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Figure 1: Theatrical sheet of Max Bayrhammer’s guest performance with “Penster” by Henrik Ibsen in the city theatre Ulm, 4th. July 1920 (Photo: Bayerisches Hauptstaatsarchiv, Family Archive Bayrhammer)

Theatrical sheet of Max Bayrhammer’s guest performance with “Penster” by Henrik Ibsen in the city theatre Ulm,4. July 1920(Photo: Bayerisches Hauptstaatsarchiv, Family Archive Bayrhammer).

Figure 3: Honorary certificate for Gustl Bayrhammer for merit for the carpenter's handicraft in his role as Master Eder, 13. May 1985 (Photo: Bayerisches Hauptstaatsarchiv, Familienarchiv Bayrhammer)..

Honorary certificate for Gustl Bayrhammer for merit for the carpenter's craft in his role as Master Eder, 13. May 1985 (Photo: Bayerisches Hauptstaatsarchiv, Family Archive Bayrhammer).

Picture 2: Rolling Book by Gustl Bayrhammer 1945-1953 with his first appearances from November 1945 (Photo: Bayerisches Hauptstaatsarchiv, Failienarchiv Bayrhammer).

role book by Gustl Bayrhammer 1945-1953 with his first appearances from November 1945 (Photo: Bayerisches Hauptstaatsarchiv, Familienarchiv Bayrhammer).

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PM_Bayrhammer_BayHStA_11-02-2022.pdf

12.02.2022: Bayerisches Hauptstaatsarchiv takes over the family archive Bayrhammer

The Bavarian State Archive with the family archive Bayrhammer takes over the estates Gustl Bayrhammer and his father Max Bayrhammer. The family archive contains personal documents, awards and memorabilia of the actor dynasty Bayrhammer from 1870. This secures the written testimonies of this “artisticly ambitious family” (Gustl Bayrhammer) for the future and makes it accessible to research. Especially Gustl Bayrhammer (1922–1993), who was on 12. February 2022 would have become 100 years old, so far many are regarded as the epitome of the Bavarian folk actor. Like his father Max (1867–1942), he worked on many stages throughout the German-speaking world.

To complement official tradition, the Bayerische Hauptstaatsarchiv secures estates of political and socially important personalities. The takeover of the family archive Bayrhammer takes place on the basis of a donation agreement on the basis of the public interest and the supra-regional importance of the subcontracted persons.

Max Emanuel Bayrhammer on the 26th Born in Lower Bavaria in May 1867 as the son of a castle administrator. He took acting lessons and quickly found access to large stages, often with classic main roles. He performed at the Gardenerplatztheater Munich, the Stadttheater Wroclaw, the Weimarer Hoftheater, the Wiener Volkstheater or the Schauspielhaus Frankfurt. After the end of the First World War, the role offers became less, already from the early 1920s, he joined NSDAP fans as an entertainer and after 1933 at events of the NS organization “force through joy”. In precarious economic circumstances, he lasted only with a small doped stage contract at the Bavarian National Theatre on Water. His performances as the author of stage pieces are forgotten today.

His 1922-born son Gustl (actually Adolph Gustav Rupprecht Maximilian) Bayrhammer first received a commercial training. After his convocation in the Wehrmacht, Gustl Bayrhammer used the stationing in Berlin for a theatre training at the Schiller Theatre under Heinrich George and Gustav Gründgens. After the end of the war, together with Toni Berger (1921–2005), he took a first engagement at the Hohenzollerische Landestheater Sigmaringen. There he also met his later wife, actress Irmgard Henning (1919–2003). After more than two decades on different stages (e.g. Augsburg, Karlsruhe, the Luisenburg Festival Wunsiedel and the Landestheater Salzburg), he went to Munich in 1967. Since then, he has been involved in the Munich Chamber Games, the Münchner Volkstheater and the Bayerische Staatsschauspiel.

