Relevant bibliographies by topics / Kunstkammer

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Kunstkammer'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Kunstkammer"

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Brzezińska, Anna Maria. "Jan Švankmajer’s Kunstkammer: Every thing means everything." Journal of Education Culture and Society 11, no. 2 (2020): 343–52. http://dx.doi.org/10.15503/jecs2020.2.343.352.

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Thesis. Jan Švankmajer’s Kunstkammer is a project with a complex constellation of meaning that defies clear-cut categorization in the context of Pomian’s theory of semiophores. 
 Discussed concepts. The paper describes the kunstkammer art project created by Jan Švankmajer, a Czech surrealist, in the context of Pomian’s theory of semiophores and compares it to traditional and historical equivalents, using the concepts of micro- and macrocosm, the world as a stage (Theatrum Mundi), hermeticism, and alchemy. 
 Results and conclusion. Jana Švankmajer’s Kunstkammer should be analyzed primarily in the individual and subjective context, rather than in the social one. 
 Originality/cognitive value of the approach. Pomian has described many examples of traditional kunstkammers, but there are also several modern collections that have not yet been described in the literature.
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Brzezińska, Anna Maria. "Kunstkamera Jana Švankmajera, czyli wszystkie rzeczy wszystko znaczą." Ogrody Nauk i Sztuk 9 (August 15, 2019): 509–17. http://dx.doi.org/10.15503/onis2019.509.517.

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Teza. Kunstkamera Jana Švankmajera to projekt o skomplikowanym układzie znaczeń, którego nie można jednoznacznie przyporządkować do jednej kategorii w kontekście teorii Krzysztofa Pomiana o semioforach.
 Omówione koncepcje. Artykuł opisuje artystyczny projekt kunstkamery czeskiego surrealisty Jana Švankmajera w kontekście teorii semioforów Krzysztofa Pomiana oraz porównuje ją do jej tradycyjnych i historycznych odpowiedników odwołując się do koncepcji mikro- i makrokosmosu, teatru świata, hermetyzmu i alchemii.
 Wyniki i wnioski. Kunstkamerę Jana Švankmajera powinno analizować się w kontekście nie tylko społecznym, ale przede wszystkim indywidualnym i subiektywnym. 
 Oryginalność/wartość poznawcza podejścia. Krzysztof Pomian opisywał różne przykłady tradycyjnych kunstkamer, tymczasem istnieje kilka współczesnych przykładów tego typu kolekcji, wcześniej nieopisanych w publikacjach w języku polskim.
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Konzen, Niklas. "württembergische Kunstkammer." Rundbrief, no. 15 (February 2, 2023): 1–3. http://dx.doi.org/10.53458/rb.vi15.5251.

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Warren, J. "Die Munchner Kunstkammer." Journal of the History of Collections 22, no. 1 (2009): 154–57. http://dx.doi.org/10.1093/jhc/fhp048.

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MacGregor, A. "Det Kongelige danske Kunstkammer 1737 / The Royal Danish Kunstkammer 1737." Journal of the History of Collections 4, no. 1 (1992): 149–50. http://dx.doi.org/10.1093/jhc/4.1.149.

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Gundestrup, Bente. "The Royal Danish Kunstkammer." Museum International 40, no. 4 (1988): 186–89. http://dx.doi.org/10.1111/j.1468-0033.1989.tb01346.x.

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Gundestrup, Bente. "La Kunstkammer royale danoise." Museum International (Edition Francaise) 40, no. 4 (2009): 186–89. http://dx.doi.org/10.1111/j.1755-5825.1989.tb01153.x.

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Bubryák, Orsolya. "Kunstkammer in Schrift und Bild." Acta Historiae Artium 60, no. 1 (2019): 161–84. http://dx.doi.org/10.1556/170.2019.60.1.7.

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Bass, Marisa Anne. "Joris Hoefnagel and the Kunstkammer." Zeitschrift für Kunstgeschichte 83, no. 1 (2020): 122–34. http://dx.doi.org/10.1515/zkg-2020-1006.

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Schweinitz, Anna-Franziska von. "Kirchberger Kunstkammer in Schloß Neuenstein." Württembergisch Franken 71 (November 8, 2023): 179–259. http://dx.doi.org/10.53458/wfr.v71i.8310.

