Baroque votive plaque depicting a nobleman, repoussé silver, Poland, 17th–18th century.
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.
Chapel with Our Lady of Czestochowa and Eagle, Poland, 19th century.
A unique, 19th century chapel (pendant medal) of large format, depicting the image of Our Lady of Czestochowa with the infant Jesus. The front is decorated with an engraved representation of the icon with hand-polychrome faces, robes and halos. In the rim is a Latin inscription: "TERRIBILIS UT CASTRORUM ACIES ORDINATA" a quote from the Song of Songs, read as a symbol of Mary's strength as protector and queen.
On the back there is a classical eagle with a crown, coat of arms and outspread wings, typical of the iconography of the Kingdom of Poland, and a ribbon with an inscription: "REGINA POLONIAE - MISERERE MEI" (Queen of Poland - have mercy on me).The chapel is made of uniform silver-plated sheet metal (brass or alpaca), with a hanging handle. A product with a strong symbolic charge, popular especially during the periods of partitions and national pilgrimages to Jasna Gora.
Charles Julius Minter (1812 – 1892), Casket with lid in the form of a tombstone of King Stefan Batory, tin
Tin casket, so called "serviette", in the form of a tomb of King Stefan Batory. The body with convex sides, decorated with imitation fittings, supported on lion's feet. The lid depicts a model of the bas-relief from the tomb of Stefan Batory, located in St. Mary's Chapel in Wawel Castle. The king is shown in a semi-recumbent position with a scepter and apple, clad in armor and coronation cloak.
Casket designed by Wojciech Święcki and Kazimierz Stronczyński, made around 1857 in the Warsaw factory of artistic castings of Karol Minter.
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