The exhibit comes from the 1876 Peruvian collection of Władysław Kluger and was created during the period of Chimú culture. The vessel consists of two separate pieces, whose bodies were conjoined with a wide tunnel. They also feature a common handle connecting their necks.
The terra sigillata vessel in the form of a bowl on a foot comes from the cremation tomb accidentally discovered in Lisów (Opatów district). The vessel was imported from a province of the Roman Empire. The form of the vessel is typical of the pottery workshop in Rheinzabern (south-western Germany), the largest centre producing vessels of this type in the northern provinces of the Roman Empire (Germania Superior), operating in 190–220. The vessel was made of clay, sealed in the matrix with a negative decoration, and subsequently baked in a furnace in the pottery workshop of Primitivus I.
The ushabti figures — artistically perfect and finely made — were purchased from the Museum of Egyptian Antiquities in Cairo by soldiers of the Polish Independent Carpathian Rifle Brigade during WW II and subsequently granted to the Archaeological Museum. The pillar at the back of the figure reaches the lower edge of a tripartite wig, finely fashioned in regular wisps exposing the ears.
This is a figurine-shaped porcelain salt shaker with a container for salt. A very decorative figure of black woman with a basket was created in the oldest European porcelain workshop in Meissen, near Dresden. It was made according to the model developed by Johann Friedrich Eberlein in 1741.
The vessel from Władysław Kluger’s collection comes from Peru, from the pre-Columbian period. The specimen was made of clay by shaped in a mould. Some elements were manually modelled (nose, ears, hands), then the vessel was fired to a bright red color. The surface is matt.
The vessel comes from the collection of Władysław Kluger from 1876. It has two circular bellies and two beaks: one in the shape of a bird’s head, the other one tall and straight, both conjoined with a curved handle. On the belly, there are panels with straps of...
The statue is modelled on a portrait painted in 1737 by Louis de Silvestre, the court painter of Augustus III. The sculpture was designed by Johann Joachim Kändler in 1740, on the request of Heinrich, Count von Brühl; the sculpting work was completed in the autumn of 1741 and was carried out in cooperation with Johann Friedrich Eberlein and with the assistance of Johann Gottlieb Ehder.
During the mid-18th century it was popular to set the table on the occasion of the most important ceremonies with porcelain statuettes forming rich iconographic stories. Along the entire length of the table, next to the silverware and the china, sat an arrangement of many statuettes in the form of garden paths, streets or castle arcades, placed on a mirror sheet or coloured sand.
During the mid-18th century it was popular to set the table on the occasion of the most important ceremonies with porcelain statuettes forming rich iconographic stories. Among the display of the typical national figures, undoubtedly seen as quite exotic in the eyes of Western Europe, one could be find considerable numbers of Poles, whose rich traditional noble attire and bent sabres with eastern ornamentation must have been fascinating to the Saxon court.
The fashion of taking snuff, common in Europe of the 17th and 18th centuries, sparked the creation of a separate category of containers. Maiolica pharmaceutical vases were used for selling snuff, various other tins for storing it, and different forms of snuffboxes, including those made of porcelain, were used for taking it.
Along with the growing popularisation of overseas beverages such as coffee, tea and chocolate, European manufactories also designed vessels used to hold them. At the beginning, they were modelled on familiar Chinese or Japanese forms, but then, gradually, the models took on new shapes unknown to the East.
This early form of the teapot, the design of which is ascribed to Johann Jakob Irminger, was amended by a painted decoration outside the factory more than twenty years after the vessel had been finished. The linear, graphical method of painting was ascribed to Christian Daniel Buschow, who operated in Bayreuth.
The so-called Swan Set, the most famous of porcelain sets, was made in the Royal Manufactory in Meissen during the years 1737–1742, on the commission of Heinrich, Count von Brühl, later the First Minister of Augustus III.
A pear-shaped pot with an isolated base. Its deeply bent spout is set on a raised mascaron. Its handle in the shape of the letter “J” is ornamented with volutes at the top and the bottom, as well as raised leaves and palmettes on the outside. The pot has a domed cap with a collar.
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.
The object was purchased from Mohareb Zaaki by soldiers of the Polish Independent Carpathian Rifle Brigade during WW II. The mummy has a gilded wax mask. The sarcophagus with the head of Horus and a striated wig on the breast bear the necklace composed of a chapel with Ibis inside.