Table spoon, silver, Poland, ca. 1650
Silver tablespoon made in the Republic circa 1650.; baroque with egg-shaped scoop, on the back, at the joining of the scoop and the handle, engraved cartouche of the coat of arms with a hollow shield; the handle in the form of a flat faceted bar, decorated with engraving, originally ending in a profiled dome.
Very similar spoons are held in the collection of the National Museum in Kraków (including MNK XV-307 https://zbiory.mnk.pl/pl/katalog/523365 ). The similarities are not only in size, but also in form and decoration. It is very likely that they were made in the same workshop or workshop circle.
Table spoon, silver, Wrocław, early 18th century
Silver tablespoon with a richly decorated flat handle, ending with a characteristic profiled button in the Baroque style. On the top side, finely engraved floral ornaments - typical of Central European Baroque. On the underside of the scoop part, two punches: the city mark of Wroclaw (St. John's head in a circle) and the probationer's mark (the letter "H" in a heart). A proboscis in the place of joining the handle with the scoop - an element typical of Lower Silesian workshops of the period.
Wooden Spoon with ‘V’ Initial, Germany, 19th Century.
This hand-carved wooden spoon, 23 cm long, originates from Poland and is dated to the 19th century or earlier. The deep, functional bowl shows clear signs of use. The handle is adorned with serrated line carvings and a 'V' initial, likely for owner identification. A leather strap with an old collector's paper tag remains attached to the end.
In the 19th century in Poland, spoons of this type were among the basic items of everyday use on rural and pastoral farms. They were made by hand from a single piece of wood, which was part of the tradition of Polish folk craftsmanship, based on simple, durable materials.
Copies with preserved markings are rare today, documenting the development of Polish material culture and everyday practices of village life.
Zhang Heng seismograph model, stained bone, China, circa late 19th/early 20th century.
Seismograph model made of natural animal bone (imitating ivory), engraved and stained. The surfaces are covered with rich ornamentation, consisting of floral and animal motifs (dragons, horses, fish) and a thread of flames. The egg-shaped body features eight figures of intricately carved dragons, to which eight toads correspond, sitting with open mouths on an octagonal base. The seismograph is topped by a figure of Tao reading the Tao Te Ching. The work is signed on the underside.
The prototype of the model is the world's first seismometer, constructed in 132 by Chinese scientist Zhang Heng. The device indicated the direction from which an earthquake came, even if the phenomenon took place hundreds of kilometers from Luoyang - the capital of China at the time. The device was about 2.5 meters high and made of bronze. In the mouth of each of the eight dragons was a small iron ball, balancing between the teeth. Inside the body of the device was a metal pendulum, set in motion by the vibrations of the earth. A lever system activated by the pendulum opened the dragon's mouth, and the falling ball fell into the frog's mouth. The position of the frog, into which the ball fell, indicated the direction of the earthquake.
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).
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).
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.