Crucifix base in the form of a skull topped with a stylized tree trunk, wood, Germany (?), 18th-19th century
A unique dark wood sculpture featuring a realistically carved human skull, embraced from above by four massive handles resembling claws or roots. These handles converge and twist into a single, compact form, reminiscent of a stylized tree trunk, ending in a flat-cut top surface with a full-width groove, indicating the object was originally part of a larger structure. The skull is carved with meticulous attention to anatomical details, such as cranial sutures, nasal apertures, and dentition. Its form and construction suggest the sculpture served as the base for a memento mori crucifix; the missing element of carved bones beneath the occiput causes the object to currently present with a slight tilt, whereas it was originally positioned vertically.
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.
Death of Cleopatra, oil on canvas, Italy, 17th-18th centuries.
The painting depicts Cleopatra at the moment of her suicide, shown in half pose, wearing a red, unbuttoned dress with her breasts exposed and a serpent held to her chest - the only attribute that allows clear identification of the scene. The woman, with her alabaster complexion, raised head and upward gaze, is framed against a neutral, dark brown background, in keeping with the tradition of the Bolognese school. The soft chiaroscuro, idealized type of beauty and calm expression point to the influence of painting derived from the circle of Guido Reni and his continuators. The final fragment of the signature "...epolo" or "...epelo" is visible in the lower left corner, indicating the artist's Italian origin. An analysis of the style and the way the figure is depicted allows dating the work to the 17th-18th century, with a probable place of creation in Emilia-Romagna (Italy). The painting is framed in a Baroque frame carved in wood and painted gold.
Devotional Ring, Silver, Lviv, 1872-1920
Devotional ring made of silver, featuring a representation of the crucified Jesus. The band bears a hallmark in the form of a lion's head facing left, with the letter "F" and the number "4" on either side, as well as an additional mark with the letter "F". These marks were used by the assay office in Lviv between 1872 and 1920. The maker's mark is unfortunately illegible. The ring is distinguished by an exceptionally rare form. It was likely worn by someone associated with the Church - a priest or a member of a religious order.
Egbert van Heemskerck the Younger (1676–1744), Tavern Scene, oil on canvas, England, after ca. 1695
The painting depicts a genre scene set inside a tavern. A group of men in simple attire indulge in revelry, singing, and drinking. The central figure is a standing man, raising a goblet with one hand and holding a jug in the other. The other figures sit at a table, singing. The rest of the composition fades into the shadows of the dark room.
The painting is by Egbert van Heemskerck the Younger, an English painter specializing in festive and genre scenes. The work is signed with the monogram 'HK' (in ligature) in the lower left corner. The painting, registered in the database of the Netherlands Institute for Art History (RKD), has been exhibited at Phillips Auctioneers (Fine old master paintings, December 2, 1997, lot number: 229) and Sotheby’s (Old master paintings, May 10, 2011, lot number: 74).
Frame reliquary in ostensory type, silver repoussed on wood core, Naples, 1778
Richly decorated front covered with repoussed silver sheet. Decoration in the type of mature Baroque with floral (acanthus leaves, volutes) and figurative (plastic heads of putti / angels) motifs. In the lower part next to the ovolo there is a clear municipal punca of Naples: NAP 78 (marking the Kingdom of Naples with the abbreviated date 1778). Silver plate applied to a carved wooden core. The back polychromed in light color, with the original bracket preserved. Wooden base, stepped, with traces of original gilding. Authentic object, preserved in good condition. The silver is covered with a natural dark age patina. The original custody (glazing) and the relic in the central oval are missing. A very interesting and decorative item, not only for those interested in "Neapolitans". Naples in 1778 was a bustling metropolis under the Bourbons, and the goldsmiths' workshops there were famous for their finesse and panache, as can be seen in the dynamic carvings of the angels on the offered reliquary.
Friedrich Schmidt the Elder or the Younger, lidded tankard, silver-gilt, Germany (Nuremberg), 2nd half of the 17th century.
