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Retable in the shape of the iconostasis

The retable comes from an Orthodox church in Izby, a village located near the Slovakian border, to the east of Krynica. It has a unique form modelled on the arrangement of the Subcarpathian iconostasis, though in an architectural frame typical of the altars of the Roman church. It is an example of westernisation, which involves adapting western patterns to eastern culture.

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.

Relief “Agony in the Garden” by Veit Stoss from church of All Saints in Ptaszkowa

The relief with the scene of Christ's Prayer in Gethsemane is dated from 1493–1495. It came to the church in Ptaszkowa (erected in 1555), presumably in the first half of the 19th century, where it was also discovered. It is considered to be the handiwork of Veit Stoss. Today, this sculptor is considered to be the most famous Nuremberg-Kraków artist. He came from Horb am Neckar, situated in the then so-called Further Austria. Born in 1438, he died in 1533, at the age of 95. He created works in the late Gothic style, mainly around religious themes. In 1477, he resigned from Nuremberg citizenship and moved to Kraków – at that time, the capital of the Kingdom of Poland.

Jan Hoeft, untitled (+ 48 XX XXX XXXXX)

Jan Hoeft initiated an artistic intervention taking place on the border of visibility: in the middle of a vast lawn in Kraków’s Błonia Park, he placed a ten-metre-long sculpture, made of stainless steel, deliberately resembling a scaled-up barrier (easily restored if necessary). Over its frame, a white and red scarf was slung, reminiscent of the colours sported by the fans of the nearby football clubs, Cracovia and Wisła. In place of the club's name, a phone number was embroidered, the use of which resulted in drawing the caller into a remote performance, following the scenario prepared by the artist.

Andris Eglītis, “It Takes Imagination to Build Reality”

The site-specific installation by Andris Eglītis, who combines oil paintings on canvas and spatial objects, straddles the border of materiality and immateriality, documentation and imagination. The artist analyses the abstract ideas of post-war modernism (utopian design, simplicity of forms, and fascination with technology) and confronts them with the organic substantiality of reality. The structure of the work is on the one hand the historical and social context of the Gallery, its functioning in communist times, as well as the fate of its architecture and collections preceding 1989.

Zorka Wollny, untitled

Zorka Wollny’s work situates itself between theatre, dance, music and visual arts. Her achievements include video films – distinguishing themselves with a pictorial vision – concerts and choreographic performances involving numerous actors (often realized together with Anna Szwajgier). In projects that refer to the form of an audiovisual show, the artist plays the role of director and producer, inviting musicians, actors, and dancers to cooperate, working with members of local communities, amateur clubs, and groups that share common interests. The essential element of her projects is space: works are created as a result of observing the existing conditions created by the architecture of the place, as well as penetrating its private, public, and institutional aspects.

An order cross – a prop from the School of Fine Arts

A metal cross, open-work, decorated with green and white imitations glass of precious stones. The object was used as a prop at the School of Fine Arts in Krakow.

“Young couple” (“I Shall Never Return”, 1988)

Young Couple is an object of spectacle Cricot 2 Qui non ci torno più (I Shall Never return), which was created in Kraków and Milan in 1987–1988. The premiere took place on 23 June 1988 at the Piccolo Teatro Studio in Milan. The play I Shall Never return is a summary of previous work of Tadeusz Kantor's theater.

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.

"Study of a male nude" by Ferdynand Bryll

The present study of a male nude comes from a time when Ferdynand Bryll studied at the School of Fine Arts in Kraków. The perfectly captured proportions of the model, along with the correct chiaroscuro modelling, are evidence of the solid fundamental skills possessed by the aspiring artist.

Group AES+F, “Défilé #5”

The AES+F group shows dead bodies dressed in ballroom finery. The dramatic content is emphasised by using f life-size photographs, made all the more realistic by being displayed in lightboxes. The human fear of passing away is hidden behind obsessive adornment of the body. Death is presented in its “luxury” version which, despite all efforts, only serves to emphasize the deadness of the corpse. The series Défilé consists of 7 photographs in lightboxes. Film with the photographic prints has been glued to Plexi and placed in aluminium boxes, lit from behind.

Snuffbox in the shape of a heart

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Oval snuffbox

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First aid kit

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Pair of perfume bottles

Para porcelanowych flakonów perfumowych, w kształcie karafek, z porcelanowymi korkami. Korpusy naczyń wykonane zostały w formie prostopadłościanów o ściętych narożnikach. Zdobienia stanowią złote ornamenty wici roślinnej na czarnym tle.

Porcelain bottle with a decorative stopper.

The porcelain perfume bottle has the form of a small decanter with a stopper. It is decorated with hand-painted floral motifs and gilded ornaments.

Red-figure pottery vessel for balm

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Vessel with an openwork lid for potpourri compositions made from dried flowers

This porcelain vase in the form of an urn, with openings in the lid, is intended for storing potpourris, i.e. scented mixtures made from dried herbs and flowers. This vessel with a circular cross-section and a body expanding at the top is covered by a lid with tear-shaped openings, crowned by a handle in the form of a flower bud.

Porcelain bottle with miniature landscapes and gilding

A porcelain bottle in the form of a decanter with a stopper, painted on the whole surface in cobalt colour, with oval panels featuring floral compositions and gilded ornaments. The bottle is polygonal, similar in form to a cuboid with bevelled corners.

Modernist perfume bottle with a cubistic shape

The perfume bottle is made of black hyalith glass. The body of the vessel has a cubistic shape, has been bevelled into the form of a diamond. The neck is short and supplemented with a small flange, the stopper has the form of a smoothly polished sphere made of hyalith glass. The surface of the whole vessel is smooth and features no decoration.