This Museum falls to the East of the Railway station. This museum incorporates in itself some excellent documentation on the Maharastra’s tribal communities. It mostly documents the cultures of the communities from the Sahyadri and Gondhavana regions. The museum is open for all in the week days from 10 am to 5 pm.

The idea of the National War Memorial was first put forth in 1996. The citizens of Pune, under the sponsorship of the Express Citizens’ Forum, set up the War Memorial fund. The comittee asked the citizens of the city to contribute to the fund. From the ordinary common citizen to the Big corporates, all contributed whole heartedly for the museum. The Foundation was laid in November 1997 and inaugurated in October 1998.The memorial is a 25-foot stone pillar.

This Museum is in ‘Kesari’ Press in Narayan Peth. It is only few kms away from Pune station. Any auto will take you to this place. All things used by Lokmanya Tilak are kept here. The copy of famous granth ‘Gita Rahasya’ wrote by Tilak in ‘Mandale’ is the main attraction of this museum.
Phule Wada
It was the residence of Mahatma Jyotiba Phule. It is Ganj Peth, which is a few kms away from Pune station. Now it is a National property. There is a half statue of Mural in the memory of Mahatma Jyotiba Phule at this place. Visiting this place will not be a difficult job because any auto can easily drop you at this place.

Telltale signs of modern civilization stare one in the face. Cement dampers stand outside the courtyard where once Sayajirao Gaikwad, the prince of Baroda state used to live. The Wada built by the Gaikwads is being pulled down to make way for a modern structure. This was the Wada where nightlong discussions were held on how to overthrow colonial rule. Bal Gangadhar Tilak bought the Wada from Sayajirao Gaikwad in 1905. Tilak brought out his two newspapers, the Kesari, in Marathi and Maratha in English from here. The Wada continues to house the offices of Kesari, and mementos of Tilak, including his writing desk original letters and documents, and the first India national flag unfurled by Madame Cama. A statue of Tilak indicates the building in which he resided. The Wada is visited by a large number of people during the Ganapati festival, the public celebrations of which we started by Tilak in the courtyard of this Wada over a century ago. Kesari Wada
Telltale signs of modern civilization stare one in the face. Cement dampers stand outside the courtyard where once Sayajirao Gaikwad, the prince of Baroda state used to live. The Wada built by the Gaikwads is being pulled down to make way for a modern structure. This was the Wada where nightlong discussions were held on how to overthrow colonial rule. Bal Gangadhar Tilak bought the Wada from Sayajirao Gaikwad in 1905. Tilak brought out his two newspapers, the Kesari, in Marathi and Maratha in English from here. The Wada continues to house the offices of Kesari, and mementos of Tilak, including his writing desk original letters and documents, and the first India national flag unfurled by Madame Cama. A statue of Tilak indicates the building in which he resided. The Wada is visited by a large number of people during the Ganapati festival, the public celebrations of which we started by Tilak in the courtyard of this Wada over a century ago.

Dr. Babasaheb Ambedkar is a name in the Indian Freedom struggle which cannot be overseen by anyone. He was the one who wrote the Indian Constitution. As soon as you enter the Museum one gets to know many things about this man right from his birth till his death. As you enter from the door to your left there is a chair, on which Dr. Ambedkar wrote the constitution for a country with various religions, castes, creeds etc.
The two chairs, on which Dr. Ambedkar used to rest could be seen. In the same way his footwear, the clothes and a fur cap remind about the 4th conference on Buddhism held in Nepal (14 Nov 1953). His travel accessories and gardening scissors, the dining table and chairs on which Ambedkar’s family had their food, their utensils which give an idea of his family life, reminding the precious time of his life is a wall clock, his two suitcases which he took while traveling outside India and the Violin which Babasaheb used to learn could also be seen. The bed on which Dr. Babasaheb Ambedkar breath his last and the portrayal of his lying on that bed can be seen.
There is a silver ink bottle on which the Queens picture can be seen, which was presented to him by the then Governor General of India Lord Mount Batten . In the same way a letter in his own hand writing, night lamp, a paper weight on which the name of Babasaheb Ambedkar has been carved, on the small cupboard the silver frame of this specs are kept in the museum. After the museum finishes we see a statue of his which is made up of marble. When you climb up the stairs you can see the lines written on the Bharat Ratna award which he received from President K. R. Venkatraman. It is worth spending time in this museum.

