Luftwaffe non-commissioned officer’s cap, wool fabric, Germany, ca. 1939-1945
Original garrison cap (Schirmmütze) of a Luftwaffe non-commissioned officer of World War II (1939-1945). Model in a variant with yellow piping - worn by aviation personnel. Typical Luftwaffe form with a high otter and distinctive profile. On the front you can see aluminum emblems: the Luftwaffe eagle and a wreath with a bow. The cap was denazified - in accordance with post-war regulations, the swastika symbol was removed. All in very good state of preservation, with no rubbing of the material or deformation of the structure.
Wool fabric (feldgrau with a slight purple tint), yellow piping (Fliegende Truppe), red trim, embossed aluminum decorative elements, black lacquered visor, cream-colored linen-cotton lining.
Madonna and Child (Mother of God of Mariampole), woodcut on handmade paper, Poland, 18th/19th century.
Original Polish folk sacred woodcut from the late 18th or early 19th century, depicting the Virgin Mary with Child, also known as the Mother of God of Mariampole. The figure of Mary wearing a crown, surrounded by stars, holding the infant Jesus dressed in a red cloak, with a book in her hand with the inscription at the bottom "AIRAMS." The composition is static, simplified and symmetrical, typical of devotional prints widespread among the people.
Madonna and Child, polychrome wood, gilded, Central Europe, 18th/19th century.
Polychrome and gilded wooden sculpture depicting the Immaculate Madonna with the Child Jesus. The figure stands on a globe entwined by a serpent – a classic motif symbolizing Mary's victory over sin and evil. The Madonna, in a richly folded cloak covered with gilding, holds the Child on her left side. The sculpture is colorful, full of expression and dynamism.
Mask of Shame – “Schandmaske,” Central Europe (Germany?), ca. 1550-1700
A rare and authentic example of the so-called mask of shame ( Schandmaske), forged from a single piece of iron. It resembles the face shield used in German-type Salada helmets with a movable shield. Like the shields in Salada helmets, it was a movable piece, fixed on two rivets, retained at temple level. Unlike helmet shields, the mask was made of thin sheet metal, with narrow eye openings that significantly limited the field of vision. The features that distinguish it from helmet shields are also the grotesquely depicted nose and the rather careless manner in which it was made. These features were related to its functionality - the mask was intended to attract attention and arouse pejorative associations with the person who wore it, rather than serve as protection during battle.
Medieval chess figure (chaser), bone, Scandinavia (?), 12th century.
A fragment of a medieval long bone figurine of an unspecified animal (probably a land mammal) in the form of a semi-plastic human figure. The head covered with a mitre was depicted in quite a detailed manner. On the chest there is a relief, pointed downward, which can be interpreted as an image of an ornamental belt constituting the hem of a chasuble. The lower part of the body (partially preserved) was probably entirely unornamented - smooth. At the back of the figure, the bone was heavily transformed: edges rounded, spongy structure preserved residually.
The figure is placed in a Plexiglas display on a base that is a reconstruction of its lower part.
Moneybox in the form of a skull, wood, iron, Central Europe (Germany?), 18th century.
A unique moneybox made of carved wood in the form of a realistically depicted human skull. On the vault is carved a Latin cross with fleurons at the end of the arms. The arms of the cross are filled with horizontal ribs. An opening for inserting coins has been incorporated into the lower arm. At the height of the upper arm's termination is a movable wrought iron handle. In the occipital part there is a flap, closed with a peg, set on a single massive hinge. The skull is covered with a dark brown substance of organic origin.
Natan Korzen (1895 – 1941), Landscape from Kazimierz Dolny overlooking the synagogue, 1930s.
Watercolor on paper depicting a view of the buildings on the northern corner of Little Market Square with a schematic female figure in the foreground. On the left is visible the southwestern facade of the synagogue with its characteristic broken roof. On the right is an extension of the synagogue, a wooden fence with a gate. Protruding from behind the fence are small trees (probably fruit trees) and a tiled roof (of the church?). Signed in the lower right corner "N. Root."
Nathan Gutman (1914 Warsaw – 1990 Paris), Female Nude, oil on cardboard, Paris (?)
The painting depicts a nude woman in a semi-recumbent position on a bed or sofa; she supports her body with one hand and holds the other behind her head. The figure of the model, the piece of furniture and a small picture in the upper left corner (with a vase of flowers) were painted with a black outline, contrasting with a multicolored background composed of saturated patches of color in various shades of red, yellow, blue and green. The intense color palette clearly refers to the aesthetics of fauvism. The lower left corner bears Gutman's signature. All framed in a contemporary frame.
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.