“Apostle” spoon with St. Simon, silver, England, 18th century.

2100,00 
Spoon, so called "apostolic" with a handle topped with a full-figured figure of St. Simon Zelota holding a saw, which is his attribute. The head of the saint topped with a circular shield with a representation of a bird (probably a dove symbolizing the Holy Spirit). Item of liturgical or collectible nature.

“Apostle” spoon with St. Thomas, silver, England, 18th century.

2100,00 
Apostolic spoon with a full-figure figure of an apostle holding a book and a scepter. The saint's head surmounted by a circular shield with a representation of a bachelor's cross with a ball in the center. The design is typical of English liturgical silver of the 18th century.

Alexander Sochaczewski (1843-1923), Portrait of an elderly woman, oil on canvas, Munich, 1884-1897

4400,00 
The painting depicts an elderly woman, shown in a bust view, against a dark, neutral background. The figure is wearing a magnificent headdress - a large decorative cap with lace and a wide satin bow, from under which dark curls protrude. The woman's face has been portrayed in a realistic manner, with attention paid to fine details such as delicate wrinkles, subtle shadows around the eyes and soft chiaroscuro transitions on the skin. A large, softly placed shawl is visible under the neck, completing the elegant character of the portrait. The painting is signed on the back and framed in a Biedermeier style frame.

Apsara / Surasundari, marble, India, 19th century.

900,00 
The sculpture depicts Apsara (heavenly nymph) or Surasundari (heavenly beauty), personifying the perfection of divine creation, joy and prosperity. The figure's face is characterized by full, round cheeks and a prominent chin. Almond-shaped eyes with well-defined eyelids are devoid of notched pupils. The face exudes a gentle, puzzled smile. The hair above the forehead has been carved into thick strands. Above them rises a stepped crown (mukut) with a structure decorated with concentric arches and geometric reliefs imitating pearls, topped with a floral bud. The figure wears a close-fitting skirt, with smooth sides and a deeply pleated front, expanding cup-like around the feet. A triple-length necklace flows over the chest and hips. A traditional epaulet (Bayuband) with geometric ornament is preserved on the broken off left shoulder. The figure is framed in a dancing and sensual twist of the body, which is a development of the classical Tribhang pose. The profile of the sculpture shows the forward extension of the abdomen and the retreat of the back line, which gives the composition fluidity and dynamism. The body of the sculpture was conceived exclusively for frontal and side display. The back of the figure and the back of the nimbus shield are completely flat, austere and devoid of details - this plane was directly adjacent to the wall or pillar of the temple. Dimensions: 35 cm (height) x 10 cm (width) x 7 cm (depth) Weight: 2.6 kg

Battle of Mohacz, oil on canvas, Krakow, 1886

30000,00 
The painting depicts the Battle of Mohács of 1526, showing the moment of violent clash between Christian forces and the Ottoman army. The composition is a multi-figure battle scene, focused on the dynamic combat of cavalry and infantry, with clear emphasis on the chaos and drama of the battlefield. The artist employs a compact, densely populated composition in which the silhouettes of fighting men and horses fill nearly the entire canvas surface. The work was executed in oil on canvas (lined) and is signed in the lower left corner: "Kraków 1886".

Brahma, marble, India, 19th century.

600,00 
Marble sculpture depicting Brahma - the Hindu creator god and personification of cosmic wisdom, belonging to the Trimurti trinity alongside Vishnu and Shiva. The deity has four faces (Caturmukha), which, according to iconography, should face the four sides of the world. In the case of the sculpture on offer, the representation is simplified and the faces are laid out in an arc against a smooth, semicircular wall (stele) from which the figure emerges - two to the left of the central face and one to the right. They symbolize omniscience and the four Vedas, the oldest sacred texts of Hinduism. The figure is depicted in a seated position with one leg on the ground and the other placed on the seat, perpendicular to the body. Brahma has two pairs of hands, in keeping with classical iconography. One pair of hands rests on his knees. In his hand, the deity holds a sphere, interpreted as a symbol of the earth or the entire cosmos and referring to the act of creation and the order of the world. The other pair of hands is raised to shoulder height and holds other attributes, but due to the simplified form their identification is uncertain. The whole work is characterized by a compact body and simplicity of form, sparing details, which gives the work an austere character. Dimensions: 24 cm (height) x 15 cm (width) x 7 cm (depth) Weight: 4.75 kg

Brahma, marble, India, 19th century.

