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Painting “Jews” by Piotr Michałowski

The group portrait of the Galician Jews belongs to the late works by Piotr Michałowski (1800—1855). It was created in a time when the artist — treating painting as a hobby — managed the estate in Bolestraszyce near Przemyśl. This painting, being actually an oil study, is similar in character to the 17th-century Dutch portraits. From the dark, abstract space busts of five Jews emerge.

Painting “City Hall north view” by Teodor Baltazar Stachowicz

The view shows the edifice of the city hall on the Main Square in Kraków, according to its state before its demolition in 1820. In the foreground, you can see the Renaissance part of the complex with the characteristic attic; on the left, the upper parts of the city hall tower.

Painting “View of Kraków's north fortification” by Józef Brodowski

A view of the northern section of Kraków's defensive walls with the Barbican, the neck connecting it with Florian Gate and the towers, from the left: Karczmarzy I, Pasamoników, Stolarska and Ciesielska. On the far right is the one-storey Kleparz building. The ring of fortifications, with wall towers and gate towers, surrounding Kraków, was built during the Middle Ages and became a characteristic element of the city's panorama. A significant part of the defensive walls was built at the turn of the 13th and 14th centuries. In the southern part of the city, they were probably completed in the1st quarter of the 14th century. From the mid-14th century, the fortifications were maintained at the cost of the city and gradually expanded. o Craftspeople of various specialities were responsible for the direct care of their individual sections, from whom the names of the towers were derived.

Copperplate engraving “View of Kraków from the south, from the Krakus Mound”

The inscription in the field of view, at the top, in the middle, in the cartouche: CRACOVIA / MINORIS POLONIAE METROPOLIS.; in the central part, against the river: VISTULAFL. REGNVM DIVIDENS; in the lower left corner a cartouche with a legend in two columns, which explains the type and name of the fourteen buildings marked with letters in the view; on the frame of the cartouche on the left the date, “A(nn)o 1617”; below the legend “Depictum ab Egidio vander Rye / communic Georgius Houfnaglius”.

Painting “View of Mikołajska's Gate” by Teodor Baltazar Stachowicz

This is a view of a part of Mikołajska Street, closed by Mikołajska's Gate. On the left, you can see the characteristic window grates and the gutter protruding on the street, and, on the right, a fragmentary view of the Church of Our Lady of the Snows in Gródek can be seen. The gate is covered with a tent roof with a break—the hole in the base is topped with a sharp arch.

Painting “Wernyhora” by Jan Matejko

Wernyhora – a Ukrainian lyricist and bard, according to some a legendary person, according to others a historical person living in the second half of the 18th century – became famous for political prophecies regarding the fate of the Polish-Lithuanian Commonwealth and Ukraine. He was supposed to have foreseen the bloody Cossack rebellions, the partitioning of Poland, the unsuccessful national liberation uprisings and the revival of the Polish statehood.

“Hydria” apothecary vase

A hydria type apothecary vase. Majolica. Savona (Italy). The 2nd half of the 17th century. Handles in the shape of (fantastic) animal heads on massive bent necks. In the front, at the bottom, there is a relief of a gargoyle. In its mouth there is an opening to pour out the content of the vase, plugged with a standard cork. There are smaller gargoyles without openings on the sides of the vessel, under the handles.

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.

“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.

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...

Escutcheon of Gorlice city

This consists of an oval shield, which decorated the entrance to the municipal council of Gorlice from the turn of the 19th and 20th centuries. The shield has numerous bullet holes, being clear evidence of the battles which took place in the city and its surroundings for six months, at the turn of 1914 and 1915.

Tabernacle (Kiwot)

The object comes from an Orthodox church in Jastrzębik, a village located to the south-west of Krynica. It is one of the two Orthodox tabernacles owned by the Museum in Nowy Sącz. These are extremely rare and valuable exhibits due to the time of their creation and rich painting decoration.

Biedermeier style glass

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.

Glass decorated with scenes from the legend of St. Hubert

Glass of milky and pink colours, on a small base of a jug-like shape, decorated with a painted hunting scene of the legend of Saint Hubertus.

Painting “Fencing” by Leon Chwistek

Along with Stanisław Ignacy Witkiewicz and Zbigniew Pronaszko, Leon Chwistek is the main theoretician of the group of Formists who comprehensively analysed the theoretical fundamentals of art and tried to implement the theories he elaborated. Cubism and Italian Futurism were of significant importance in his paintings.

Painting “Frenzy” by Władysław Podkowiński

Along with Józef Pankiewicz, Władysław Podkowiński is considered to be the precursor of impressionism in Polish art painting. His works also gave rise to Symbolism and Expressionism trends in Polish Modernism. About 1892 Podkowiński’s oeuvre began to feature visionary and phantasmagoric depictions of the issues of love, suffering and death inspired by his personal experiences, with references to achievements by Western European symbolists.

Food cabinet

An 18th-century Silesian cabinet with a broad front having two decorative profiled one-wing doors in the middle, separated from one another by a central drawer. The door panels have abundant polychromes with a birds of paradise motif against a blue background, sitting on baskets filled with fruit.

Painting “Son and His Killed Mother” by Andrzej Wróblewski

The painting shows a small boy embracing a woman who is presented from her shoulders down, without her head. The woman is dead, although it seems that she is returning the caress with a numb gesture of her hand. The artist painted her in a bluish azure and dressed her in a blue dress. He painted all war victims and dead people in this way — using the symbolism of blue: the sphere of shade, immateriality, and transcendence. The form generalised and knowingly made primitive as well as nearly evenly laid colour are for the condensation of essence and expression.

Painting “Saints from Dębno” representing St. Catherine and St. Agnes

This painting consists of a portrayal painted with tempera on a linden board, with the addition of silvering and glazes. Saints with dark hair, turned slightly to the side, dressed in long tunics and coats, are holding palms in their hands. At the top, on a white stripe in the background, there is a black inscription, written in majuscule...

Wedding chest

The chest was part of the dowry of a bride. The girl held in it her dowry – festive shirts, petticoats, skirts, aprons, scarves, true coral beads, homemade linen, and sometimes embroidered tablecloths. When it was “moved” to her husband's house, the lid of the chest was opened so that the neighbours could see the gathered dowry.