This is one of the tallest glass goblets preserved in Polish collections, fully covered with a cut design, the so-called carp scales, a decoration that is unique in its kind, typical only of products made in the Crystal Glassworks in Lubaczów.
In the case of the Tarnów collection, the cultural background of the epoch has its counterparts in the Sarmatian culture, characterised by the owner’s need for the ostentatious presentation of his affluence and wealth. The primacy of nobility and magnates, who were in possession of huge estates and enjoyed wide privileges in the 18th century, influenced the development and industrialisation of the country.
The four small metal funnels (one with a lug) were used to produce perfumes and fragrances. The spoon is glass, similar in shape to a spatula.
The decoration engraved on the bowl depicts the mythological scene presenting Orpheus sitting under a tree and playing the lyre, surrounded by animals. On the other side the inscription, “Orpheus playing assumedly with a tree and animals”, with spelling mistakes, which allows for attributing this exhibit to Saxon engravers from the Hein family working at that time in the Radziwiłł glassworks in Naliboki.
One of the most valuable objects in the Museum in Tarnów, due to its artistic status, is a goblet with a lid, and with a depiction of 12 months. It is associated with Saxony, with the Royal Glassworks in Dresden. It has a structure typical of celebratory chalices, and it is additionally enriched with a conical decorative lid.
The glassworks in Naliboki, in the estate of the Nieśwież line of the Radziwiłł family, was founded in 1722 by Anna née Sanguszko Radziwiłł, the widow of Karol Stanisław. The glass factory was very modern, superbly organised, and was no worse a plant than European ones.
The first, taller bottle with a stopper in the shape of a glass bevelled ball was designed for a cologne with the romantic name La Reine des Fleurs [French Queen of Flowers]. The second bottle has been designed in the shape of a rectangular decanter with bulges on the walls.
The perfume bottle, in the form of a decanter, is made of transparent glass. The bottle’s stopper is also glass, moulded by hand, in the form of a knob.
This glass perfume bottle takes the form of a rectangular vial with a metal cap. The sides of the bottle are ornamented with a painted abstract decoration. On the main side, a colourful representation of an ancient Egyptian deity is painted.
A perfume bottle in the form of a slim vial made of hand-moulded glass. The body of the vessel is polished on four sides into four very narrow bevels. The surfaces of the bevels are hand-painted with simplified floral ornaments and a simplified acanthus tendril.
A small perfume bottle made of colourless glass, in the shape of a flattened ball with a bevelled base. The sides of the bottle are shaped using the technique of relief into rays spreading up towards the top of the vessel and its edges. A filigree in the form of a fitting made of gilded metal, in places decorated with accents of green enamel paint, is visible on the perfume bottle.
The glass perfume bottle has a form similar to a cone. The wide bottom of the vessel’s body transitions to the narrow upper part in a straight line. Under the neck of the bottle, there is a wide bevelled strip of concavity.
The porcelain perfume bottle is flat and has a round body, as well as a short neck. The sides of the body are fluted. On its surface, there is a miniature painting in a golden frame with the representation of two buildings against the background formed by trees.
The decorative travelling box with a lock has the form of a chest and is made of wood, varnished in black. On the outside of the lid, there is a round plaque with a decorative border and no inscriptions.