Stanislaw Gibinski (1882-1971), Winter scene “On the way to church”, watercolor and gouache on cardboard, Poland, ca. 1930-1940
Symeon Shimin (1902–1984), Gum Chum / This Mortal Coil, oil / mixed media on canvas, United States, circa 1945-1955
The presented canvas is a museum-quality easel painting by the esteemed American painter and muralist of Jewish-Russian descent, Symeon Shimin. The painting is an outstanding example of post-war socially engaged expressionism, combining features of narrative painting with poster-like persuasion. Signed lower right: S. Shimin (artist's signature, authenticated)
The work is characterized by an extremely condensed, claustrophobic composition with a powerful emotional charge. The foreground is dominated by the expressively deformed figure of an elderly man captured in a theatrical, accusatory gesture – his hand points directly at the viewer. This technique, intensifying the cinematic drama, directly refers to Shimin's rich experience in creating iconic political and film posters for Hollywood (the artist was, among others, the author of the original poster for the 1939 film "Gone with the Wind"). In the background, in a dark shadow, the melancholic face of a second sage emerges. The entire piece is rendered in a stark, earthy, monochromatic palette dominated by deep browns, blacks, and muted blue garments, with a masterful use of chiaroscuro.
Dimensions: 82.5 x 59.5 cm (with frame 85 x 62 cm)
Table spoon, silver, Poland, ca. 1650
Tablespoon, silver, Poland, c. mid-17th century.
Temple rooster, marble, India, 19th century.
Vajrabhairava in Tantric Union (Yab-Yum) with Vajravetali, gilt and polychromed bronze, Tibet (?), 19th century
The sculpture depicts Vajrabhajrava, or more specifically, his Tantric form. The deity has three heads with angry expressions, crowned with a crown of skulls, symbolizing the direct destruction of illusion. Inside the crown, flames burst forth, a fire of wisdom burning away ignorance. Emerging from them is the head of a gentle animal - it belongs to Vajrabhajrava himself (his higher aspect).
The figure has six arms, symbolizing the multifaceted activity of the enlightened mind, and holds ritual attributes. The outstretched wings are a rarer but significant feature, representing a transcendental aspect and the overcoming of samsaric limitations. Vajrabhairava stands in a dynamic pose on a lotus base, trampling a male and female figure. These figures symbolize ignorance (avidya), attachment, anger, ego, and the illusion of duality.
Wooden Spoon with ‘V’ Initial, Germany, 19th Century.
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.