Gustl Bayrhammer became famous throughout the country through his TV career. As the first Bavarian investigator in the TV series "Tatort", he appeared in 15 episodes nationwide between 1972 and 1981. The television role with which it is most often associated across generations is that of the “master Eder” in the children’s series “Pumuckl”. In this international large production with at the time extremely elaborate trick drawings, he brilled as a sympathetic-grantian carpenter.

Max and Gustl Bayrhammer made their own understanding of their performances as a theatre actor. The family archive is documented by special biographical documents: Gustl Bayrhammer led over each of his roles book. The recordings range from the first performance at Theater Sigmaringen on 27th. November 1945 until his last appearance on 21st January 1993 in Munich. This written information is accompanied by equally carefully designed photo albums. His father, on the other hand, collected the theatre records and stage programs of his performances, so that his professional path can also be well tracked.

As a curiosity, the family archive contains a whole range of awards and honours such as the Bavarian Film Award, the Bambi, the Bavarian Order of Merit and even a Golden Record for the Pumuckl-Hörspiele.

TV contribution to the acquisition of the family archive Bayrhammer in the BR-Sendung "Rundschau" from 12.02.2022 [video film, about 2 minutes]
↗https://www.br.de/mediathek/video/bayerische-schauspiel-legende-100-birthday-von-gustl-bayrhammer-av:6207e19ed0f61f00084eeacc

Radio contribution to the acquisition of the family archive Bayrhammer in the BR2 radio broadcast "Die kulturWelt" from 11. February 2022 [Audio contribution, at approx. 10.00-16:50]:
↗https://www.br.de/radio/bayern2/s/kulturwelt/die-kulturwelt-vom-11-februar-2022_x-100.html

Posted on 11.02.2022, added on 14.02.2022

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Anastasia Anderson-Manahan, ca. 1952 in Unterlengenhardt (Signatur: BayHStA, NL Anastasia Anderson-Manahan 3, Photo credit: Bayerisches Hauptstaatarchiv)

22.02.2021: Who was Anastasia Anderson Manahan really?

Anastasia Anderson Manahan gained worldwide attention with her multi-filmed life history. The story of the young woman who allegedly escaped the shooting command of the Bolsheviks during the Russian Revolution as the only member of the tsar family and then hoped for general recognition in vain contained all elements of a modern tragedy. With the help of a DNA analysis on the mortal remnants of the Russian Zaren family, it was clear in 2007 that the youngest Zaren daughter was murdered together with her family. This proved that Anastasia Anderson Manahan was not the great-fearer Anastasia of Russia. For many years, friends and Plenipotentiaries from Anastasia Anderson Manahan's closest environment gathered written documents of all kinds that should prove that Anastasia was actually the daughter of the last Russian pair of fences. Thus, the so-called “Anastasia Archive”, which has now been handed over to the Bavarian Main State Archive for archiving. In addition to letters and correspondences with their supporters (many of them from high aristocratic circles), there are business documents that regulate the publishing and film marketing of their history. In addition, there are process documents and legal correspondences that document the struggle for recognition and the related legal claims over several decades. Insight into the personality structure of Anastasias give not least the wills written by her. In addition, the archive holds a variety of memories and testimony that should serve as evidence of the identity of Anastasia. With the acquisition of the estate of Anastasia Anderson-Manahan to the Bavarian Main State Archive, these documents find their final location in Bavaria, not far from Seeon in the district of Traunstein, where after their death on 12. February 1984 on the Orthodox part of the cemetery. She died in Charlottesville in the USA. The gravestone bears the years of life “1901-1984”, the name “Anastasia Manahan” in Latin and additionally the first name Anastasia in Cyrillic script. Also on the Seeoner cemetery are the tombs of relatives from the house of the dukes of Leuchtenberg. These were particularly closely connected to the Romanov's home after their origin and identity and initially acted as Anastasia's most important advocate. The Family archive Leuchtenberg has been stored in the Bavarian Main State Archive for many years.

