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Sculpture “Jesus Christ Sitting on the Palm Sunday Donkey”

The sculpture, coming from the parish church of St. Sigismund in Szydłowiec, constitutes an extraordinary dramatic exhibit used during processions of going to church on Palm Sunday as to a symbol of Jerusalem. Christ, in a firmly upright position, is raising his right hand in a gesture of blessing.

Sculpture “Our Lady of Sorrows” from 15th century

It is a gothic sculpture depicting a figure in contrapposto, hands folded for prayer, face with a straight, narrow nose, small lips, head slightly bowed, covered with a cloak falling on the shoulders, bare neck, dress with a partially preserved polychrome in red, robes falling with heavy folds.

Triptych “Family of Mary” from parochial church in Racławice Olkuskie

In the middle part of the triptych, the so-called “family of Maria” has been introduced, a multi-person image, based on the legend of the triple marriage of St. Anna (the Baby Jesus is standing on her knees) and the Blessed Virgin Mary are sitting on the bench in the centre of the painting. Behind the bench and St. Anna...

Sculpture “Madonna from Gruszów”

The sculpture is full-length and depicts Madonna in a long, floral-decorated dress in brown-red and navy-blue colours and with a gilded coat tied over her chest. Mary, tilted to the left, with her right leg bent in her knee, is holding a gold-plated sceptre in her right hand, while her left hand is holding the child with a book in its hands.

Sculpture “Our Lady of Sorrows” from 16th century

The figure of Mary comes from the Crucifixion Group, which includes the sculpture of St. John the Evangelist, her pendant, also in the collections of the Museum of Ziemia Biecka. Initially, it was believed that both figures were placed on the rainbow beam of the Biecz parish church. However, their small size in relation to the parish space, according to art historians, excludes this view. They probably topped of one of the altarpieces.

Salada type helmet

The closed profile of the helmet and the shiny, smooth surface of steel, contrasts with the heads of spirally twisted rivets, that — despite their severe functionality — provide it with an extraordinary elegance. Until the middle of the 20th century, this helmet was considered a 19th-century copy. Covered with a thick layer of black paint (designed to protect against corrosion) it closely guarded its secrets. After being subjected to maintenance procedures, not only did this reveal its raw beauty, but also shed light on its mysterious past. It represents a late Gothic form of the helmet, evolved from the medieval cervelliere, widespread at the end of the 15th and early 16th century. It appeared in numerous variations and variants, serving both knights and soldiers from other classes.

Sculpture “St. Stanislaus” (“St. Martin of Tours”?)

The sculpture was made of polychrome and gilded lime wood. It presents the Saint in bishop’s robes, in a lively position: his body is slightly turned to the left and bent, his left leg lunged. The bishop is holding the hem of the coat in his right hand. With his left hand, he is picking up a man with a moustache from the ground, dressed in a short hooded coat and trousers, depicted in a reduced scale.

Chasuble of Wadowice

A chasuble in a dark red colour with the addition of elements in turquoise and blue with a motif of a six-leaf rose in a net arrangement and pomegranates in the middle. There are two columns (initially a cross-shaped orphrey) sewed on brocade, laced with colourful silk as well as silver and gold threads with flat and satin stitches.

Gothic reliquary herm

The herm is a name for reliquaries taking anthropomorphic forms, especially busts with a place at the front called a reservaculum , where the relic was placed. The presented object depicts an unidentified saint.

Sculpture “Madonna of Więcławice”

A wall sculpture hollowed out from behind. It depicts Mother of God in a gentle contrapposto, bent in the shape of a reversed “S”, wearing a gilded dress of a warm red tone as well as a gilded coat on a silver lining with an olive glaze. Mary has a veil and a crown on her head. In her right hand, Madonna is holding Infant Jesus in a gilded dress.

Fragment of a two-sided right wing of the gothic tryptych “St. Clare / St. Erhard Bishop”

The picture is the only example of Gothic panel paintings in the collection of the Museum in Nowy Sącz and one of its most valuable exhibits. This is the upper part of the right wing of a small triptych from the mid-15th century.

“Triptych of Saint Mary Magdalene” from Moszczenica Niżna near Stary Sącz

The painting, Triptych of Saint Mary Magdalene, from Moszczenica Niżna near Stary Sącz is preserved in a rare state of completeness. The essence of the retable can be investigated based on this example. At the end of the 15th century, the retable constituted an expanded structure composed of an immovable main panel, the movable wings attached to it; a predella, which served as a basis for the wings, the main panel, and a finial.

Gothic chalice

At the beginning of 1657, the lands of southern Poland were invaded by George II Rakoczi’s army of 40 thousand soldiers. The army was supposed to give support to the Swedish headquarters in Kraków. The vicinity of Kraków was doomed by the presence of the new invaders.

Bas-relief “The Adoration of the Magi”

A sculpture which was probably the central part of a winged altarpiece at first. There is a sitting Madonna on the right, holding a naked Infant Jesus in her lap. She is facing three Magi; two of them are standing while the third one is kneeling and touching the Infant Jesus’s hand. St. Joseph is standing behind Mary.

Chalice and paten

The chalice was made in a Roman workshop around 1360. It is set on a ten-leaved foot base with a pedestal, decorated with a geometric decoration strip. The chalice foot is covered with a smooth coat, with an applied medallion containing an engraved coat of arms surrounded by laurel leaves in the field and on the opposite side of the coat with an enamelled cameo showing a Crucifixion Group. The upper base is finished with a ring with a strip of geometric decoration analogous to the base.

Painting “St. John the Almoner” from parochial church in Racławice Olkuskie

The painting was created on a rectangular board, closed from above by an ogee arch and encompassed with small pillars. The standing figure of John the Merciful has been placed in the background, pressed in the mortar (silvering and glaze with the motif of an outgrowing acanthus plant twine).

Baptismal font

A baptismal font of a goblet shaped with a dodecagon base, with a pyramidal bowl and a foot. The narrowing in the middle bears a band (a so-called node) which is covered by a net ornament with three coats of arms (one of which is now missing). The bowl of the baptismal font is covered by a bas-relief decoration, the fields of which are separated by tracery.

Sculpture “Madonna of Krużlowa”

The figure passes as the most perfect sculptural work of art of the so-called Beautiful style epoch (around 1400) within the Małopolska region. A repertoire of forms elaborated previously in stone sculptures was transformed into a wooden sculpture (so-called Beautiful Madonnas); characteristic cascades of folds at the sides, frontal folds running through Mary’s torso at a semicircle, shaping the letter V below, and even lower, on a pedestal spreading widely, as an optical base of the figure.

Sculpture “Christ Resurrected”

The work comes from a church in Mogilany, which no longer exists. It was a wooden church, built before 1440, which had survived until the beginning of the 17th century (when it probably burned down). The only object left from it is the presented sculpture of the Risen Christ, found in an attic in 1965. After conservation, it was transferred to the Regional Museum in Myślenice in 1968, as a gift from the Parish Office in Mogilany.

Sculpture “Crucified Christ” from 14th century

The sculpture depicts the Crucified Christ. The Saviour has dark hair falling on his shoulders, a short beard and moustache. The figure’s hands were completely destroyed.