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Woman’s fan

The fan, originally designed as a cooling device, was elevated in modern times to a symbol of dignity. Over time, it became a very fashionable element of female attire. On the other hand, fan gestures became a conventional code used by men and women to communicate and flirt at the court.

Painting “Portrait of Kazimierz Janota Bzowski”

A portrait of Kazimierz Janota Bzowski, who died in 1862, the founder of the Droginia line of the Janot Bzowski family. The painting belonged to the Janot Bzowski family of Droginia. It was donated to the Museum by Witold Nekanda Trepka.

Tiled stove, so-called amorial with coats of arms

The stove was manufactured in the maiolica factory in Nieborów, which was established in 1881 by Prince Michał Radziwiłł. It comes from the destroyed mansion in Krzyszkowice near Myślenice and it was renovated in 1977.

Tiled stove from manor house in Droginia

The tiled stove was moved to the Museum of the Vistula Ethnographic Park in Wygiełzów and the Lipowiec Castle as an element of the former furnishings of the manor house in Droginia. During the reconstruction it was located in the room constituting the museum exhibition where it performs a decorative function in the master’s room, although it used to be a source of heat in the Droginia manor where the Bzowski family lived for generations.

Biedermeier style night chair

In the manor house from Droginia (moved to the Museum in Wygiełzów), in which the apartment interiors of a wealthy noble family were recreated, the more intimate side of life was also included. The bedroom, located in the alcove, equipped with 19th century furniture, also included a night-chair which served as a privy.

Jagiellonian tapestry “The Spread of the Nations” from the “Story of the Tower of Babel” series

In front of us, the last act of the history of the Tower of Babel takes place – The Spread of the Nations. On a meadow at the foot of the hill, a group of people can be seen, with two men standing and five women sitting next to them on the grass. All attempts to communicate with one another have been in vain, the evidence of which is a tablet in the hands of the woman in a blue dress.

Jagiellonian tapestry “The Wrath of God” from the “Story of the Tower of Babel” series

The second tapestry in the series The Story of the Tower of Babel shows the consequences of human pride. The builders of the tower wanted it to reach the sky. Human pride angered God, who decided to destroy the work of sinful humanity. Bearded Nimrod, the initiator of the construction, stands at the foot of the tower with hand upraised, trying to shield himself from the Creator, who appears in the upper right hand corner of the textile. Builders working at ground level have scattered their tools and disperse in panic, while those who are on the scaffolding point the angry Creator out to reach other; furter in the background, work continues as if nothing has happened.

Jagiellonian tapestry “Turkeys”

Verdures – tapestries presenting animals in a lanscape setting – are a large subset within the collection of Sigismund II Augustus. They can be divided into three groups. Turkeys is a part of a set of sixteen textiles in the shape of a horizontal rectangle. Central area is framed only by a narrow border of interweaving ribbons and flowers. They present animals commonly known in Europe, as well as exotic ones, such as turkeys, which were brought to Europe from America at that time. All the creatures are depicted amid the scenery of a Central European forest, in which, apart from the oaks, ivies and reeds typical of this region, there are fig trees and grapevines can.

Chair Upholstery Tapestry with a Bouquet of Flowers

This small tapestry belongs to a group of textiles intended as chair upholstery. It shows a colourful bouquet of flowers in a vase decorated with animal masks and small golden garlands. The flowers in the vase are probably large two-coloured irises interwoven with blooms of clematis with dark green leaves. The composition is complemented with blue periwinkles. In the corners of the tapestry, lion masks are placed on the border of interwoven ribbons filled with a floral ornament. The border ornament is characteristic of the entire collection.

Tapestry with the Monogram of Sigismund Augustus and a Terrestrial Globe

The grotesque tapestry with a monogram of King Sigismund Augustus (SA – Sigismundus Augustus) and a globe is part of a series of decorative textiles in which the royal monogram plays the major role. Before our eyes, an extravaganza unfolds of ancient gods, birds, animals, fruit and flower garlands. On the axis of the composition is placed an oval shield with the monogram of the king, covered with a closed crown. A richly decorated frame is surrounded by a wreath of fruit. Aside from apples, grapes and lemons, there is also a pineapple, brought to Europe by Christopher Columbus.

Tapestry with the Arms of Poland and Lithuania and the Figure of Victory

The tapestry depicts Victoria, the Roman goddess of victory. At her bare feet lies a pile of weapons; she is flanked by two coats of arms: of Poland and of the Grand Duchy of Lithuania. On her right are the arms of the Kingdom Poland – the Eagle with the monogram of Sigismund II Augustus, the last king of the Jagiellonian dynasty – surmounted by a closed crown. The arms of the Grand Duchy of Lithuania – the Charging Knight surmounted by the Grand Ducal cap – are on her left. The winged goddess is attired in a breastplate. In one hand, she holds a laurel wreath, in the other a broken spear. The olive branches behind her symbolize peace. Victoria is shown against a red background with a decorative framework recalling wrought iron that serves as a scaffolding of sorts for bunches of fruit and flowers. The oval blue fields in which the coats of arms are placed are entwined with climbing plants. The White Eagle with the royal monogram is surrounded by vines, and the Lithuanian Charging Knight by pea plants with both blooms and mature pods. Birds perch on hanging bunches of fruit in the upper part of the tapestry and on the decorative framework at the bottom.

