This Art Nouveau dish, in the form of a bowl with a wavy irregular collar, is a very delicate and fragile object. It was handmade from glass blown on an iron rod, the so-called punty. At the bottom of the salt shaker, there is a grounded star sign visible after the cut off of the punty. Next to it, there are L. C. T. signs indicating the artist.
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.
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.
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.
A round box with a cover; it was probably used as a powder box, in the colour of milk, decorated with medallions and a blue floral painted pattern. The glass inside the powder box was painted with cobalt, hence the blue colour.
We buy, receive and collect... items of everyday use – the faithful companions of our reality. We try to surround ourselves with those objects that make us happy, those which make our hearts beat faster, and those to which we feel sympathy at first sight.
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.
Most probably, the glass shows the bust of Adolf Starzeński, commemorating his participation in the Polish national uprising against Russia at the turn of 1830 and 1831...
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.
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.
The casket is made of light wood, with edges inlaid with darker wood. The lid of the casket is characterized by barrel vaulting and mounted on metal hinges. The casket closes thanks to a metal latch. The inside of the casket is painted in black and divided into three wooden compartments. The size of the casket is adapted to the shapes and sizes of the three perfume bottles inside of it.
This glass perfume bottle takes the form of a bulky cuboid decanter with a short neck and a stopper. The body of the vessel is bevelled, with concavities at the corners.
The perfume bottle has the form of a cuboidal decanter with a thick neck and a glass stopper. It is made of colourless glass. The stopper is cut in a flower shape. Inside the bottle, there is a dried flower. At the base of the front side – a triangular label with the inscription: “Millana / woda kwiatowa / MILANÓWEK.”
The tin bottle with a cap was designed for storing talc for men. The tall vessel with an oval cross-section is decorated with a pattern composed of yellow-green vertical stripes. In the centre of the front side, there is a black cartouche with a green frame.
A perfume bottle in the form of a cuboidal crystal glass decanter with a bevelled glass stopper. The neck of the vessel is elongated, decorated with a flange and a strip of a label with an illegible inscription.
It was probably created at the turn of the 20th century. Its base rests on three lying lions. The profiled stem is finished with a figure of an eagle with outspread wings. Eight semi-circular branches are attached to the stem with clips.
This artistic, whole-body sculpture depicts a Roman gladiator with an upraised arm. A sign is inscribed on the pedestal: Ave Caesar! Morituri, salutant [Long live Caesar! Those who are going to die greet you]. The gladiator is — judging by his props — most likely a retiarius [net-fighter]. He fought with a trident or harpoon made of tuna bones, a dagger, and a net that he threw at his opponent's head. The Polish audience paid particular attention to the Slavic physiognomy of the warrior, seeing a hidden national message in the work of Welonski. Our national consciousness enabled us to see an allegory of the situation of Poles under partition in this classical, thoroughly academic, work. This allegory was found in the fate of a Roman gladiator, whose life depended on his owner.
Salome, the daughter of Herodias and stepdaughter of King Herod Antipas, danced so beautifully that the ruler let her ask for anything she wanted. Her wish, suggested by cruel Herodias, was John the Baptist’s head. Biblical Salome is one of frequent motifs in the iconography of European art. The archetype of a dangerous seductress fascinated artists of all epochs.
Church confraternities, which boasted about having a separate chapel or a side altar, completed the religious life of parishioners. The first confraternity of the Blessed Virgin Mary, established in Niepołomice by Cardinal Zbigniew Oleśnicki, worked efficiently for one and a half centuries, but in 1596 a church inspector found it, as he described, in a state of “devotional and interment” activity.