Nuremberg basin (Beckenschlägerschüssel) with memento mori decoration, brass, Germany (Nuremberg), 15th-16th century
Round basin, deep; the surface of the mirror slightly convex, passing with an oblique fold into the side wall; in the center of the mirror a repoussed, stylized human skull above crossed tibias, all around a bordure of fleur-de-lis punched with punctures; a narrow, slightly oblique collar with the same ornament at the edge. Edge curled outward, probably reinforced with wire. In places, especially in the recesses, visible remnants of a coating of white metal - most likely tin.
Oinochoe, terracotta, Ancient Greece, 4th century BC.
Pawel Wrobel (1913 – 1984), Merry Town, acrylic on canvas, 1973
Pieter Neefs II (1620 – 1675/1685), Night Mass in a Gothic Church, oil on board, Flanders, 17th century.
The painting depicts the interior of a Gothic church, by Pieter Neefs the Younger (1620–after 1675), a Flemish painter specializing in 17th-century sacred interiors. The composition based on a precise linear perspective leads the eye towards the main altar, around which the faithful and clergy participating in the liturgy are gathered.
The painting was made in oil technique on board, without a visible signature. The upper part of the composition has been cropped, resulting in the loss of the original format and probably also the author's signature.
The work represents the mature style of Pieter Neefs the Younger - precise rendering of space, controlled light and realistic depiction of architecture, characteristic of the Antwerp school. Paintings of almost identical composition appear in several well-known collections and collections - including the Szépművészeti Múzeum (Museum of Fine Arts) in Budapest and a Sotheby's auction (2021).
It is worth mentioning that works from this series are also sometimes attributed to Pieter Neefs the Elder (c. 1578-1656), confirming the strong stylistic affinity between the works of father and son.
Bibliography / links:
- Peeter Neefs I - Invaluable
- Pieter Neefs II - Art Salon
- Pieter Neefs I - Museum of Fine Arts Budapest (Wikimedia Commons)
- Pieter Neefs II - Sotheby's Auction 2021
Rama, marble, India, 19th century.
A sculpture depicting Rama, one of the most important deities of Hinduism, considered the seventh avatar of Vishnu. The object was hand-carved in white marble in India, probably in the 19th century.
The figure is depicted standing, facing forward. The face has a gentle expression with a soft smile and slightly closed eyes. The head is crowned with a decorative crown, and long necklaces are visible on the chest.
The figure is dressed in a draped robe with clearly marked folds. On its back is a quiver with arrows, characteristic of Rama's depictions.
The hands of the sculpture are not preserved, originally in one of them the figure held a bow - a characteristic element of representations of this deity. Further about these cavities do not write that they are consistent.
Rama is the hero of the epic Ramayana and in the Hindu tradition symbolizes righteousness and fidelity to the principle of dharma. His images occupy an important place in Indian sacred art, although full-figure marble sculptures of this scale are less common.
The object is preserved in good condition, with clear legibility of form and detail.
Reliquary with relic of the Holy Cross and four saints, gilded bronze, Central Europe, 18th century.
Baroque reliquary in the form of a monstrance, made of gilded bronze. Oval foot, multi-stepped, decorated with repoussed and engraved floral ornament. Smooth shaft with profiled nodus. Reservaculum surrounded by a gloria The gloria of the reliquary was formed of frayed, numerous rays, over which is superimposed a contrasting decorative wreath covered with rocaille and floral motifs. In the repository is placed an oval capsule made of silver sheet, glazed from the front. Glass at the edge decorated with octagonal faceting. On the back there is a wax seal on strings. The seal bears a coat of arms: in an ornamental cartouche a lion to the left, and below - separated by a beam - an opposite griffin to the left. The whole is crowned with a cardinal's hat (Galero): a hat with a wide brim and dangling strings with brads (fiocchi), which is a sign of cardinal dignity. Inside the capsule are 5 relics, described in ink on bandoliers - read more in the extended content below.
Romanesque figural capital, sandstone, France, 12th century.
Saint Fiakier, granite, France (Brittany), 2nd half. XIX century.
Saint John the Evangelist, late Gothic wooden sculpture, ca. 1500
The work may have been part of a winged altarpiece (retabulum), most likely in the Crucifixion group.