Tapestry Bearing the Arms of Poland and Lithuania and the figure of Ceres

The tapestry is part of a group of twelve textiles with the coats of arms of Poland and Lithuania against a background of ornamentation called Netherlandish grotesque. It belongs to a subgroup in which the coats of arms of both parts of the Commonwealth are entrusted to the care of the Roman goddess Ceres – a patron of peace, abundance and prosperity. The slender female figure in robes, modelled on clothing of ancient statues, holds a sickle and cornucopia, and stands in the middle on a marble podium. The sickle in her hand and a wreath of grain ears on her head bring associations with summer – the season of harvest, while the cornucopia symbolises prosperity.

Chair Covering Tapestry with the Monogram of Sigismund Augustus

One of six furniture tapestries in the shape of a horizontal rectangle with the SA initials of the King. It belongs to a group of textiles used to cover chairs. Eleven of such textiles have been preserved to this day (others were decorated with bouquets of flowers in vases). The small horizontal tapestries were used as backrests of furniture. The initials under a closed crown, woven with a gold thread, were placed in a blue field surrounded by an oval wreath. On the axis of the field, at the top and bottom, there are two masks – a singing one and a sleeping one. Slender vases with bouquets of fruit and flowers (columbines and anemones) are placed on the sides.

Tapestry with the Monogram of Sigismund Augustus in Medallion

A tapestry of the same size and the same function as the tapestry with the Monogram of Sigismund Augustus in Cartouche. It belongs to a group of three monogram grotesques with the initials SA inscribed within an oval medallion. In the middle of the composition, there is a blue convex medallion with the entwined initials SA under a closed crown, placed against a background of a drapery supported by two angels sitting on crosspieces of a metal frame (a motif typical of Netherlandish grotesque).

Under Window Tapestry with the figures playing the shells

It belongs to a series of fourteen tapestries designed to be hung under window sills. Most of them were damaged. After they had been taken to Russia in 1795, they were cut and sewn together to form semi-circular over-window or over-door tapestries. Upon their recovery from the Soviet Union in 1922, they were unstitched and put back together to reconstruct their original appearance. In the middle of the horizontal frieze, there is a metal vase supported on lion paws, filled with fruit and leaves. A huge eggplant and zucchini spill out of the vase. On both its sides, on a frame linking all the elements, two putti are perched, one of them with a bow and a quiver.

Over Window Tapestry with the Arms of Lithuania on landscape background with Animals ‒ Dormouse and a Dog-like Predator

Another tapestry of a group of over-door and over-window textiles with the national coat of arms. Its size indicates that it was to be placed in a wide window bay. Eleven tapestries designed for this purpose have been preserved. The tapestry was used in Russia (in the years 1795–1922) as the covering of a sofa seat (a heraldic tapestry with the White Eagle was attached to the sofa's backrest). In 1922, during the recovery of the Sigismund collection, both tapestries were repossessed along with the furniture.

Jagiellonian tapestry “God Conversing with Noah” from the “Story of Noah” series

The textile depicts one of the episodes of the Book of Genesis and is one of eight tapestries of the Sigismund collection forming a series dedicated to the figure of Noah. The Latin inscription in the upper border perfectly desribes the scene taking place below: “Noah walks with God. God reveals to Noah the future flood and commands him to build an ark for salvation”. God warns Noah – the only righteous inhabitant of the earth – that because of mankind’s sins, he intends to flood the earth. He tells Noah to build an ark in order to save Noah’s family. Noah is also to bring a pair of animals of each species into the ark (Genesis 6:13–21).

Statuette of a Pole

During the mid-18th century it was popular to set the table on the occasion of the most important ceremonies with porcelain statuettes forming rich iconographic stories. Among the display of the typical national figures, undoubtedly seen as quite exotic in the eyes of Western Europe, one could be find considerable numbers of Poles, whose rich traditional noble attire and bent sabres with eastern ornamentation must have been fascinating to the Saxon court.

Statuette of a Pole

During the mid-18th century it was popular to set the table on the occasion of the most important ceremonies with porcelain statuettes forming rich iconographic stories. Among the display of the typical national figures, undoubtedly seen as quite exotic in the eyes of Western Europe, one could be find considerable numbers of Poles, whose rich traditional noble attire and bent sabres with eastern ornamentation must have been fascinating to the Saxon court.

Statuette of a Polish Woman

During the mid-18th century it was popular to set the table on the occasion of the most important ceremonies with porcelain statuettes forming rich iconographic stories. Along the entire length of the table, next to the silverware and the china, sat an arrangement of many statuettes in the form of garden paths, streets or castle arcades, placed on a mirror sheet or coloured sand.