John Baptist Lambrechts (1680 – after 1731), Genre scene in an inn, oil on board, ca. mid-18th century.
An intimate genre scene, attributed to Flemish painter John Baptist Lambrechts. The center of the depiction is formed by three figures: a woman in a red skirt and green kaftan with a distinctive white scarf around her neck, a man in a red cap and a woman standing behind, who participates in the conversation. Next to her stands a set table, covered with a colorful cloth, on which the white shawl - a hallmark of inn scenes by Lambrechts - could not be missing. A gesticulating man addresses a woman who, with a glass in her hand, looks calmly at the viewer. On her shoulders is a white shawl tied over her breasts: an element characteristic of Lambrechts' painting, present in almost all his depictions of women.
The painting betrays the characteristics of a good painter's workshop such as skillfully developed chiaroscuro, the way of depicting the details of fabrics and tableware attest to the artist's technical maturity. The composition is static, but full of subtle emotional tensions.
John Baptist Lambrechts (1680 – after 1731), Genre scene in an inn, oil on board, ca. mid-18th century.
An intimate oil painting on board attributed to Jan Baptist Lambrechts, a leading painter of genre scenes of 18th-century Flanders. The composition shows a couple in an inn: the woman turns to the man reproachfully, the man looks away, holding a jug and a glass. The scene alludes to everyday domestic tensions and the problem of alcohol abuse. The painting is distinguished by realistic social observation, the play of light and the artist's characteristic details like a plate with clamshells and a white scarf. The subject matter and style are perfectly in line with the trend of moralistic bourgeois painting popular in Flanders.
Natan Korzen (1895 – 1941), Landscape from Kazimierz Dolny overlooking the synagogue, 1930s.
Watercolor on paper depicting a view of the buildings on the northern corner of Little Market Square with a schematic female figure in the foreground. On the left is visible the southwestern facade of the synagogue with its characteristic broken roof. On the right is an extension of the synagogue, a wooden fence with a gate. Protruding from behind the fence are small trees (probably fruit trees) and a tiled roof (of the church?). Signed in the lower right corner "N. Root."
Nathan Gutman (1914 Warsaw – 1990 Paris), Female Nude, oil on cardboard, Paris (?)
The painting depicts a nude woman in a semi-recumbent position on a bed or sofa; she supports her body with one hand and holds the other behind her head. The figure of the model, the piece of furniture and a small picture in the upper left corner (with a vase of flowers) were painted with a black outline, contrasting with a multicolored background composed of saturated patches of color in various shades of red, yellow, blue and green. The intense color palette clearly refers to the aesthetics of fauvism. The lower left corner bears Gutman's signature. All framed in a contemporary frame.
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
The portrait of Franciszka Krasinska, aged about 18, was painted in Poland around 1760 by an unspecified artist. The painting is a classic example of a representative aristocratic portrait of the Rococo era. The image shows the future Polish princess dressed in an elegant lilac gown with open shoulders and a wide skirt. The figure is shown in a 3/4 view; with one hand she holds the dark fur coat imposed over her shoulder, while the other hand is bent at the elbow and rests in front of the figure. The calm expression on her face, her delicate blush and her carefully arranged curls have been rendered with great precision.
Portret epitafijny szlachcica herbu Topór (Starża), olej na blasze miedzianej, srebrzonej, Polska, przełom XVIII/XIX w.
Prezentowany obiekt to wybitny i unikalny w przestrzeni antykwarycznej przykład polskiej sztuki sepulkralnej z okresu zaborów. Kompozycja malarska stanowi bezpośrednie, blaszane powtórzenie znanego dzieła Kazimierza Wojniakowskiego pt. „Portret młodego mężczyzny” (oryginalny olej na płótnie prezentowany jest na stałej ekspozycji Lwowskiej Narodowej Galerii Sztuki). Wojniakowski uwiecznił modela w modnym, klasycystycznym czarnym fraku z wysokim kołnierzem oraz misternie wiązanym, szerokim białym halsztuku (chuście) uformowanym w wydatną kokardę.
Malarz-rzemieślnik wykonujący oferowaną wersję epitafijną na srebrzonej miedzi z niezwykłą wiernością oddał fizjonomię modela: wysokie czoło, lekko upudrowane i spięte z tyłu włosy oraz łagodne, inteligentne spojrzenie. Kompozycja lwowskiego płótna została zaadaptowana do wymogów epitafijnych: zamknięto ją w geometrycznym tondzie o srebrno-złotym tle, rezygnując z pasiastej kamizelki. Kluczowym elementem podnoszącym rangę historyczną dzieła jest umieszczony po prawej stronie kartusz z herbem Topór (Starża), dodany na zamówienie rodziny zmarłego.
Srebrzyste tło ze złotawymi przejściami tonalnymi znakomicie kontrastuje z ciemnym frakiem postaci, dając znakomity efekt dekoracyjny w każdym typie wnętrza. Jego znakomite uzupełnienie stanowi oprawa obrazu – tło z bordowego weluru i rzeźbiona, drewniana rama z XIX wieku.
Wymiary: 35 cm (średnica); z ramą: 68,5 cm (wysokość) x 61 cm (szerokość)
Waga: 3,5 kg
Stanislaw Debicki (1866 – 1924), Portrait of a hunter with a shotgun, watercolor on paper
Portrait of an elegant hunter. The painting depicts a middle-aged man, shown from the right semi-profile. He is dressed in a light gray hunting outfit, hat and black gloves; in his left hand he holds the barrel of a double-barrelled shotgun. Signed in lower right corner: St. Debicki. Done in watercolor technique on paper. Subdued colors - dominated by grays, beiges, greens and blues.
Stanislaw Gibinski (1882-1971), Winter scene “On the way to church”, watercolor and gouache on cardboard, Poland, ca. 1930-1940
Image by Stanislaw Gibinski (1882-1971), depicting a winter landscape with a wooden church and people going to the service. A composition of character realistic-folk, maintained in a subdued palette of cool colors, shows the artist's typical sacred motif set in everyday village life.
Work made technique of watercolor and gouache on cardboard, with a sense of light and space. Visible signature of the author in the lower right corner. Original profiled frame with gilt elements.
Gibinski was among the artists who documented the Polish landscape and religiosity of the first half of the 20th century. Gibinski's characteristic subtle tonal transitions and warm colors make his winter landscapes bring peace and harmony to interiors.