27.6.2024: Emergency association Bayern founded

Climate change promotes natural disasters and extreme weather conditions, the consequences of which increasingly affect cultural institutions. Flood 2024 again proves that such damage events are usually no longer possible at local level alone. A cross-border networked infrastructure for the protection of cultural property with appropriate personnel and technical equipment is becoming increasingly important. In order to be better prepared for major damage events in Bavaria, leading cultural institutions join the Bavarian emergency association. First sign of the agreement the Directorate-General of the State Archives of Bavaria the Bayerische Staatsbibliothek the state office for non-governmental museums in Bavaria the Bayerische Staatsgemäldesammlungen the Bavarian National Museum Archive and Library of the Archdiocese of Munich and Freising the archive of the archbishop Bamberg the Archaeological State Collection the Federal Archive for its facility Load balancing archive Bayreuth The Bavaria emergency association supplements the existing regional emergency alliances with a supra-regional level. So far, there are already active emergency alliances in Bavaria at the locations of all state archives, i.e. in Amberg-Sulzbach-Rosenberg, Augsburg, Bamberg, Coburg, Landshut, Munich, Nuremberg and Würzburg. Other local allies are found. Minister of State Markus Blume emphasised on the signing of the agreement: “Prevention, protection and networking are best achieved together: With the establishment of the Bavarian emergency association, cultural institutions from all over the Free State join forces to quickly and extensively protect our cultural treasures. At the heart of the composite is the provision and coordination of a special emergency container for the protection of cultural property. In emergency, expert experts from the association advise and accompany the fire brigade when using the container. Thus, hand-in-hand with the operational forces, a quick, safe and precise protection of our cultural treasures is guaranteed. ‘ In the event of a major damage event, the institutions, which are combined in the Bavarian emergency association, bundle their human, technical and technical resources in order to preserve irreplaceable cultural property from loss and destruction. The first 48 hours decide on the success of a first supply, after this time, mold formation is used in wet objects. Even after that, a recovery is still possible, but the more rapid action is done properly, the better. Objectives of the Bavarian emergency association are procurement and provision of required large equipment and regular training. In the event of damage, members of the association help with recovery and initial care, the subsequent further processing is not the task of the emergency network. For the Bavarian emergency association, as large as possible facilities should be obtained, which run their own workshops or regularly supervise their own large-scale projects in the field of conservation. In this way, the facilities have the necessary expertise in order to also initiate further operational forces in the appropriate handling of crops to be fermented or already havared. A broad distribution of competence was also central. In addition to archives and libraries, large museums are represented and an important competent representative of smaller museums is represented by the state office for non-governmental museums. Whether document, book, painting or sculpture, for any kind of cultural property are specialists on board. The Federal Government supports the 2021 regions affected by floods and heavy rain during the reconstruction and the cultural facilities located there in order to cope with damage. From the funds provided for this purpose, a total of ten emergency containers are purchased with equipment and materials for the protection of cultural goods and kept ready for nationwide use. The main objective of the 10 containers to be distributed over the federal territory is the creation of a networked emergency infrastructure cultural property protection, which can also be combined. For Bavaria is currently running Production of a special container according to the model of the unrolling container of the emergency composite Cologne which has already been proven in use. Starting in the middle of 2025, this roll-off container is ready for cultural goods protection at a logistically easily accessible location in the Munich area for the supra-regional retrieval via the emergency association Bayern. The alarming takes place via the control points of the fire department, the final decision as to whether there is an occasion for a request of the container, meets the emergency association Bayern. The emergency network also alerts the team of the container – tailored to the respective affected cultural goods. Further information: Emergency allies in Germany. The coordinating body for the preservation of the written cultural goods (KEK) takes into account the emergency provision in its funding lines and supports, for example, the purchase of emergency boxes and other equipment or the preparation of emergency plans. An overview of projects funded so far in the field of emergency provision is about KEK's homepage available. Also provided on the homepage of the KEK interactive overview map of all emergency alliances in Germany. The Security Guide Kulturgut (SiLK) offers archives, libraries and museums with a free online tool the possibility of Self-evaluation to raise the level of security of your own institution and to expose vulnerabilities. The joint recommendations for emergency management in archives and libraries of the federal state bodies were recast in 2024 and are here available. More information on conservation in the field Technical information on our homepage. BU 1: Signing of the agreement “Notfallverbund Bayern” on 27. June 2024 in the Directorate-General for State Archives of Bavaria. The group picture shows (from left to right): Dr. Dirk Blübaum and Simone Schön (both: Landesstelle für die Non-State Museums in Bavaria); Archivdirektor Karsten Kühnel M.A. (Federal Archives) Prof. Dr. Johannes Merz (Archive and Library of the Archdiocese of Munich and Freising); Eva Ortner M.A. (Doerner Institute/Bayerische Staatsgemäldesammlungen); Dr. Laura Scherr and Dr. Bernhard Grau (both: Directorate-General of the Bavarian State Archives); Dr. Rolf-Dieter Jungk (Amtschef in the Bavarian State Ministry of Science and Art); Prof. Dr. Bernhard Maaz (Bayerische Staatsgemäldesammlungen); Dr. Frank Matthias Kammel (Bayerisches Nationalmuseum); Prof. Dr. Rupert Gebhard (Archäologische Staatssammlung); Dr. Klaus Ceynowa (Bayerische Staatsbibliothek); Kreisbrandrat Johann Eitzenberger (chairman of the Landesfeuerwehrverband Bayern e.V.); Dipl.-Chem. Dipl.-Ing. (FH) Jürgen Schwarz (Bayerisches Staatsministerium des Innern, für Sport und Integration); Photo: Bayerisches Hauptstaatsarchiv. BU 2: Roll-off container Cultural property protection of the emergency network Cologne; Photo: City Archive Cologne. Created on 27.6.2024