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Dissertations / Theses on the topic "Kunstkammer"

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Mitchell, Sarah. "The Kunstkammer object in seventeenth-century Salzburg : a case study, early modern collections, transformation and materiality." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83130.

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The phenomenon of princely and scientific collections that proliferated in Europe during the sixteenth and seventeenth centuries has become an important focus for modern historical analysis. These collections provide a microcosm of contemporary political, economic and philosophical ideas, often characterized by geographical and cultural differences. The mid-seventeenth century Kunst- and Wunderkammer studied here, instituted by the archbishops of Salzburg, brings forward themes sometimes neglected in the literature. The archbishops' collection was part of broader efforts to reinvent the city of Salzburg as a representation of both sacred and secular authority. Strategies for significant display were derived from religious and imperial ritual, drawing on the potential of objects as signifiers. In this context, I also examine some of the debates within the literature on princely and scientific collections, where the study of wonder and science begins to merge in cross-disciplinary scholarship. Finally, I highlight the role of transformation and materiality in these collections to argue that the act of collecting objects and the act of making were imbricated in the process of self-definition. Within themes of technology and process, I investigate the pursuit of creating Kunstkammer objects, as well as the business of their display and use in diplomacy.
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Pate, Jennifer Ashley. "The Encyclopedic Collections of the Metropolitan Museum of Art and the Rudolfine Kunstkammer as Expressions of Power." VCU Scholars Compass, 2007. http://hdl.handle.net/10156/1622.

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Tondorg, Britta. "From Kunstkammer to art museum : exhibiting and cataloguing art in the Royal collection in Copenhagen, in the eighteenth and nineteenth centuries." Thesis, Courtauld Institute of Art (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.417701.

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Melzer, Christien. "Die "Reglirung dero Estampen-Cabinets" : zur Entstehung und Entwicklung der Graphik- und Zeichnungssammlung in Dresden von der Gründung der Kunstkammer (1560) bis zum ersten Inventar des Kupferstich-Kabinetts (1738)." Paris, EPHE, 2009. http://www.theses.fr/2009EPHE4017.

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Dans les collections électorales de Dresde, et en particulier dans la Kunstkammer (fondée vers 1560) ainsi que dans la bibliothèque (fondée vers 1556), toutes deux faisant partie d'un "théâtre encyclopédique", se développa une véritable collection d'estampes et de dessins. Il est possible de reconstruire ce stock des gravures et dessins selon des groupes iconogpraphiques et des artistes et de le comparer avec les collections contemporaines de Munich, Ambras et Prague. C'est seulement dans les années 1720 que le Kupferstich-Kabinett est effectivement constitué. Au moment de son aménagement sous le prince électeur Frédéric Auguste 1er (1670-1733), une partie des oeuvres est issue des collections plus anciennes, le reste a été acquis pendant les premières décennies du XVIIIe siècle. La nouvelle disposition du cabinet devait satisfaire un nouveau goût et indique le changement des taxonomies et la naissance des sciences modernes. L'étude poursuit la formation d'un stock d'oeuvres graphiques dans les collections électorales de 1560 à 1600, son développement au XVIIe siècle et le processus de systématisation entre 1700 et 1738. Une dernière section traite des tendances théoriques au début du XVIIIe siècle et ouvre une perspective comparative avec l'analyse d'autres collections européennes. L'étude tient compte non seulement de l'histoire de la gravure et des intérêts de représentation à la cour, mais aussi des questions administratives, le rôle des artistes et marchands, les principes de systématique bien que de la fonction des oeuvres. On découvre de vastes changements de paradigmes concernant l'ennoblissement de la gravure et son développement vers un art autonome<br>A veritable collection of prints and drawings developed within the electoral collections of Dresden, particulary in the Kunstkammer (founded around 1560) and the library (founded around 1556), both of which were part of an "encyclopedic theatre". It is possible to reconstruct this stock of prints and drawings according to iconographic groups and artists and to compare it to contemporary collections like in Munich, Ambras und Prague. But the Kupferstich-Kabinett itself was established only in the 1720's. During its institutinalization under the elector Frederic August I (1670-1733), a part of the works of art was taken from those older collections, another part was acquired during the first decades of the 18th century. The new disposition of the cabinet had to satisfy a new taste, indicating the change of scientific taxonomies and the origin of modern science. The study pursues the formation of a stock of graphic works in the electoral collections between 1560 and 1600, its developement during the 17th century and the process of systematization between 1700 and 1738. A last chapter deals with theoretical tendencies at the beginning of the 18th century and presents a comparative perspective by analysing other European collections. The study no only takes the history of printing and interests of representation and power at court into consideration, but also questions of administration, the role of artists and merchants, principles of systematization as well as the functional use of prints and drawings. With that it is possible to comprehend extensive paradigm changes concerning the ennobling of the graphic arts and their development towards autonomy
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Guarneri, Cristiano <1979&gt. "Architettura del sapere: la Kunstkamera di Pietro il Grande." Doctoral thesis, Università Ca' Foscari Venezia, 2010. http://hdl.handle.net/10579/1029.

