Balmamarium, terracotta, Ancient Rome, ca. 1st-2nd century A.D.
Authentic Roman balsamarium (unguentarium) from the 1st-2nd century BC, made of clay using a potter's wheel. The vessel, which had a distinctive form - with a cracked belly, slender neck and wide, orifice-shaped spout, was used to store liquid fragrances and toilet scents. It was often part of the equipment of the deceased. Formerly it was believed that balsamaria were used to collect the tears of mourners during funeral ceremonies - hence the misnomer lacrimatorium (from lacrima - tear).
Baroque votive plaque depicting a nobleman, repoussé silver, Poland, 17th–18th century.
Belt link, gilded silver, Poland, 17th century
A gilded silver belt element in the form of a rectangular segment with open sides, creating an opening that allows a leather strap to pass through.
At the bottom there is a loop designed for hanging a decorative element. Links of this type likely formed a sequence of repeating belt segments; loops may have been present only on some of them and served to suspend decorative additions, such as small chains.
The decorative side is divided by a vertical double rib into two symmetrical fields. In each of them, three stylized flowers are arranged symmetrically. The background between them is concave, with a fine, granular texture, probably achieved by punching. The whole is surrounded by a narrow, smooth border.
Brahma, marble, India, 19th (?) century.
A marble sculpture depicting Brahma, the Hindu creator god and personification of cosmic wisdom, belonging to the Trimurti trinity alongside Vishnu and Shiva. The object was hand-carved in gray marble and represents a simplified iconographic form in which Brahma is shown with three faces, instead of the traditional four .
The figure is depicted seated, with a sphere held in his hand, interpreted as a symbol of the earth or the entire cosmos, and refer to the act of creation and the order of the world.
Due to the limited worship of Brahma in India and the small number of temples dedicated to him, sculptural representations of this deity are rare, making the object particularly interesting. The sculpture is in very good condition.
Cartoon with a representation of a usekh necklace, Egypt, 1st millennium BC.
Cartonage (canvas covered with gypsum and polychrome) with a depiction of a wide necklace called a "usekh" collar, ancient Egypt, 1st millennium B.C. The collar has a semicircular form and is composed of several zones of ornament separated by narrow yellow bands. The different zones are filled with diverse decorative motifs: a row of circular ornaments filled with dots, imitating glass or faience beads, stylized "pendants," strips with alternating triangular segments, and rows of spindle-shaped ornaments. At the top, in the center, is a rectangular field with a representation of Horus, shown in profile in a seated position, facing right, inside a stylized temple. The sides of the collar show depictions of a red disk above the head of a falcon or hawk - most likely a depiction of the head of the god Ra with a solar disk.
It is impossible to say conclusively whether the offered collar covered the coffin or directly the mummy of the deceased, as both possibilities are possible. Without specialized research, its dating should be placed in a wide range covering the 1st millennium B.C. However, it is worth noting that similar decorative motifs appear on a cartonage collar from the collection of The Michael C. Carlos Museum in Atlanta, dated to 1069-750 B.C. (object no. 2018.010.254).
Chapel with Our Lady of Czestochowa and Eagle, Poland, 19th century.
A unique, 19th century chapel (pendant medal) of large format, depicting the image of Our Lady of Czestochowa with the infant Jesus. The front is decorated with an engraved representation of the icon with hand-polychrome faces, robes and halos. In the rim is a Latin inscription: "TERRIBILIS UT CASTRORUM ACIES ORDINATA" a quote from the Song of Songs, read as a symbol of Mary's strength as protector and queen.
On the back there is a classical eagle with a crown, coat of arms and outspread wings, typical of the iconography of the Kingdom of Poland, and a ribbon with an inscription: "REGINA POLONIAE - MISERERE MEI" (Queen of Poland - have mercy on me).The chapel is made of uniform silver-plated sheet metal (brass or alpaca), with a hanging handle. A product with a strong symbolic charge, popular especially during the periods of partitions and national pilgrimages to Jasna Gora.
Charles Julius Minter (1812 – 1892), Casket with lid in the form of a tombstone of King Stefan Batory, tin
Tin casket, so called "serviette", in the form of a tomb of King Stefan Batory. The body with convex sides, decorated with imitation fittings, supported on lion's feet. The lid depicts a model of the bas-relief from the tomb of Stefan Batory, located in St. Mary's Chapel in Wawel Castle. The king is shown in a semi-recumbent position with a scepter and apple, clad in armor and coronation cloak.
Casket designed by Wojciech Święcki and Kazimierz Stronczyński, made around 1857 in the Warsaw factory of artistic castings of Karol Minter.
Christ Crucified, wood, Spain (Pyrenees?), 12th-13th century.
The sculpture impresses with the pronounced rigidity of the body, typical of early Roman depictions. The calm yet poignant expression of Christ's face is emphasized by huge, forward-facing eyes set in deep eye sockets.
His gaze, however, is slightly lowered, emphasized by a prominent nose and large, spreading ears that frame his face. His hair falls symmetrically on his shoulders; a peculiar hairstyle draws attention - the hair, separated by a parting on top of the head, is arranged in rollers covered with densely diagonal cuts. Very similarly arranged hair, resembling braids, has the famous statue of Christ of Mig Aran, located in the church of Sant Miquèu de Vielha (Val d'Aran valley). The beard and mustache end in artificial, volute curls.
Coin Necklace, Silver, Rock Crystal, Bronze, Poland, 17th Century
A necklace crafted from faceted beads of cut rock crystal, varying in size and clarity, and Russian silver kopecks. These are small coins known as 'teardrops' or 'wire coins' due to their distinctive shape. Some coins were left flat, with specially made perforations allowing them to be strung onto a cord.
The central accent of the composition is an ancient, three-edged Scythian bronze arrowhead, dated to approximately the 7th–6th century BC. In the 17th century, it was set in silver and fitted with a loop for suspension. Its presence indicates that certain finds were perceived as extraordinary objects endowed with special significance, regardless of any lack of knowledge about their origin and function. Undoubtedly, the creator of the necklace had no knowledge of ancient Scythians or their weaponry.
An immense rarity on the collector's market! A great treat for enthusiasts of the culture and traditions of the former Polish-Lithuanian Commonwealth!