Gillis van Tilborgh (ca. 1625 – ca. 1678) – workshop or circle, Interior of an inn with backgammon players, oil on duplicated canvas, Netherlands, ca. 1650-1670
Govert Camphuysen (1623/1624-1672) – attributed, Landscape with cattle grazing in front of a hut, oil on board
In front of the village thatched hut, sheep, a cow and a goat are grazing. Next to it, a villager is sleeping under a tree. To the left of the composition, a second scene is visible: a man leading a bull over a small bridge over a stream. In the background is a landscape with trees and gentle hills, and the sky occupies a large part of the painting, building the mood of the whole scene. What draws attention is the exquisite way in which the animals are depicted. This was a specialty of Camphuysen, whose work was inspired by the style of Paulus Potter. Warm, earthy colors dominate - browns, ochres, dim greens and broken yellows. The light is soft, diffused, as if in the early morning or towards evening. The sky has shades of gray, beige and soft pink, suggesting changing weather or impending dusk. The contrast between the bright sky on the left and the darker, more saturated part with the cottage on the right gives the image depth and balance.
Italian (Roman) School, Goddess Roma (Dea Roma / Roma Barberini), oil on canvas, Italy, c. 1760-1800
The painting depicts a frontal, dignified, and majestic portrayal of the Goddess Roma seated on a monumental throne, modeled after the famous 4th-century ancient fresco (“Dea Roma” from the Barberini collection, discovered in Rome in 1655).
The Goddess is depicted in attire reminiscent of traditional Roman tutelary deities. She wears a yellow-gold tunic tied below the breasts with a dark band and a cascading, pink-red cloak (palla). Her head is adorned with a golden parade helmet featuring a magnificent, dense plume of white and dark feathers. Her facial features are idealized, with smooth skin, large eyes, and small lips – reflecting the academic canon of beauty of early Neoclassicism. Classic red Roman sandals (calcei) are visible on her feet.
In her open right hand, the goddess holds aloft a winged figurine of the goddess of victory (Nike), who raises a red banner and holds a golden apple (orb) – a symbol of dominion over the world. With her left hand, Roma leans on a tall, golden scepter. Beside her rests a large, round shield (ancile) with a richly ornamented surface.
At the bottom of the painting, on a gray plinth stylized as antique stone, a meticulously calligraphed inscription in Roman capital script is visible: VIRTVS HONOR IMPERIVM This formulates the triad of Roman state values: Valor (Virtue), Honor, and Sovereign Power (Imperium). The triangular points separating the words (hederae) are a direct reference to classical Latin epigraphy.
Dimensions: 47.5 x 34.5 cm, framed (period frame)John Baptist Lambrechts (1680 – after 1731), Genre scene in an inn, oil on board, ca. mid-18th century.
John Baptist Lambrechts (1680 – after 1731), Genre scene in an inn, oil on board, ca. mid-18th century.
Natan Korzen (1895 – 1941), Landscape from Kazimierz Dolny overlooking the synagogue, 1930s.
Nathan Gutman (1914 Warsaw – 1990 Paris), Female Nude, oil on cardboard, Paris (?)
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.