One common object which was very useful in the life of a guild was the obesłanie – a sign used to authenticate transferred messages. The Obesłanie was used by a messenger when he had to pass a message from the guild elders to other members of the guild. They were informed of all important issues concerning the guild: meetings, funerals, celebrations and the like, and obesłanie had a similar function to a contemporary membership card.
An anonymous, undated work that refers to the tradition of 17th and 18th century painting – both in terms of form and composition.
The silver cross with a full figure of Christ, placed on a cuboid profiled plinth, decorated with plaques with the coat of arms of Kraków (SIGILLUM CIVITATIS CRACOVIAE METROPOLIS REGNI POLONIAE) and the coat of arms of the Segnitz family.
This shrine comes from Łącko; it was donated to the Museum in 1959. It represents a type of a columnar shrine with a wooden box mounted on a debarked trunk.
The guild sign belonging to the butchers in Kęty was used for summoning the craftsmen brothers to meetings and various celebrations. The information provided by carrying such a sign was very important, and it had to be recognised with due care and attention. A messenger walking with the sign — usually the youngest foreman — appeared in a workshop or craftsman’s house and informed the man of the order of the guild elders. If he did not find anyone at home, he would leave a sign written in chalk on the door or table.
On the website of Małopolska’s Virtual Museums, a large group of objects referring to the period of Easter and the cult of the Passion of Christ may be found...
Wayside wooden crosses were usually several metres high. With time, the wood decayed and had to be dug in again; this was usually done after All Souls’ Day. This action was repeated until the cross became quite small. Chapels and crosses, which were an expression of...
The retable was purchased for the Museum in 1981. For many years, it had been stored in an attic with hay. Originally, the retable came from a chapel in Falkowa near Nowy Sącz. It is an example of provincial woodcarving.
Kraków nativity scene, small, illuminated, not mechanical, multi-towered. The Holy Family is in the middle, set against the altar. On the right is a figure of a Kraków resident with a nativity scene, on the left is a figure of a highlander with a star. Above, in the recess (a kind of a side-altar), a figure of Christ (like from a contemporary painting), on the right a figure of a nun (St. Faustina).
The bas-relief was purchased for the collection in 1969 in the Kraków Desa. It was assumedly created in the 17th century and is one of the oldest and most valuable sculptures in the Nowy Sącz collection.
The sculpture Christ in the Garden of Gethsemane is a depiction of the time when Jesus prayed on the Mount of Olives, just before he was taken captive. It may have been a fragment of a non-preserved composition showing Christ praying in the company of the sleeping apostles and an angel with a cup of bitterness, heralding future suffering.
A wooden polychrome sculpture of Pensive Christ by an unknown author from the 2nd half of the 19th century, coming from the village of Borowa in the district of Tarnów; it was originally located in a box roadside shrine.
The cross comes from an Orthodox church in Łosie near Krynica. It is one of the nine Orthodox processional crosses in the Museum's collection. Due to the richness of the depictions and its artistic value, it is one of the most valuable among the crosses and is displayed in the permanent exhibition of the Orthodox church art. Like most Lemko processional crosses, it is painted on both sides. On its one side there is a representation of Crucified Christ, on the other – the Baptism of Christ.
The work comes from a church in Mogilany, which no longer exists. It was a wooden church, built before 1440, which had survived until the beginning of the 17th century (when it probably burned down). The only object left from it is the presented sculpture of the Risen Christ, found in an attic in 1965. After conservation, it was transferred to the Regional Museum in Myślenice in 1968, as a gift from the Parish Office in Mogilany.
The sculpture depicts Christ hanged on a cross with his hands outstretched. His head is leaning a little towards his right shoulder. The plasticity of the face strikes us with the calmness with which the Redeemer accepts suffering. He is looking down and his lips are closed.
It is a very massive stone sculpture made by a folk artist from Turza (a village) nearby Biecz. The figure is set on a square base. It depicts the figure of Christ sitting on a block of stone, shown en face, with his head resting on his right hand and his left hand resting on his knees.
The depiction of Christ in Gethsemane appeared three times in the works currently attributed to Veit Stoss. The theme itself is one of the scenes in the iconography of the Passion. It was widely used in the 2nd half of the 15th century in the art of South Germany. This event was described in the gospels of St. Matthew, St. Mark, and St. Luke. Christ is shown praying in Gethsemane (the olive garden) at the foot of the Mount of Olives in Jerusalem, accompanied by three sleeping apostles: St. John, St. Peter, and St. James.
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.
The picture painted on glass depicts Christ lying in the grave. In the centre, above the grave, there is a richly decorated monstrance. The candles in baroque candlesticks standing on both sides thereof suggest that this is a retable. In the bottom part of the picture, the figure of the supine Christ is depicted, quite schematically, from a slight profile. Plant motifs are bulky red-yellow roses, characteristic of Orava ornamentation.
Shrine of the cabinet type, intended for hanging, with three figures presented in the scene of the Scourging of Christ. The shrine comes from the Podhale region but we do not know the name of its creator, the time of production and its exact place of origin. It was bought by Maria and Bronisław Dembowski for their collection during the years 1887-1893.