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Painting “Memento Mori”

The painting was purchased for the museum in 1945. It was created in the second half of the 18th century in one of the guilds in Stary Sącz. It is a very interesting and symbolic work of art which refers to the theme of death and transience so popular in Baroque art. The painting is divided into three parts: two of them are in the shape of a standing rectangle in the upper part and one is of an oblong shape in the lower part.

Painting “Adoration of the Child” by Lorenzo Lotto

A joyful scene of the adoration of the Child (with saints: John the Baptist, Francis of Assisi, Joseph and Catherine of Alexandria) is a hidden allusion to Christ’s future fate. The Child’s deep sleep may be associated with the Redeemer’s martyr death through ancient references — Sleep (Hypnos) in the Greek mythology is the brother of Death (Thanatos).

Aset-iri-khet-es sarcophagus

The sarcophagus made of sycamore wood was found during the excavations conducted in 1907 in el-Gamhud by the first Polish Egyptologist, Tadeusz Smoleński. It is a “belly coffin” type of sarcophagus; an anthropoid one, with a flat bottom and a convex lid. The head of the coffin is covered with a blue wig. The breasts are decorated with a semi-circular necklace finished with falcon heads, topped with solar disks.

Icon “The Mother of God” (“Pokrow”)

The icon comes from an Orthodox church in Maciejowa, a village located between Nowy Sącz and Krynica. This type of presentation named Pokrov depicts the Mother of God, who is extending a veil over the world, which is hanging from her outstretched arms over figures clustered at her feet. Two legends are the sources of this theme.

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.

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...

“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.

The “Christ on the Cross” icon

Helena Dąbczańska is a famous Lviv collector of incunabula, engravings, books, drawings, fabrics and furniture; the owner of a private museum organized in her own villa and the hostess on artistic Sunday mornings for representatives of the Lviv elite at the turn of the 19th and 20th centuries.

Painting “Self-portrait with wife” by Stanisław Wyspiański

Wyspiański left twelve self-portraits. Every one of them is a fascinating record of the physical change and current emotional state of the artist according to his often-repeated belief stating that “man (...) changes irretrievably; they are changed by their experiences and thoughts. A portrait is a reflection of a moment, an artistic reflection seizing things in their very essence.”

Kraków’s bed

Kraków’s bed made from soft wood has signature 1 in the collection of the Seweryn Udziela Ethnographic Museum in Kraków. It was the first object, which started museum’s collection.

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”.

Procession float, obverse: “Heart of Our Lady”, reverse: “Heart of Jesus”

Set on a profiled base with bar holes is a picture painted on both sides of a board, presented in a simple frame, flanked with a wavy ribbon on the sides and topped with a decoratively cut peak with a cross. The structure of the procession float is painted with oil based cobalt paint.

Ceramic tile “Maryna’s discipline”

Ceramic corner tile taken from a clay stove, the so-called heater. It was made by the pottery workshop of Jan Oksitowicz, a potter enrolled in the Kraków guild in 1832. The tile comes from a stove which existed even in the interwar period in one of the Kraków tenement houses belonging to the Tarnowski family. After World War II, the stove stood in the former residence of this family in Dzików near Tarnobrzeg, from where, dismantled, it found its way to Kraków again.

Painting “Stanislaw Ignacy Witkiewicz self-portrait”

On “unity in plurality”: about the artist and his face The portrait has been and still is one of the most frequent themes in paintings and sculptures. It was known as early as in ancient Mexico and Peru, and artists from Mesopotamia, Egypt and China, as well as Greece and Rome were also familiar with this aspect of art. For years it performed manifold functions.

Costume design for the “Harnasie” ballet by Irena Lorentowicz

As a result of a competition, the costume and stage design for Karol Szymanowski's ballet, Harnasie, was prepared by Irena Lorentowicz, a stage designer and painter, a graduate of the Academy of Fine Arts in Warsaw. The costume design, including the drawings and models, has been exhibited since 24 April 1936 in the Orbis halls, located near the Opera building.

Painting on glass “Our Lady with Child of Mariazell”

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.

Feretory depicting St. Anne and Christ crowned

The monument dates back to the1st half of the 18th century and comes from a wooden church in Szczawnica, which was built in 1550 and demolished in 1894. The procession float which can be found in the collection of the Pieniny Museum is placed on a base in the shape of an elongated rectangle, wound around with a plait.

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.

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.

Painting on glass “Our Lady of Ludźmierz” by Władysław Walczak-Baniecki

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.