Crafted from silver and gilt on the interior, this Baroque lidded tankard (or goblet) is by the Nuremberg silversmith Friedrich Schmidt the Elder (active from 1653) or the Younger (active in the 2nd half of the 17th century). The vessel is distinguished by a form characteristic of the artistic craftsmanship of the period and a rich iconographic program. It was executed in a style referred to in art history as Baroque Gothic Revival or the gotisierend trend.
The tankard's body (corpus) has a slightly bulbous, ovoid shape, tapering downwards, set on a distinct foot. The central part of the body features a wide frieze with a repoussé figural scene. It depicts figures in historical or courtly attire, placed under arcades supported by columns. Two arcades are occupied by single male figures playing instruments, while the other two feature pairs – a woman and a man. At the base of one of the small columns separating the arcades, two engraved intertwined monograms are visible: TS and MJ (?), which likely represent the signature of the owners, donors, or patrons of this vessel.
The vessel's lid is high, domed, and crowned with a decorative finial (stopper) in the form of an ornate knob. Its circumference is adorned with an inscribed band featuring stylized Gothic script/Fraktur: "es gott it vergestrit und". The upper parts of the lid are decorated with pointed arch motifs, referencing Gothic architecture.
The large, S-shaped handle is made of a smooth silver band, strongly curved into a heart shape. It is topped with a hinge shield, characteristic of Baroque vessels, and a shaped thumb-piece (pusher) facilitating the lifting of the lid.
The foot is round, profiled, and strongly flared downwards. It is covered with relief decoration featuring "architectural" motifs, harmonizing with the ornamentation of the lid. On the undulating edge, two hallmarks are visible: the Nuremberg city mark (letter N) and the silversmith's maker's mark (FS).
Dimensions: 17 cm (height) x 11 cm (width with handle) x 8 cm (width without handle)
Weight: 165 g
Gallo-Roman male portrait head, marble, Roman Empire, Province of Gaul (area of modern France), 1st-3rd century after Chr.
A unique example of provincial stone sculpture from the heyday of the Roman Empire. Executed in white marble, the head depicts an individualized male portrait, a textbook example of the fusion of official Roman realism with local Gallic artistic expression. The face is characterized by a crude, geometric synthesis of form. A long, straight nose connects directly to a well-defined, severe eyebrow arch (the so-called Greco-Roman profile), giving the whole a monumental expression. The large, almond-shaped, convex eyes have no cut eyelids or pupils, which firmly places the object in post-Celtic sculptural traditions and the local votive art. The sculpture directly alludes to austere, hieratic representations of deities and heroes from the Celtic tradition.
The object is set on a contemporary metal arbor and pedestal of gray veined marble.
Dimensions: 15 cm (height) x 6 cm (width) x 8.5 cm (depth); with pedestal: 19 cm (height) x 7 cm (width) x 8.5 cm (depth)
Weight: 1357 g
Garment Clasp, Gilt Silver, Poland, 17th Century
An ornate clasp made of gilt silver, composed of two round discs connected by a ring to which chains are attached. Currently, the discs are permanently joined; this may be a period modification. Originally, they may have been separable, with the chains serving a decorative function.
Each disc consists of a smooth base covered with an openwork overlay decorated with rocaille ornament and a border of fine hatch marks. The lower disc has a similar border of hatch marks, and along the outer edge an additional decorative band in the form of concave dots creating a circular ornament. At the center of each disc is a flattened loop; this element serves a structural function, connecting the openwork overlay to the base.
On the reverse of both discs are elements enabling their attachment to clothing. On one side of each disc are catches connected by a common ring, while on the opposite side are individual fastening elements; in one of the discs, a loose ring is preserved alongside them.
The form clearly indicates its function as a fastener for a cloak, caftan, or other type of garment. Clasps of this type are well known from 17th-century iconography and appear in portraits of the nobility and wealthy bourgeoisie.