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AbstractThis article inquiries into Poland's current approach to the implementation of the Washington Principles on Nazi-Confiscated Art. It argues that it is more focused on the recovery of national heritage than on providing justice to Holocaust victims and their heirs. First, it discusses the outputs of the Expert Group established in 2009 to implement provenance research in line with the Washington Principles's recommendations. It explains the failure of this initiative by bringing into focus the wider context of the inheritance of the war-time displacements and splitting of collections. It argues that Holocaust victims' assets are one of many problematic items in Polish memory institutions and that the unresolved issue of post-war nationalizations are often perceived as an argument that hinders the Washington Principles's implementation. It outlines the notions of "Polish war losses" and "national cultural goods" and discusses in detail the Polish provenance research databases. It notices that restitution in Poland is increasingly considered as an important national identity-building tool and analyzes several recent educational and branding initiatives of this kind.

This article discusses the photographic surveys undertaken on Polish occupied lands in the framework of the German war-time 'Landeskunde' and 'Kunstschutz' research projects. It presents the photographic collections produced in the General Government and 'Ober Ost', held in larger and smaller archives, widely popularized both on the front and at home by means of the press, albums, scientific and popular publications, postcards, lantern lectures and exhibitions. It argues that the advancement of the front provided a unique opportunity for such explorations and that the German surveys were the first of such reach and scale to cover all of Polish territories. The article also traces the possible close collaboration between German and Polish scholars, photographers and institutions. In particular it juxtaposes the survey initiatives undertaken by the Warsaw civic societies with the projects of the 'Landeskundliche Kommission' and the Warsaw 'Hofbauabteilung'. In addition, it focuses on the close collaboration between Jan Bułhak and the German art historians in Vilnius. ; p. 113-137 ; 5 phot. ; This article discusses the photographic surveys undertaken on Polish occupied lands in the framework of the German war-time 'Landeskunde' and 'Kunstschutz' research projects. It presents the photographic collections produced in the General Government and 'Ober Ost', held in larger and smaller archives, widely popularized both on the front and at home by means of the press, albums, scientific and popular publications, postcards, lantern lectures and exhibitions. It argues that the advancement of the front provided a unique opportunity for such explorations and that the German surveys were the first of such reach and scale to cover all of Polish territories. The article also traces the possible close collaboration between German and Polish scholars, photographers and institutions. In particular it juxtaposes the survey initiatives undertaken by the Warsaw civic societies with the projects of the 'Landeskundliche Kommission' and the Warsaw 'Hofbauabteilung'. In addition, it focuses on the close collaboration between Jan Bułhak and the German art historians in Vilnius. ; s. 113-137 ; 5 fot.

This article discusses the photographic surveys undertaken on Polish occupied lands in the framework of the German war-time Landeskunde and Kunstschutz research projects. It presents the photographic collections produced in the General Government and Ober Ost, held in larger and smaller archives, widely popularized both on the front and at home by means of the press, albums, scientific and popular publications, postcards, lantern lectures and exhibitions. It argues that the advancement of the front provided a unique opportunity for such explorations and that the German surveys were the first of such reach and scale to cover all of Polish territories. The article also traces the possible close collaboration between German and Polish scholars, photographers and institutions. In particular it juxtaposes the survey initiatives undertaken by the Warsaw civic societies with the projects of the Landeskundliche Kommission and the Warsaw Hofbauabteilung. In addition, it focuses on the close collaboration between Jan Bułhak and the German art historians in Vilnius.

This article discusses the photographic surveys undertaken on Polish occupied lands in the framework of the German war-time Landeskunde and Kunstschutz research projects. It presents the photographic collections produced in the General Government and Ober Ost, held in larger and smaller archives, widely popularized both on the front and at home by means of the press, albums, scientific and popular publications, postcards, lantern lectures and exhibitions. It argues that the advancement of the front provided a unique opportunity for such explorations and that the German surveys were the first of such reach and scale to cover all of Polish territories. The article also traces the possible close collaboration between German and Polish scholars, photographers and institutions. In particular it juxtaposes the survey initiatives undertaken by the Warsaw civic societies with the projects of the Landeskundliche Kommission and the Warsaw Hofbauabteilung. In addition, it focuses on the close collaboration between Jan Bułhak and the German art historians in Vilnius.

For centuries church bells have constituted an inherent element of religious and social life. Due to their artistic and pecuniary value, the bells have also been subjected to forced removal and/or pillage. This article discusses the role of church bells as vehicles of the collective memory and cultural identity of selected ethnic and religious communities in Europe which were deeply affected by the post-World War ii territorial arrangements: namely, the Italian, Slovenian and Croatian communities of Istria and Ukrainians re-settled from Poland. Against the background of these cases it explores the clashes within various layers of international law dealing with culture and cultural heritage: humanitarian law, state succession, protection of the integrity of cultural heritage sites, and human rights. Viewed through such a lens, some suggestions are offered on how to overcome these conflicts in order to enforce the cultural rights of communities and protect their right to enjoy their material and spiritual heritage.

Going beyond strictly legal and property-oriented aspects of the restitution debate, restitution is considered as part of a larger set of processes of return that affect museums and collections, as well as notions of heritage and object status. Covering a range of case studies and a global geography, the authors aim to historicize and bring depth to contemporary debates in relation to both the return of material culture and human remains. Defined as contested holdings, differing museum collections ranging from fine arts to physical anthropology provide connections between the treatment and conceptualization of collections that generally occupy separate realms in the museum world