Christ Crucified, wood, Spain (Pyrenees?), 12th-13th century.
The sculpture impresses with the pronounced rigidity of the body, typical of early Roman depictions. The calm yet poignant expression of Christ's face is emphasized by huge, forward-facing eyes set in deep eye sockets.
His gaze, however, is slightly lowered, emphasized by a prominent nose and large, spreading ears that frame his face. His hair falls symmetrically on his shoulders; a peculiar hairstyle draws attention - the hair, separated by a parting on top of the head, is arranged in rollers covered with densely diagonal cuts. Very similarly arranged hair, resembling braids, has the famous statue of Christ of Mig Aran, located in the church of Sant Miquèu de Vielha (Val d'Aran valley). The beard and mustache end in artificial, volute curls.
Coin Necklace, Silver, Rock Crystal, Bronze, Poland, 17th Century
A necklace crafted from faceted beads of cut rock crystal, varying in size and clarity, and Russian silver kopecks. These are small coins known as 'teardrops' or 'wire coins' due to their distinctive shape. Some coins were left flat, with specially made perforations allowing them to be strung onto a cord.
The central accent of the composition is an ancient, three-edged Scythian bronze arrowhead, dated to approximately the 7th–6th century BC. In the 17th century, it was set in silver and fitted with a loop for suspension. Its presence indicates that certain finds were perceived as extraordinary objects endowed with special significance, regardless of any lack of knowledge about their origin and function. Undoubtedly, the creator of the necklace had no knowledge of ancient Scythians or their weaponry.
An immense rarity on the collector's market! A great treat for enthusiasts of the culture and traditions of the former Polish-Lithuanian Commonwealth!
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!
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.
Kyliks (wine drinking vessel), pottery, Ancient Greece, ca. mid-4th century B.C.
Greek kylix most likely made in Apulia, dated to around the mid-4th century B.C. Classical example of utility ceramics - A chalice used for drinking wine. The vessel is preserved in very good condition, with no cracks or structural defects, with visible signs of age, loss of the firn layer and lime deposit inside. Found in the south of France.
Lekanis with lid, terracotta, Ancient Greece (probably Beotia), 5th century BC.
Small ancient ceramic vessel of the type lekanis, dated to 5th century p. Ch. , probably originating in Beotia in central Greece. A vessel with a low, flattened body, with two thin, rising handles and a matching lid ending in a flat button. Made of fine-grained clay with a orange-red shadecovered with dark firnis and decorated with a band of vertical zigzags in brown-black.
On the underside is visible an undersized ring foot With concentric circles and lathe marks. Preserved museum numbering applied in ink. The surface of the dish shows typical traces of reduction firing, local discoloration, loss of phirnis and mineral deposits, but the whole is preserved in complete form with the original lid.
Lekanis was used in ancient Greece for storing cosmetics, fragrances, jewelry and small ornaments. Vessels of this type accompanied women in daily life, and were also placed in graves as a items of personal use with symbolic significance.