This is a three storey is famous for its entrance which is surrounded by balcony. 300 years back Bajirao Peshwas ( II ) built this place. The carved woodwork of the balcony which surrounds the entrance of this building is the example of the fine work of ancient Peshwa Art. The wood used is pure processed Saag. It is 78 feet wide and 66 meters long. After Peshwas this place was used as a jail. Pune Municipal Corporation is soon changing this place as museum. It is a 3 floor building in the heart of the city on Bajirao road, next to Laxmi road the huge market for clothing. About 1 lacks of Rupees were spent to built this building at that time. The entire construction is of bricks.

The building built in the memory of Mahadji Scindia who was great Maratha noble man. It is about 4kms away from Pune camp. The carving and beauty of the temple is worth a look.

Dr. Dinkar Kelkar started collecting exhibits around 1920 and one by one, section by section he raised the collections to around 15,000 objects of great attraction till the year 1960. He was very much fond of showing these exhibits to his friends and visitors in the same way as he wanted them to grasp his poems. Gradually the collection became a point of great attraction even to the visitors abroad. Dr. Kelkar could then easily win the minds of the authorities of the local bodies and of the State Govt. as well as of private institutions all over India, who came forward to help him to further collect the exhibits and convert the collection into a Regional Museum for Western India.

It was to the credit of Shri. Y.B. Chavan , the then Chief Minister of Maharashtra and Shri. P.J. Chinmulgund, the then Education Secretary of the State Govt. that the one man collection could take the shape of a real Museum. In fact the names of such institutions, state – authorities and luminaries who contributed towards the building of this Museum are too many to be enumerated here.

As a result of this public appreciation Dr. Kelkar decided in the year 1962 to hand -over his collection to the Dept. of Archaeology, Govt. of Maharashtra for developing it as a Regional Museum with better display and maintenance of its exhibits.

The Mastani Mahal situated on the same floor reminds one of the romantic and heroic life of the Bajirao Peshawa the first in the company of his beloved Mastani.

On the other part of the ground floor the museum has arranged more valuable Ivory objects, namely Ink-Pots, House-Shrines, Toilet Utility objects, Games and Playing Cards (‘Ganjeefa’).

On the ‘L’ passage of the ground floor at the entrance have been arranged the artistically decorated doors and windows along with their panels and brackets with proper settings on the wall, so that one gets the impression of being just in front of the then existing house from where the particular doors have been collected. The stone sculptures displayed here along the wall un mistakeably appeal to the aesthetic sense of the visitor.

n the other part of the 2nd floor are exhibited the Bronzes, the Lamps of profuse variety, the Tambool artifacts and the writing materials along with the decorative Ink-pots. Mention worthy are the Sun-Lamp from Nepal and the Kadamba. tree Lamp with the Raasa-Lila depicted on it

In the Vanita Kaksha of the New Building, also situated on the ground floor, one can very well visualise how a day is begun by an Indian woman involving the use of Vajris i.e. foot cleaners, the mirrors, the combs, the collyrium-boxes and the Kumkum caskets.

In the smaller room before we enter the Gujrat Gallery, the Museum has displayed the Indian Paintings of different kinds belonging to 17th to 19th Century, i.e. Glass Paintings , cloth paintings, paintings on parchment, paintings on leather and paper.

The other part of the 1st floor is occupied by the beautiful collection of the Musical Instruments of various kinds namely the beating (drums etc.) Most remarkable among the beating instruments is the “Khol” of Keshavrao Bhole;among the blowing instruments the “Flute of Pannalal Ghosh” and among the string instruments the “tanpura os Sawai Gandharva” and “Mini Tanpura of  Bal Gandharva” and also the Taar Shehnai of Madukar Golwalkar.The Museum proposes to pour music into these instruments by making them enjoyable through Casset-Recording .In a small section of the Musical Instruments Gallery, the Museum has displayed the Objects of Tribal art, Hubble-Bubbles and pipes.

