The figure passes as the most perfect sculptural work of art of the so-called Beautiful style epoch (around 1400) within the Małopolska region. A repertoire of forms elaborated previously in stone sculptures was transformed into a wooden sculpture (so-called Beautiful Madonnas); characteristic cascades of folds at the sides, frontal folds running through Mary’s torso at a semicircle, shaping the letter V below, and even lower, on a pedestal spreading widely, as an optical base of the figure.

This sculpture made of a single block of wood depicts the Virgin Mary with Child. The sculpture is unique as regards depictions of Madonna with Child in the folk art of the Kurpiowszczyzna region.

Our Lady is shown as a half-figure. On her right arm we can see a baby Jesus pressing against her face. She is wearing a golden crown and her head is covered with a grey and silver scarf hemmed with gold. The coat is made in a similar design and it is additionally covered with golden lilies. Mary is grabbing the folded coat with her left hand.

A sculpture which was probably the central part of a winged altarpiece at first. There is a sitting Madonna on the right, holding a naked Infant Jesus in her lap. She is facing three Magi; two of them are standing while the third one is kneeling and touching the Infant Jesus’s hand. St. Joseph is standing behind Mary.

The Our Lady of Ludźmierz painting on glass was painted in 1970 by Władysław Walczak-Baniecki (1930–2011), folk artist from Zakopane. It is one of three paintings of his on this theme included in the collections at the Tatra Museum. The other two were completed in 1967 and 1973. They were all painted according to one scheme developed by the artist and repeated in every painting, and they differ only in the colour scheme.

The sculpture is full-length and depicts Madonna in a long, floral-decorated dress in brown-red and navy-blue colours and with a gilded coat tied over her chest. Mary, tilted to the left, with her right leg bent in her knee, is holding a gold-plated sceptre in her right hand, while her left hand is holding the child with a book in its hands.

The late-Gothic monstrance – silver and gilded – goes in harmony with the style of the church in Niepołomice, whose Gothic character was enriched with Renaissance Branicki’s chapel. The Renaissance motifs – floral and geometric ornaments, figures of saints, putti or coat of arms – look good on the medieval architectural design, decorated with delicate pinnacles and finials. The Branicki family was concerned about the church accessories of the parish church in Niepołomice, that is why church utensils, canonicals and liturgical vessels funded by them.

Helena Dąbczańska is a famous Lviv collector of incunabula, engravings, books, drawings, fabrics and furniture; the owner of a private museum organized in her own villa and the hostess on artistic Sunday mornings for representatives of the Lviv elite at the turn of the 19^th and 20^th centuries.