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Il soggetto di questo studio è un edificio: la Kunstkamera di San Pietroburgo, i cui lavori di costruzione iniziarono nel 1718 su commissione dello zar Pietro il Grande. Al suo interno furono creati oltre alle sale espositive, come suggerisce il nome stesso, anche un teatro anatomico, un planetario, un osservatorio astronomico e la biblioteca dello zar, nell’idea di farne la sede dell’Accademia delle Scienze, un’altra istituzione di Pietro il Grande. Quindi non solo una kunstkammer ma anche un centro di ricerca scientifica, non troppo dissimile negli intenti ad un moderno museo. Lo studio ha affrontato l’argomento in tre stadi, approccianti il tema con tre differenti lenti d’ingrandimento: il contesto – la città; il contenuto – le collezioni; il contenitore – l’edificio. Nel primo capitolo è stata analizzata la posizione strategica della Kunstkamera nella pianificazione urbana della nuova capitale, San Pietroburgo, e quindi il ruolo, altrettanto strategico, dell’Accademia delle scienze nell’ampio piano di riforme promosse da Pietro il Grande. Il secondo capitolo, dedicato alle collezioni, è stato incentrato sulla figura di Pietro il Grande come collezionista. Attraverso lo studio delle molteplici sistemazioni delle collezioni, prima a Mosca e successivamente a San Pietroburgo, si è potuto delineare il ruolo assegnato alla Kunstkamera nel programma collezionistico organizzato negli anni 1718-19. Infatti mentre le statue antiche e moderne acquistate in Italia venivano sistemate nel Giardino d’Estate ed i quadri comprati sul mercato olandese e fiammingo trovavano posto nei padiglioni della residenza estiva di Peterhof, i reperti della kunstkammer furono spostati dalle residenze dello zar alla loro prima sistemazione pubblica, il palazzo di Kikin. Quella del palazzo di Kikin non era però che una collocazione temporanea, poiché sempre nel 1718 – e siamo al terzo capitolo della tesi – fu posta la prima pietra della Kunstkamera. Il cantiere fu estremamente travagliato e le sue vicende sono analizzate nel dettaglio, tramite documenti d’archivio e disegni inediti. Ebbero un ruolo non trascurabile nella progettazione e nella costruzione della Kunstkamera ben tre architetti, il tedesco Georg Johann Mattarnovy, lo svizzero Nicolaus Friedrich Härbel e l’italiano Gaetano Chiaveri, un astronomo, il francese Joseph-Nicolas Delisle, e ancora molti altri operai, come muratori, carpentieri, intagliatori, pittori e decoratori. Non furono tuttavia solo queste le personalità che presero parte nell’attuazione di questo progetto architettonico e scientifico. Da un lato Gottfried Wilhelm Leibniz fornì il progetto dell’Accademia delle scienze, in cui kunstkammer, laboratori e biblioteche avevano un ruolo centrale; dall’altro l’alsaziano Johann Daniel Schumacher, bibliotecario di Pietro il Grande, organizzò dapprima l’acquisto delle collezioni e l’ingaggio degli studiosi, quindi guidò il completamento dell’edificio e l’allestimento dell’esposizione dopo la morte dello zar. La parabola di questo singolare esperimento di edificio si concluse nel 1747, quando un incendio ne bruciò la porzione sommitale e, con esso, anche parte delle sue preziose collezioni.