The window has lost its utilitarian character to serve as artistic material. A random pattern of cracks on a window pane, due to a blow, has been elevated to the rank of a decorative ornament. The art of destruction has simultaneously become an act of creation. Lead moulds preserve the effect of the impact of cumulative energy. The abstract pattern of the stained glass is a memento of sudden, uncontrollable expression.
Glass of sapphire and milky colours, with a goblet in the shape of a cylinder widening upwards, decorated with medallions and panels with a colour floral and plant pattern.
This is one of the tallest glass goblets preserved in Polish collections, fully covered with a cut design, the so-called carp scales, a decoration that is unique in its kind, typical only of products made in the Crystal Glassworks in Lubaczów.
The collection of historical paintings on glass in the Tatra Museum includes 459 paintings. Most of them are paintings on sacral themes that performed religious and decorative functions in the highlanders’ rooms. Only thirteen of them are secular images. Nine of them are devoted to the scene drawn from the bandit’s legend when Janosik’s fellowship receives a new companion who shows off his agility and, while jumping over a bonfire, simultaneously cuts the tip of a spruce with a shepherd’s axe and shoots off the tip of a fir–tree with a pistol held in the other hand.
A welcoming goblet is a cup, often made of tin, which was used to raise solemn toasts by guild members. The opportunity could be, for example, to welcome a craftsman coming from another city to the guild (hence the name of “welcoming goblet” from the German wilkommen — to greet) or a free journeyman (official admission to the masters). The joint celebration of religious ceremonies also ended with a common feast of guild members at the guild's inn.
The glass bead was accidently discovered during the surface research conducted in 1997 in the town of Dziewięcioły (District of Miechów, the Małopolska Province). It was made of yellow opaque glass...
The stained-glass window comes from one of the Wrocław pharmacies, for which it was made around 1900, by the workshop of stained-glass windows that belonged to Adolf Seiler in Wrocław. In the centre of the stained-glass window, there is a pharmacy mortar, around which medicinal plants are placed: aconite (Aconitum L.), belladonna (Atropa belladonna L.), opium poppy (Papaver somniferum L.), and purple foxglove (Digitalis purpurea L.).
One of the most valuable objects in the Museum in Tarnów, due to its artistic status, is a goblet with a lid, and with a depiction of 12 months. It is associated with Saxony, with the Royal Glassworks in Dresden. It has a structure typical of celebratory chalices, and it is additionally enriched with a conical decorative lid.
The glass necessity money issued by Galicyjskie Akcyjne Zakłady Górnicze [Galician Mining Stock Company] in Siersza. The reverse is smooth; there is a convex inscription on the obverse: “1 KGR MIESA WOLÓWEGO Z. S.” [“1 KG OF BEEF Z. S.”], denoting the value of the blue coin back then.
The decoration engraved on the bowl depicts the mythological scene presenting Orpheus sitting under a tree and playing the lyre, surrounded by animals. On the other side the inscription, “Orpheus playing assumedly with a tree and animals”, with spelling mistakes, which allows for attributing this exhibit to Saxon engravers from the Hein family working at that time in the Radziwiłł glassworks in Naliboki.
The exhibit in question is a glass ashtray with a rectangular base with hollows for cigarettes on longer sides. The base features a stuck colour photograph in the size of a postcard representing the Spa House in Krynica. The lower middle section of the image features an inscription: “Curhaus — Krynica”.
The vessel comes from the 2nd half of the 18th century and is made of colourless glass. There is a little white lettering piece on it with a signature in two-coloured majuscule: ESS. THERIACALIS (Essentia theriacalis) syn. Tinctura theriacalis. The medicine contained, among others, theriac.
The Our Lady of Ludźmierz painting on glass was painted in 1970 by Władysław Walczak-Baniecki (1930–2011), folk artist from Zakopane. It is one of three paintings of his on this theme included in the collections at the Tatra Museum. The other two were completed in 1967 and 1973. They were all painted according to one scheme developed by the artist and repeated in every painting, and they differ only in the colour scheme.
In the case of the Tarnów collection, the cultural background of the epoch has its counterparts in the Sarmatian culture, characterised by the owner’s need for the ostentatious presentation of his affluence and wealth. The primacy of nobility and magnates, who were in possession of huge estates and enjoyed wide privileges in the 18th century, influenced the development and industrialisation of the country.
The glassworks in Naliboki, in the estate of the Nieśwież line of the Radziwiłł family, was founded in 1722 by Anna née Sanguszko Radziwiłł, the widow of Karol Stanisław. The glass factory was very modern, superbly organised, and was no worse a plant than European ones.
Our Lady of Mariazell is one of the most broadly used images of St. Mary that can be found in paintings on glass. Legend has it that in 1157 a Benedictine monk from the abbey in St. Lambrecht set out with his pastoral mission to the vicinities of this Austrian town. He was accompanied by the figure of Our Lady with Baby Jesus sculpted in the lime-tree wood.
The perfume bottle is made of cobalt glass, painted using the technique of surface dyeing. The body of the vessel is very shallow and wide, with a strip of round bevels surrounding it, which have been emphasized by a golden line painted along them.
The cologne container has the form of a bottle with a rectangular cross-section. It is made of transparent glass. There is a decorative bulge on the neck of the bottle.
The casket is equipped with a lock and made of dark wood. On the lid, there is an inscription inlaid with light wood and written in Fraktur, which reads: “Odeurs,” encompassed by a thin frame wrought using the technique of intarsia.
A perfume bottle in the form of a slim vial made of hand-moulded glass. The body of the vessel is polished on four sides into four very narrow bevels. The surfaces of the bevels are hand-painted with simplified floral ornaments and a simplified acanthus tendril.