Medieval chess figure (chaser), bone, Scandinavia (?), 12th century.

7600,00 
A fragment of a medieval long bone figurine of an unspecified animal (probably a land mammal) in the form of a semi-plastic human figure. The head covered with a mitre was depicted in quite a detailed manner. On the chest there is a relief, pointed downward, which can be interpreted as an image of an ornamental belt constituting the hem of a chasuble. The lower part of the body (partially preserved) was probably entirely unornamented - smooth. At the back of the figure, the bone was heavily transformed: edges rounded, spongy structure preserved residually. The figure is placed in a Plexiglas display on a base that is a reconstruction of its lower part.

Monstrance, brass with silver-plated elements, France, ca. 1860-1890

2400,00 
Oval, spacious body in a frame decorated with floral motifs (roses, leaves). At the top is a cross placed between the angel's wings. Inside the body is a silver-plated lunula, used to place the host. At the back, a glass door on a hinge, which is typical for reliquaries or monstrances of the "personal" type. The back of the body has a rougher finish than the richly decorated front, which is standard in 19th century sacred goldsmithing. The whole is set on an ornate molded base with a round foot. The stylistic representation of the angel and the floral ornamentation of the frame are textbook examples of French sacred goldsmithing from the Second Empire (Napoleon III) or early Third Republic period. The combination of Baroque motifs (rich ornamentation, angels) with neoclassical and floral elements is typical of European sacred art of that period. Due to its size and the glass door at the back, it can be assumed that the monstrance was probably intended for domestic use in a wealthy residence or as a side altar/chapel fixture.

Patriotic-devotional gorget (ryngraf), silvered copper, painted, Poland, ca. 1768–1772

18500,00 

An exceptional, double-sided military gorget (ryngraf) from the time of the Bar Confederation (1768–1772), crafted in the form of an Amazon shield (crescent shape with raised and rounded corners, known as "buffalo horns").

Two round holes were cut in the upper corners (buffalo horns), around which old patina and traces of copper oxides are visible. These originally served for threading a cord, ribbon, or strap, enabling the gorget (ryngraf) to be suspended on the chest (over armor or a kontusz).

The edges of the shield along its entire perimeter have been carefully folded back (toward the reverse side). The edging not only protected the edges from damaging clothing, but above all significantly stiffened and strengthened the construction made of thick, forged copper sheet. The manner of this finishing bears clear traces of hand hammering.

Przeworsk belt buckle, gilt silver, Poland, 17th century.

5600,00 
The buckle was part of the fastener of the Przeworsk belt, which was part of the representative attire of the Polish nobility. It was made in the 17th century, when Przeworsk belts were gaining popularity. It was forged from silver, and traces of old gilding remain in places. The central part of the bracket is filled with a figural scene: a standing female figure between columns, with two seated women on either side. Above them are visible swans with their necks facing the central figure. Around the scene, a geometric pattern is engraved on the diagonal sides of the buckle, forming a decorative border. Rivet heads are visible at the edges. On the side there is a cast openwork application, the so-called "tongue".

Przeworsk belt buckle, silver, Poland, 17th century.

6000,00 
The buckle is a part of the fastener of the Przeworsk belt, was made of silver and dates back to the 17th century. Przeworsk belts were part of the representative attire of the Polish nobility, so the buckles were decorated with striking scenes and rich ornamentation. This is a larger, massive piece, rather intended for a man. The central part of the buckle is filled with a figural scene showing a man holding a scepter or torch, depicted between two standing griffins. The spaces between the figures are filled with single swirls and flowers typical of Baroque design. An engraved geometric pattern is placed on the slanted sides of the buckle. At the edges of the scene the heads of the fastening rivets are visible, and on the side of the buckle there is a cast openwork application, the so-called "tongue".

Table spoon, silver, Poland, ca. 1650

3400,00 
Silver tablespoon made in the Republic circa 1650.; baroque with egg-shaped scoop, on the back, at the joining of the scoop and the handle, engraved cartouche of the coat of arms with a hollow shield; the handle in the form of a flat faceted bar, decorated with engraving, originally ending in a profiled dome. Very similar spoons are held in the collection of the National Museum in Kraków (including MNK XV-307 https://zbiory.mnk.pl/pl/katalog/523365 ). The similarities are not only in size, but also in form and decoration. It is very likely that they were made in the same workshop or workshop circle.

Tablespoon, silver, Poland, c. mid-17th century.

5400,00 
A Baroque tablespoon, c. mid-17th century. Features a smooth, ovoid bowl. The bar-shaped handle is hexagonal in cross-section, profiled, and terminates in a finial. Both upper and lower sides are adorned with an engraved serpentine motif, divided into three zones. The handle's junction with the bowl forms a cartouche, embellished with a sculptural mascaron. The underside of the cartouche bears engraved initials 'GLP' and a variant of the Mogiła coat of arms.

Wooden Spoon with ‘V’ Initial, Germany, 19th Century.

520,00 

This hand-carved wooden spoon, 23 cm long, originates from Poland and is dated to the 19th century or earlier. The deep, functional bowl shows clear signs of use. The handle is adorned with serrated line carvings and a 'V' initial, likely for owner identification. A leather strap with an old collector's paper tag remains attached to the end.

In the 19th century in Poland, spoons of this type were among the basic items of everyday use on rural and pastoral farms. They were made by hand from a single piece of wood, which was part of the tradition of Polish folk craftsmanship, based on simple, durable materials.

Copies with preserved markings are rare today, documenting the development of Polish material culture and everyday practices of village life.