<br>This study’s main topic is a building: the Kunstkamera in St. Petersburg, built starting from 1718 by the Tzar Peter the Great. Inside it, besides the exhibition rooms, as the name suggests, also an anatomic theatre, a planetary, an astronomical observatory and the Tzar’s library were arranged, with in mind the idea making it the seat of the Academy of sciences, another Peter the Great’s creation. So not only a kunstkammer but also a scientific research center, not far in intents to a modern museum. This topic is developped into three steps, approaching it with different magnifing lenses: the context, or the city; the content, or the collections; the container, or the building. In the first chapter is analysed the Kunstkamera strategic position in the urban planning of the new capital, St. Petersburg, and the role, equally strategic, played by the Academy of sciences in the reforms plan promoted by Peter the Great. The second chapter, devoted to collections, focus on the figure of Peter the Great as collector. Through the study of the collections different arrangements, before in Moscow and then in St. Petersburg, it was possible to point out the role assigned to Kunstkamera in the Peter the Great’s collecting program, especially drawn in the years 1718-19. Infact, while the ancient and modern statues purchased in Italy were arranged in the Summer Garden and the pictures bought on the Netherlandish and Flamish market found a place in the Peterhof’s pavillions, the kunstkammer’s objects were moved from the Tzar’s residences to their first pubblic settlement, the Kikin Palace. That of the Kikin Palace was only a temporary arrangement, because again in 1718 – and this is the dissertation’s third chapter – the Kunstkamera’s first stone was laid down. The construction was very long and complex and the events are sharply shown through unissued archival documents and drawings. Three architects, the German Georg Johann Mattarnovy, the Swiss Nicolaus Friedrich Härbel, and the Italian Gaetano Chiaveri, one astronomer, the French Joseph-Nicolas Delisle, and many other workers, like masons, carpenters, carvers, painters and decorators, had a part in the project and construction of the Kunstkamera. But not only these were the personalities involved in this architectural and scientific project. Gottfried Wilhelm Leibniz gave the ideas for the Academy of sciences’ project, where kunstkammer, laboratories and libraries played a central role; and again the Peter the Great’s librarian, Johann Daniel Schumacher, was important: before he organised the collections purchase and the scientists enrolment, than he drove the building accomplishment and the exhibition display after the Tsar’s death. The parabola of this singular building experiment ended in 1747, when a fire burned out the Kunstkamera’s upper part and, with it, a part of its precious collections.
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Collet, Dominik. "Die Welt in der Stube : Begegnungen mit Außereuropa in Kunstkammern der Frühen Neuzeit /." Göttingen : Vandenhoeck & Ruprecht, 2007. http://catalogue.bnf.fr/ark:/12148/cb41179725p.