600,00 
A marble sculpture depicting Brahma, the Hindu god of creation, associated with knowledge, wisdom, and the act of creating the world, who is part of the Trimurti trinity alongside Vishnu and Shiva. The deity is depicted in a seated position with crossed legs on a high pedestal. The depiction deviates from the classical iconographic scheme of Caturmukha (four faces), showing Brahma with six faces: five arranged in a fan-like pattern in an arc around the central face, and the sixth located at the back of the head. The multitude of faces emphasizes the deity’s omniscience and omnipresence. Brahma is depicted with four arms, in accordance with classical iconography. The lower pair rests on his knees; in one hand, the deity holds a sphere interpreted as a symbol of the world or the cosmos, and in the other, a rosary (akṣamālā), symbolizing knowledge, meditation, and the passage of time. The upper pair of hands, raised at the sides of the head, holds attributes whose identification is difficult due to the schematic nature of the sculpture. The figure is set against a background of an arched frame with a pointed arch. At the base of the composition, an image of a bird has been carved, likely a hamsa (sacred goose or swan), Brahma’s traditional mount. The whole is characterized by a compact, frontal composition and restrained modeling. Dimensions: 32 cm (height) x 17.5 cm (width) x 6.5 cm (depth) Weight: 7 kg

Bust of Krishna, marble, India, 19th century.

800,00 
The sculpture depicts a bust of the deity, identified as Krishna - one of the most popular incarnations of the god Vishnu. The figure is characterized by idealized facial features with a gentle, meditative expression. The delicate, barely defined smile (so-called archaic) and wide, almond-shaped eyes with well-defined eyebrows are typical of Rajasthani art. The proportions convey the youthful grace of the deity (bala-rupa). The deity's head is adorned with a tall, richly carved Kiritamukuta-type crown. It consists of several tiers: a lower band imitating a string of pearls or beads, a middle band with a braided motif, and a finial with floral, rosette-like decorations. On the left profile of the crown (just above the ear) a vertical carved element is visible. It is a stylized peacock feather (Mayur Pankh) - a key and unique attribute of Krishna, symbolizing the beauty of creation and divine royalty. The figure's neck is adorned with a wide, close-fitting necklace (kanthamala). Thick, stylized strands of hair fall from the sides of the head, and traditional large earrings (kundala) are visible in the ears. Dimensions: 23 cm (height) x 13 cm (width) x 12 cm (depth) Weight: 5 kg

Cabinet Reliquary with Relic of the True Cross and 26 Saints, wood, textiles, Central Europe, 18th century

4000,00 

An 18th-century Baroque cabinet reliquary, a freestanding wooden display case of trapezoidal form, containing a total of 27 relics. The side walls and top are chamfered, widening toward the front. The interior is lined with burgundy velvet, trimmed with decorative borders of gold bullion thread.

At the center, set slightly forward from the back, is a raised textile reliquary in the form of a monstrance, embroidered with gold thread and richly adorned with bullion, filigree, miniature beads, and multicolored glass imitating precious stones. On the base and shaft are placed six relics, identified by inscriptions painted in gold on dark blue banderoles.

Within the central repository is a reliquary capsule with a convex glass cover, containing two fragments of the True Cross, surrounded by a radiant glory.

Above the “monstrance” is an oval image with an indistinct representation, encircled by 20 additional relics interspersed with decorative elements of bullion, beads, gold thread embroidery, and colored glass. At the level of the nodus are two larger relics (Ex Ossibus) of Saint Vincent and Saint Fortunatus, uniquely labeled on white banderoles.

A distinction should be made between a reliquary and a reliquary cabinet: a reliquary is a vessel that directly contains relics, whereas a cabinet reliquary serves as a structure housing and presenting them. This object is therefore not a typical example, as—besides the central textile reliquary in the form of a monstrance containing fragments of the Cross on which Jesus Christ died—it also incorporates an additional 26 relics of various saints placed directly within the composition, without individual containers.

Their preservation is ensured either by a fine mesh covering or solely by labeled banderoles. The relic of the True Cross is the only one enclosed within a glazed, and undoubtedly sealed, capsule.

The interior of the case, measuring 37.3 × 26.5 × 10 cm, is lined with burgundy velvet, trimmed with gold bullion thread.