Archives of the Free State of Bavaria for “Reparation” National Socialist Unright

‘reparation files’ are important sources of historical research due to the detailed biographical information and the attached evidence. On the 7th Day of Provenance Research on the 9th April 2025 show the Bavarian State Archives with a small showcase presentation in the Bavarian Main State Archive, which provides insights into persecution skills based on this file group. The Day of Provenance Research conveys the social and scientific relevance of this research area and takes place every year on the second Wednesday in April. In the example of the persecution fate of the Jewish woman Hedwig Bobelle during the NS period, it is shown which evaluation possibilities for example offer the compensation files. The Compensation Act contains applications submitted by Hedwig Bobelle to the Bavarian State Compensation Office from 1954. These requests for damage to freedom, property and property as well as professional and economic progress illustrate, among other things, the handling of the recovery authorities with the formerly persecuted. In many cases, detailed evidence was required which were hardly to be provided, since almost everything had to be left behind on the flight, in detention and other war-related fates. It is also clear that not only cultural goods such as paintings, musical instruments or valuable books have been robbed. Everyday objects, from personal memorabilia to furnishings, were also deprived of Nazi persecution. Files such as those of Hedwig Bobelle will be made available online in the future, taking into account the legal bases. For this purpose, between 2023 and 2030 a part of the archival tradition is digitized and deepened for the “reparation” of NS injustice of the state archives of Bavaria. Development data and digitalisates are provided online via the finder database of the Bavarian State Archives and the thematic portal “Reparation of National Socialist Unright” in the “Archivportal-D”. The digitization project was initiated by the Federal Ministry of Finance, which has been responsible for the “reparation” of national socialist injustice as the top specialist authority since the early 1950s. The theme portal implements one of the following tasks of the “reparation”. The presentation is from 2 to 30. April 2025 in the Bayerischer Hauptstaatsarchiv, Schönfeldstr. 5, 80539 Munich, to see. The entrance is free. Opening hours: Monday to Thursday 8.30-18.00 Friday 8.30-13.30 closed: Good Friday and Easter Monday, 18th and 21st April 2025 Links: on the theme portal ‘Reparation of National Socialist Unright’ link to the online collection "Reparation for National Socialist Injustice" Working group Provenance research e.V. to Events on the Day of Provenance Research the Research association Provenienzforschung Bayern Poster and Flyer: Nicole Edwards, GDA. Issued on 08.04.2025, amended on 12.05.2025.