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Mangieri, Scott J. "Curiosity and identity in Cornelius Gijsbrechts' trompe l'oeil studio walls." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 52 p, 2008. http://proquest.umi.com/pqdweb?did=1597631101&sid=11&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Hinrichs, Kerstin. "Bernstein, das "Preußische Gold" in Kunst- und Naturalienkammern und Museen des 16. - 20. Jahrhunderts." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2010. http://dx.doi.org/10.18452/16089.

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Bernstein, in seiner natürlichen Form und auch kunstvoll bearbeitet, gehörte zu den raren und wundersamen Dingen, mit denen Naturgelehrte und Fürsten ihre Mineraliensammlungen, Raritäten-, Kunst- und Wunderkammern und Naturalienkabinetten gerne bestückten. Geschenke aus diesem seltenen Stein waren chwillkommen. Besonders geschätzt wurden Zufallsbilder und Bernsteine mit pflanzlichen und tierischen Einschlüssen (Bernsteininklusen). Einschlüsse von größeren Tieren, wie Fröschen, Eidechsen und Fischen, wurden künstlich hergestellt. Die Echtheit dieser Inklusen wurde zunächst jedoch nicht angezweifelt. Der Platz des Bernsteins in diesen frühen musealen Einrichtungen war, wie der jedes anderen Sammlungsgegenstandes, nicht fest und endgültig. Er war eng an die Entwicklung des Sammlerwesens geknüpft und abhängig vom Wissen ihrer Betreiber über das Universum im Allgemeinen und über den Bernstein im Besonderen. Wobei die persönliche Wertschätzung, die dem Bernstein entgegengebracht wurde, eine wichtige Rolle spielte. Die Sammlungen bildeten und bilden bis heute die Grundlage für die wissenschaftliche Erforschung des Bernsteins und darüber hinaus für die Erforschung der Erdgeschichte.<br>Carefully worked pieces of naturally occurring amber were seen as rare and wondrous objects by scientists and rulers who avidly collected them to add to their mineral or art collections or their curiosity and specimen cabinets. Gifts of this rare stone were very well received. Amber inclusions containing plants and animals were particularly sought after. Amber pieces containing larger creatures such as frogs, lizards and fish were produced artificially and their authenticity was not, at least initially, doubted. However the place of Amber in these early museum-like settings, was not, as was the case for all other objects in these collections, definitively guaranteed. Its position was closely linked to the development of collectors and dependent on its owner’s knowledge both more generally about the world and about amber in particular; the individual view that collectors took about the worth of amber therefore played an important role. These collections provided and still provide the basis for scholarly research of amber and beyond that of geology.
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Driessen, Jozien J. "De "Kunstkamera" van Peter de Grote : de Hollandse inbreng, gereconstrueerd uit brieven van Albert Seba en Johann Daniel Schumacher uit de jaren 1711-1752 /." Hilversum : Verloren, 2006. http://catalogue.bnf.fr/ark:/12148/cb40939376w.

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Proefschrift--Universiteit van Amsterdam, 2006.<br>Étude ayant pour point de départ une recherche menée pour l'exposition "Peter de Grote en Holland", présentée au Musée de l'Ermitage à Saint-Pétersbourg en 1996, puis au "Amsterdams historisch museum" en 1997. Bibliogr. p. 317-334. Résumé en anglais.
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Fetté, Mirka Campbell. "Saving political face : the structures of power in Hans von Aachen’s Allegories on the long Turkish war." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3218.

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Hans von Aachen, court artist to the Habsburg Holy Roman Emperor Rudolf II in Prague, created a series of small painting called the Allegories on the Long Turkish War. Von Aachen made the Allegories between 1604 and 1606 and Rudolf II kept them bound in a red book in his Kunstkammer. This series selects events and battles from the Long War against the Ottoman Empire, 1593-1606, to create a flattering propagandistic image of the emperor in order to strengthen his support. Rudolf’s brother, Archduke Matthias of Austria, began plotting against the emperor beginning in 1600. By 1606 he was actively usurping Rudolf’s political power. I examine von Aachen’s visual description of imperial power, the alternate history the Allegories present, and the ways they engage with Neo-Platonic theories to convey validity to viewers. In my thesis, I outline the events of the Long War in order to compare them to von Aachen’s portrayals and to understand how he restructures chronological history to convey his message about Rudolf’s rulership. I briefly analyze each painting but I focus primarily on the eighth scene, the Conquest of Székesfehérvár. Sultan Mehmed III sits opposite Rudolf II in dignified defeat in this painting. I investigate the visual treatment of the sultan through the historical interactions between the Ottoman and Holy Roman Empires and propose the political function served by depicting him as a noble enemy. I finally discuss the way von Aachen uses symbols and allegory to convey a potent message and convince the viewer of its validity. Ultimately, these works should be seen as political propaganda used to combat Rudolf’s brother Archduke Matthias’ political takeover and not as Rudolf’s fantastical escapism from his losing battle against his brother.<br>text
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Books on the topic "Kunstkammer"

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Georg, Laue, ed. Bernstein: Kostbarkeiten europäischer Kunstkammern = Amber : treasuries for European Kunstkammer. Kunstkammer Georg Laue, 2006.

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Dorothea, Diemer, Sauerländer Willibald, and Bayerische Akademie der Wissenschaften, eds. Die Münchner Kunstkammer. Bayerische Akademie der Wissenschaften, 2008.

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Dorothea, Diemer, Sauerländer Willibald, and Bayerische Akademie der Wissenschaften, eds. Die Münchner Kunstkammer. Bayerische Akademie der Wissenschaften, 2008.

