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!
Gallo-Roman sculpture of the head of Eros (?), marble, 1st-3rd century A.D.
Full-plastic head sculpture made of white marble, facial features treated quite schematically except for the characteristic almond-shaped eyes and "Gioconda's smile." The nose is flat, the hair reaching the neck, wavy around the line of the face, at the back the hairstyle treated schematically. The shape of the neck from underneath allows us to conclude that the head was originally part of a larger composition. The sculpture is placed on a custom-made, two-stage pedestal of black marble.
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.
Icon of Our Lady of the Dawn Gate, brass, enamel on metal, Poland, 19th century.
Decorative icon depicting Our Lady of the Dawn Gate, set in an elaborate brass frame with gilding. The representation is made of embossed sheet metal; the face and hands are covered with painted enamel. Background covered with maroon velvet. On the back of the frame a foot for standing and a pendant.
Irish (Celtic) cross, stone sculpture, Ireland, 19th century.
The sculpture in the form of an Irish cross, 24 cm high, made of a single piece of gray stone (slate). Like the medieval prototypes, it consists of a base (pedestal) with chamfered sides, a high shaft topped by a crossbar merged with a circle (nimbus). In the upper section, partially enclosed within the ring, is a semi-relief depiction of the Crucified Christ. The shaft below is decorated with incised “X” marks, simple geometric ornamentation, and the inscription INCX. The sides of the shaft feature carved rosettes and zigzag motifs. Additionally, the right side bears the inscription IXC, while the left side contains an unclear word, most likely in the Irish (Gaelic) language. On the reverse of the shaft appears another “X” mark, with a triangular shield motif below. The ends of the cross arms are decorated with four-pointed rosettes.
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.
Monogramista CM, Pejzaż wiejski ze sztafażem, olej na desce, Holandia, XVII w.
Kameralny pejzaż tonalny stanowiący kwintesencję północnoeuropejskiego malarstwa pejzażowego Złotego Wieku malarstwa holenderskiego i flamandzkiego. Kompozycja przedstawia nastrojową scenę wiejską, zdominowaną przez popołudniowe, rozproszone światło przedzierające się przez chmury. Na pierwszym planie, na piaszczystej drodze prowadzącej w głąb kadru, widoczna jest para wędrowców w tradycyjnych, XVII-wiecznych strojach holenderskich (charakterystyczna podkasana spódnica wieśniaczki chroniąca przed błotem oraz pludry spięte pod kolanem i stożkowaty kapelusz mężczyzny). W tle malowniczo zarysowana chata kryta strzechą, postać jeźdźca oraz silnie pochylony, drewniany Słup przydrożny – motyw głęboko zakorzeniony w ikonografii mistrzów ze szkoły w Haarlemie.
Obraz charakteryzuje się wyrafinowaną, bliską monochromatyzmowi paletą barw (tzw. styl tonalny), opartą na bogatych niuansach brązów, ugrów, ziemistych zieleni i chłodnego błękitu nieba. Nadaje to kompozycji głębię przestrzenną oraz intymny, nostalgiczny charakter.
Obraz oprawiony jest w szlachetną, XIX-wieczną ramę z okleiną z drewna czeczotowego ze złoconym płatkami profilem wewnętrznym (ze zidentyfikowanym czerwonym podkładem pulmentowym).
Wymiary: 17 cm (wysokość) x 22 cm (szerokość); z ramą: 28,5 cm (wysokość) x 33,5 cm (szerokość)
Waga: 0,65 kg