were recorded for the purpose of adopting a decision to designate the property as a national monument, the items had not been inventoried.  Staff members of the Commission carried out an inventory, but the inventory numbers allotted to the items are inadequate.

 

III – CONCLUSION

 

Pursuant to the above, and applying the Criteria for the adoption of a decision on proclaiming an item of property a national monument (Official Gazette of BiH nos. 33/02 and 15/03), the Commission has enacted the Decision to designate the collection of woodcarving products known as the Mulić’s Record Museum in Konjic as a national monument.

The Decision was based on the following criteria:

B.  Historical value

C.  Artistic and aesthetic value

C. i. quality of workmanship

C.ii. quality of materials

C.iii. proportions

C.iv. composition

C. v. value of details

D. Clarity

D.ii. evidence of historical change

D.iii. work of a major artist or builder

D. iv. evidence of a particular type, style or regional manner

D. v. evidence of a typical way of life at a specific period

E. Symbolic value

E.iii. traditional value

E.v. significance for the identity of a group of people

G. Authenticity

G.i. form and design

G.ii. material and content

G.iii. use and function

G.iv. traditions and techniques

H. Rarity and representativity

H.iii. work of a prominent artist, architect or craftsman

I. Completeness

I.i. physical coherence

I.ii. homogeneity

I.iii. completeness

I.iv. undamaged condition

 

The following documentation is annexed to this Decision:

-                      Documentation of the Commission to Preserve National Monuments – inventory of the items.

 

Bibliography

During the procedure to designate the collection of woodcarving products known as the Mulić’s Record Museum in Konjic as a national monument of Bosnia and Herzegovina the following works were consulted:

 

1899.    Heinrich Renner, (trans. from the German by V. Drekalović), Herceg-Bosnom uzduž i poprijeko (Through the length and breadth of Herceg-Bosna) Mitrovica, 1899.

 

1985.    Šemsudin Mulić, Jnl of the National Museum (E) N.S. vol. 40. Razvoj konjičkog drvorezbarstva i put u savremeno (Development of woodcarving in Konjic and the road to modernity) Sarajevo, 1985, 1-28

 

1990.    Jusuf Mulić, Konjic i njegova okolina u vrijeme austrougarske vladavine (1878.- 1918) (Konjic and environs during the Austro-Hungarian period [1878-1918]), Konjic, 1990.

 

2001.    Mulić, Jusuf, Konjic i njegova okolina u vrijeme osmanske vladavine (1464-1878) (Konjic and environs in the Ottoman period [1464-1878]), Konjic, 2001

 

2005.    Jusuf Mulić, Konjic i njegova okolina između dva svjetska rata (Konjic and environs between the two World Wars), Konjic, 2005.

 

(1) Srećko Domić (1986-1941) of Dalmatian origin, moved to Konjic in 1921, attreacted by the Konic method of woodcarving.  The woodcarvers of Konjic were suspicious of him, though, because he introduced academism into his work, bringing confusion into their former work methods.  He experimented with various techniques, such as relief and bas relief, marquetry, staining wood to accentuate individual details and so forth.  He had a considerable influence on several young people in Konjic, prominent among them Slavko Jurić, later a professor at the School of Applied Arts in Zagreb, and Ismail Mulić. In 1939 Domić left Konjic for Belgrade, where he was killed in the bombing of 1941. (Mulić, 1985., 19)

(2) The term usually used among Konjic’s woodcarvers to describe a design composed of a network of rhomboids, squares or hexagons.

(3) Talisman, from the Arabic tilsum.

(4) All dates based on information from Sejfudin Vila

 



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