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Kunstkammer, Kunsthistorisches Museum Wien, ed. Meisterwerke der Kunstkammer. Kunsthistorisches Museum Wien, 2010.

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Denmark), Kunstkammeret (Copenhagen, ed. Det Kongelige danske Kunstkammer 1737 =: The Royal Danish Kunstkammer 1737. Nationalmuseet, 1991.

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Laue, Kunstkammer Georg, ed. Kostbare Bestecke für die Kunstkammern europas =: Precious cutlery for European Kunstkammer. Kunstkammer Georg Laue, 2010.

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Claudia, Kryza-Gersch, ed. Masterpieces of the Kunstkammer Vienna. Kunsthistorisches Museum, 2013.

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Angelmaier, Ursula. Silberhirsch & Wunderprunk in der Kunstkammer Würth. Swiridoff, 2015.

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author, Haslauer Wilfried, Himmelein Volker 1940 author, Resmann Elisabeth author, et al., eds. Wunderkunst: Erlesenes aus der Kunstkammer Würth. Swiridoff Verlag, 2018.

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Laue, Kunstkammer Georg. Möbel für die Kunstkammern Europas: Kabinettschränke und Prunkkassetten = Furniture for European kunstkammer : collector's cabinets and caskets. Kunstkammer Georg Laue, 2008.

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Book chapters on the topic "Kunstkammer"

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Meadow, Mark A. "Kunstkammer." In Encyclopedia of Renaissance Philosophy. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-02848-4_938-1.

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Meadow, Mark A. "Kunstkammer." In Encyclopedia of Renaissance Philosophy. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-14169-5_938.

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Balchin, Scott. "Die Kunstkammer." In Algebra and Applications. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-75035-0_18.

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Braungart, Wolfgang. "Die Utopie Der Kunstkammer." In Die Kunst der Utopie. J.B. Metzler, 1989. http://dx.doi.org/10.1007/978-3-476-03277-5_4.

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Macgregor, Arthur. "Die besonderen Eigenschaften der „Kunstkammer”." In Macrocosmos in Microcosmo. VS Verlag für Sozialwissenschaften, 1994. http://dx.doi.org/10.1007/978-3-663-10698-2_3.

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Boström, Hans-Olof. "Philipp Hainhofer: Seine Kunstkammer und seine Kunstschränke." In Macrocosmos in Microcosmo. VS Verlag für Sozialwissenschaften, 1994. http://dx.doi.org/10.1007/978-3-663-10698-2_24.

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Bencard, Mogens. "Eine private fürstliche Kunstkammer: Rosenborg 1718/Gottorf 1694." In Macrocosmos in Microcosmo. VS Verlag für Sozialwissenschaften, 1994. http://dx.doi.org/10.1007/978-3-663-10698-2_14.

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Wiener, Christine Barraud, and Peter Jezler. "Die Kunstkammer der Bürgerbibliothek in der Wasserkirche in Zürich." In Macrocosmos in Microcosmo. VS Verlag für Sozialwissenschaften, 1994. http://dx.doi.org/10.1007/978-3-663-10698-2_36.

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Greyerz, Kaspar von. "Joseph Furttenbach: Autobiograph, frommer Lutheraner, kultureller Mediator, Kunstkammer-Patron." In Lebenslauff 1652-1664. Böhlau Verlag, 2013. http://dx.doi.org/10.7788/boehlau.9783412216146.9.

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Schlegel, Konrad. "Aus der Wiener Kunstkammer. Fragmente zur Rolle der Kleinplastik bei Julius von Schlosser." In Wiener Jahrbuch für Kunstgeschichte LXVI. Böhlau Verlag, 2021. http://dx.doi.org/10.7767/9783205214458.9.

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Conference papers on the topic "Kunstkammer"

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Sobolev, Vladimir. "‘Receipt/housekeeping notebook’ of I. G. Baсmeister as a source on the history of the Kunstkammer. 1776–1783". У Monuments of archaeology in studies and photographs (in the memory of Galina Vatslavna Dluzhnevskaya). Institute for the History of Material Culture Russian Academy of Sciences, 2018. http://dx.doi.org/10.31600/978-5-907053-08-3-2018-300-302.

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