Patriotic-devotional gorget (ryngraf), silvered copper, painted, Poland, ca. 1768–1772
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.
Plaque with Suchekomnaty coat of arms and panoplies, silver and silk, Poland, 18th century.
Oval plaque made of forged silver sheet, from the second half of the 18th century, with an engraved Suchekomnaty coat of arms on a shield surrounded by panoplies, surmounted by a crown, and a monogram “P. J.” . In the 1820s–1830s the plaque was sewn onto an ornate, soft textile backing made of alternating layers of amaranth and ecru silk fabrics. The background is adorned with hand embroidery crafted from silver purl, sequins, and sheet metal appliqués forming floral compositions. Two wax seals are preserved on the reverse.
Originally, the plaque may have served a sepulchral function, placed on a coffin or above an epitaph. Its placement on a silk cushion and the presence of seals likely indicate a family and sentimental character. The panoplies resemble compositions known from gorgets of the Bar Confederation era. This may suggest that the person with the initials “P. J.” was a participant. Little is known about the object's origin; it was reportedly owned by a monk from Greater Poland.
Portrait miniature of King Augustus III, gouache and watercolor on bone, Poland, c. 1734–1750
A portrait miniature depicting Augustus III the Saxon (Wettin), King of Poland and Elector of Saxony – gouache and watercolor on a thin, semi-transparent ivory plaque. The monarch's effigy represents the iconographic canon established in the first years of his reign, immediately following his coronation in Wawel Cathedral in January 1734.
Portrait of a nobleman (Sarmacki portrait), oil on canvas, Poland, 18th century.
The portrait, originally rectangular and later cut down to an oval and relined, depicts an elderly man in noble (szlachecki) attire characteristic of the 18th century. The figure is shown half-length, facing frontally with a slight turn of the torso and one hand resting on the hip, which lends the composition a sense of dignity and static elegance.
The face, with mature features such as a high forehead, short, thinning grey hair, and subtle wrinkles — is rendered realistically, with attention to individual physiognomic traits. The gaze is calm and restrained, conveying charisma and composure, as well as an established social standing. This is further emphasized by the impressive noble (szlachecki) attire: a żupan embroidered with gold thread, a dark blue kontusz lined with red fabric, fastened with large gold buttons, and a wide, light-colored sash tied around the hips.
The painting is an excellent example of the so-called “Sarmacki portrait”, emphasizing social class affiliation, wealth, and official position. It stands out for its solid artistic craftsmanship, naturalistic treatment, and the mature age of the sitter.
Portrait of Franciszka Krasinska, oil on canvas, Poland, ca. 1760
Portret epitafijny szlachcica herbu Topór (Starża), olej na blasze miedzianej, srebrzonej, Polska, przełom XVIII/XIX w.
Przeworsk belt buckle, gilt silver, Poland, 17th century.
Przeworsk belt buckle, silver, Poland, 17th century.
Skull (Memento Mori), marble, Italy, 18th-19th century
Elegant, decorative skull made of natural gray marble, maintained in a realistic style: the eye sockets, cranial seam lines and zygomatic arches are clearly formed. The faded dentition alludes to the concept of Vanitas.
The characteristic feature of the stone used for the sculpture is irregular veining in shades of beige, cream and gray, which gives it a unique character. The surface is polished, with natural discolorations and small marks due to the properties of the material, which emphasizes the authenticity and nobility of the marble. The skull is provided with a lead pin underneath, set on a minimalist, contemporary base in black, which exposes the sculpture and gives it a museum-like character.
The object is ideal for collectors of curiosities, lovers of the art of Vanitas - Memento Mori, cabinets of curiosities and as an expressive element of interior design in classical, industrial or eclectic style. An object with a strong aesthetic and symbolic expression, which is difficult to pass by indifferently.