In the gallery of the Kitchen utensils on the first floor amazing are big vessels for cooking food in large quantity normally served in festivals and marriage-parties. There are also big containers of liquid and those used for storing food grains. This gallery also exhibits the day-to-day used kitchen wares, with artistic touch as Vegetable-Cutters, Spice-Boxes and Utensils in different material : wood, metal, stone, hide, papiermache, terracotta. ceramin etc. The measures in wood, the Kiln belonging to 16 th Cent. and the Noodle Stands also attract the mind of the visitors.

On the third floor space has been provided for special Exhibition in which attempt is made to exhibit sections which cannot be displayed in the permanent show. Presently there is a special exhibition on armours and Tulsi Vrindavans. For children there are toys and masks to educate and entertain.

At the Exit  of the Museum there have been arranged the artistically decorated doors and windows of temples and the then existing houses from various parts of India.

In the gallery of Textile on the 2nd floor figure mainly the textiles from different parts of the country. While the paithanies from Paithan of Maharashtra with Jari-work and Embroidery impress upon the visitors the richness of style of garments of the olden times, the Rabari garments take him to the prominent folk style in Gujarat, Kutch and Kathiawad.

A library with Books on Art, History and Conservation is also a must for the Museum which has one of its important tasks to understand and make known the culture tradition of the country in the light of the exhibits. The Museum has taken proper care to built up a collection on important books on Art, History, Architecture and so on.

A Museum in modern times is expected, if not much to collect, keeping in view the financial constrains, at least to preserve and present the variety of exhibits in its collection, in order to generate interest and curiosity about our past. The Museum has rightly equipped itself with a conservation Laboratory with modern most instruments and it is adopting up to date techniques to display the exhibits.

1) Special  Exhibition on Paithan Paintings.

2) To make Video Cassetts on Museum and arrange lectures with slide  show.

3) Five year programme for the Birth-day Centenary of Late Dr. D. G. Kelkar(10th Jan 1996 ) i.e. New Building Construction, Publication, raising Museum Funds, to arrange lectures and seminars etc.

The Museum has at present a collection of 20,000 objects divided into 40 sections , among which prominently figure the attractive Lamps, Paintings, Tambool objects, Musical Instruments, Wood – work and so on , housed in a three storey building located at 1377 and 1378,Shukrawar Peth in Pune. The important exhibits in the various sections have been displayed in the properly illuminated show-cases in the different galleries.

In the year 1975 the Museum was taken over by the education Dept. of the State Govt. for further development and expansion. A board of Management was appointed as per  the Agreement executed between Lt. Dr.Kelkar  and the State Govt. to take proper care of administration and growth of the Museum.

Shivaji’s father Shahaji who was a Sardar in the Bijapur Sultanat, was given territories in Pune. At that time he was residing in Bangalore. He decided to send his wife Jijabai and his son Shivaji to Pune. In 1636 AD for their residence he built a palace for them, to which he named Lal Mahal. Shivaji stayed here for many years until he conquered his first fort.
Lal Mahal was renovated by Pune Municipal Corporation in 1988.

It is a red brick structure standing very prominently in the heart of the city. There is a statue of “Jijamata” ( Shivaji’s Mother ). There is the impressive representation, showing young Shivaji plowing the land with a golden plough, with mother Jijabai and Guru Dadoji Konddev looking at him. This place is just next to Shaniwarwada. Four Umbrellas on terrace is the attraction of the Mahal. This is the same place where Shivaji Maharaj cut Shaistekhan’s fingers when he was trying to run away from one of the windows of the Lal Mahal. Pictorial representation of incidents from Shivaji Maharaja’s life could be seen on the walls of this palace. Jijamata Garden has also been made in this place. Kids senior citizens spend their evenings happily here.