Plaque with Suchekomnaty coat of arms and panoplies, silver and silk, Poland, 18th century.
Oval plaque made of forged silver sheet, from the second half of the 18th century, with an engraved Suchekomnaty coat of arms on a shield surrounded by panoplies, surmounted by a crown, and a monogram “P. J.” . In the 1820s–1830s the plaque was sewn onto an ornate, soft textile backing made of alternating layers of amaranth and ecru silk fabrics. The background is adorned with hand embroidery crafted from silver purl, sequins, and sheet metal appliqués forming floral compositions. Two wax seals are preserved on the reverse.
Originally, the plaque may have served a sepulchral function, placed on a coffin or above an epitaph. Its placement on a silk cushion and the presence of seals likely indicate a family and sentimental character. The panoplies resemble compositions known from gorgets of the Bar Confederation era. This may suggest that the person with the initials “P. J.” was a participant. Little is known about the object's origin; it was reportedly owned by a monk from Greater Poland.
Portrait miniature of King Augustus III, gouache and watercolor on bone, Poland, c. 1734–1750
A portrait miniature depicting Augustus III the Saxon (Wettin), King of Poland and Elector of Saxony – gouache and watercolor on a thin, semi-transparent ivory plaque. The monarch's effigy represents the iconographic canon established in the first years of his reign, immediately following his coronation in Wawel Cathedral in January 1734.
Portrait of a nobleman (Sarmacki portrait), oil on canvas, Poland, 18th century.
The portrait, originally rectangular and later cut down to an oval and relined, depicts an elderly man in noble (szlachecki) attire characteristic of the 18th century. The figure is shown half-length, facing frontally with a slight turn of the torso and one hand resting on the hip, which lends the composition a sense of dignity and static elegance.
The face, with mature features such as a high forehead, short, thinning grey hair, and subtle wrinkles — is rendered realistically, with attention to individual physiognomic traits. The gaze is calm and restrained, conveying charisma and composure, as well as an established social standing. This is further emphasized by the impressive noble (szlachecki) attire: a żupan embroidered with gold thread, a dark blue kontusz lined with red fabric, fastened with large gold buttons, and a wide, light-colored sash tied around the hips.
The painting is an excellent example of the so-called “Sarmacki portrait”, emphasizing social class affiliation, wealth, and official position. It stands out for its solid artistic craftsmanship, naturalistic treatment, and the mature age of the sitter.
Portrait of Franciszka Krasinska, oil on canvas, Poland, ca. 1760
Portret epitafijny szlachcica herbu Topór (Starża), olej na blasze miedzianej, srebrzonej, Polska, przełom XVIII/XIX w.
Przeworsk belt buckle, gilt silver, Poland, 17th century.