Cup, silver, Poland (?), 17th-18th century
A cup made of forged silver, likely intended for drinking vodka or other spirits. The vessel has a squat form. The bowl with a semicircular bottom has straight walls, slightly flared upward. The rim is straight, slightly tilted outward and clearly separated from the wall section by a row of concave dots. The bowl has a five-part form – both the rim edge and the walls are divided into five convex segments, separated by vertical fluting. The vessel is set on a low, conical foot and fitted with a flat, S-curved handle. The surface of the bowl is decorated with engraved floral motifs and rocaille ornament.
Similar cups are characteristic of 18th-century Russian silverwork. As a rule, however, they are hallmarked. Our specimen bears no marks, although it undoubtedly came from a fine silversmith's workshop. It is possible that the cup described was made in the 17th century and not in Muscovy at all, but in the east of the Polish-Lithuanian Commonwealth. This would explain the absence of hallmarks, which is quite normal for Polish silver from that period. At the same time, it should be remembered that the origin of the popular Russian cups is unknown.
Dragendorff 15/17 type terra sigillata dish, terracotta, Roman Empire, c. 70-120 AD.
This Roman terra sigillata table dish (patera) represents the Dragendorff 15/17 form (a variant featuring plastic decoration and a prominent rim). It was crafted between approximately 70–120 AD, during the Early Imperial period, specifically under the Flavian dynasty and Emperor Trajan. The dish was produced in renowned, highly specialized ceramic workshops in Pisa, recognized as part of the advanced Tardo-Italic (Padanian) production circle.
Rim diameter (maximum): 24.5 cm Total height: 6.3 cm Foot diameter (base): 11.5 cm Weight: 808 g
Dutch School, Ships in a Storm, oil on canvas, Netherlands (?), 2nd half of the 18th century.
This painting depicts an atmospheric seascape with ships on a tumultuous sea. The composition centers on a large sailing vessel, shown bow-on, occupying the middle ground. Its sails are furled, and the ship is heavily listing under the force of the wind and waves, which crash against the hull, creating high sprays of foam. The dramatic struggle against the elements is intensified by a torn jib, the triangular sail at the front of the ship. In the background, to the left and right, two other vessels are visible, battling the storm. The sky is covered by heavy storm clouds, interspersed with streaks of lighter clouds. The light is diffused and subdued, enhancing the sense of unease. Birds soar low over the frothing surface of the sea. Dark, cool colors (shades of blue, gray, black) with hints of green dominate, contrasting with the foamy waves and a few bright clouds. Both in terms of composition and mood, the painting aligns with the tradition of Dutch Baroque marine painting. The artwork is presented in an old Dutch-style frame, shellac-coated, which accentuates its Baroque character.
Epitaph portrait of Jan Czapski (1699-1742), oil on copper, Poland, 1740s.
The circular-shaped painting was executed in oil technique on a forged, convex copper sheet, fire-gilded. The portrait shows a middle-aged man framed in bust, en trois quarts to the left. Oval, plump face with high forehead and second chin. On his head is a white powdered curly wig. The costume is a steel breastplate, from under which parts of the garment, including a white shirt collar, protrude. To the right of the portrait is the Leliwa coat of arms in an ornamental shield topped by a knight's helmet with peacock feathers, on which the emblem of the Leliwa coat of arms is repeated. Around the shield is a floral ornament. The portrait is modeled on a painting by the brush of Szymon Czechowicz, painted before 1742.
Epitaph images, unlike coffin images, were generally oval or circular in shape. They were part of pictorial epitaphs - memorials in honor of the deceased or deceased (e.g. family), usually placed not at the burial site, but in another place associated with the person, most often in a church - on a wall or pillar. They consisted of the epitaph proper, i.e. a slab with an inscription, and a picture or pictures, most often painted or carved, less often made in other artistic techniques. A pictorial epitaph usually shows a portrait of the deceased or deceased, sometimes accompanied by his patron saint or patrons.
Diameter: 30 cm
Dimensions with frame: 43x43 cm
Fragment of an antiphonary page with illuminated initial, parchment, Europe, 15th century
The fragment of the page visible within the frame is entirely occupied by a historiated initial "O". The figural scene within depicts a haloed youth dressed in secular attire giving alms to an old beggar supported by crutches. He is accompanied by a young woman and an older man, with urban architecture visible in the background.
The reverse side features a fragment of Latin liturgical text written in Gothic minuscule and musical notation using square neumes (predecessors of notes used in medieval Europe) on a four-line staff, characteristic of Gregorian chant. The presence of the formula "Euouae" (a notation of vowels from the phrase saeculorum Amen), typical of psalm endings in antiphonal arrangement, allows identification of the notation as a fragment of an antiphon. The page also features a decorative initial "O" beginning a new antiphon.
The page is framed in a 19th-century gilded frame with a gently curved upper edge.
An object of extraordinary aesthetic and collectible value. A great rarity on the market!
Gallo-Roman sculpture of the head of Eros (?), marble, 1st-3rd century A.D.
Full-plastic head sculpture made of white marble, facial features treated quite schematically except for the characteristic almond-shaped eyes and "Gioconda's smile." The nose is flat, the hair reaching the neck, wavy around the line of the face, at the back the hairstyle treated schematically. The shape of the neck from underneath allows us to conclude that the head was originally part of a larger composition. The sculpture is placed on a custom-made, two-stage pedestal of black marble.
Hendrik van Steenwijk II (ca. 1580 – 1649) – circle, Interior of a Gothic church, oil on board, Flemish school, 17th century.
The painting depicts the interior of a Gothic church, executed in the Flemish school of the 17th century, in the circle of Hendrick van Steenwijk i.e. one of the pioneers of perspective painting. The composition, built on an axis leading towards the main altar, shows a monumental interior with pillars, cross-ribbed vaults and side chapels. Figures of the faithful and clergy are visible in the space, introduced to emphasize the scale of the architecture and the mood of concentration.
The painting was made with oil technique on board, in typical Flemish school style. The frame is original, wooden, veneered, with preserved gilt edge.
The composition refers to the solutions used by Hendrick van Steenwijk the Elder and Younger, as well as Pieter Neefs and Bartholomeus van Bassen, developing the genre of architectural painting in Antwerp and Delft.
Icon of Our Lady of the Dawn Gate, brass, enamel on metal, Poland, 19th century.
Decorative icon depicting Our Lady of the Dawn Gate, set in an elaborate brass frame with gilding. The representation is made of embossed sheet metal; the face and hands are covered with painted enamel. Background covered with maroon velvet. On the back of the frame a foot for standing and a pendant.