Along with Stanisław Ignacy Witkiewicz and Zbigniew Pronaszko, Leon Chwistek is the main theoretician of the group of Formists who comprehensively analysed the theoretical fundamentals of art and tried to implement the theories he elaborated. Cubism and Italian Futurism were of significant importance in his paintings.
Could Tadeusz Kościuszko, the famous leader of the Uprising in 1794, have been a painter? In the National Museum in Kraków, there are nudes made with a red-brown chalk (so-called sanguine) and watercolour panoramas of Rome painted by Kościuszko.
The events took place in Paris, near the famous big wheel – a huge Ferris wheel – called La Grande Roue (later immortalised in the picture Fencing). It was Sunday, 6 April 1914. At 11:15, Leon Chwistek and Władysław Dunin-Borkowski faced each other, along with peers and colleagues from their studies at the Kraków Academy of Fine Arts. They had both found themselves in Paris to continue their studies: Chwistek – drawing, and Borkowski – painting. Both were also involved in the activities of the Paris-based paramilitary division of the Polish Riflemen’s Association, which was the basis of the Polish Legions of Józef Piłsudski, which they both soon joined.
The percussion-cap pistol, double-barrelled, with a wooden handle, was made by the Lepage company in Paris. Its fittings are decorated with floral motifs. The exhibit is also signed, which allows one to determine its place of production. Near the chambers, between the barrels...
Józef Chełmoński’s Team of Four is the best known and most frequently referred to example of peak achievements of naturalism in Polish paintings. This large-format canvas depicts a team of four horses tearing towards the viewers while driven with passion by a Ukrainian peasant. The animals, painted in their natural size, seem to be bursting the surface of the painting, causing the illusion of unstoppable, constant movement.
Michałowski created a model (probably made of plaster) for this figurine between 1832 and 1835 in Paris while being part of the circle of the Nicolas-Toussaint Charlet's studio, at that time — as the painter's daughter will later put it — “a real hotbed of Bonapartism.” Drawing on the iconography of heroic leaders, he represented Napoleon on a galloping horse, his hand outstretched to point the direction of an attack; that is in almost the same way as in his other representations of the emperor of that time: the oil painting, Napoleon on Horseback Giving Orders (the National Museum in Wrocław) and a similar watercolour painting (National Museum in Kraków).
In the late Middle Ages, popular romances and knight poems, as well as legends from the north, had an enormous influence on court culture. On their basis, court customs developed, an essential aspect of which was an image of ideal love. This was reflected in the ceremonies glorifying the figure of a lady. The decoration of a small case from the 2nd quarter of the 14th century is some kind of interpretation of the medieval world-view, centred around courtly love, which — interestingly — was an ethical problem. Its moralistic and didactic themes, having literary sources, evoked good and bad examples of behaviour, building the principles of proper behaviour.
Pathé Baby (COQ D'OR) — is an amateur cinematographic projector for a 9.5 mm film strip, produced in 1937–1940 by the Pathé Frères works in Paris. Founded in 1896, Société Pathé Frères...
The Majestic radio receiver is an example of the production of one of the largest pre-war Polish radio companies — Towarzystwo Radiotechniczne Elektrit. This model was awarded the gold medal at the Radio Exhibition in Paris in 1936. Little wonder that a press advertisement from the 1930s described it as “the receiver for the most demanding”.
The sculpture was made after 1900 by the artist-sculptor Henryk Hochman, a graduate of the Academy of Fine Arts in Kraków, a disciple of Florian Cynk and Konstanty Laszczka. Hochman continued his education in the workshop of August Rodin in Paris.
The head of the Grand Duke of Lithuania Vytautas (45 x 35 cm) — the head of a middle-aged man with a short neck, slightly bent down, long hair combed backwards. Around the neck a wide strap with threaded screws.
Crinoline dress made of white muslin printed with motifs of water plants at the bottom of the skirt, and flying butterflies and other insects above. A short camisole lined with a white fabric with whalebones and fastened in the front with buttons. Slotted and flared long sleeves sewn with frills.
This silver salt shaker, in the shape of an elongated bowl, which is decorated at the edge with an openwork strip of plants, is the work of a high-class goldsmith. It was made in France in pre-revolutionary times, in Paris in the years 1786–1787, by the goldsmith, Jean-Baptiste-François Chéret. The precise determination of the authorship, time, and place of the creation of this work is possible thanks to the marking, which, in the past, was to testify the occurrence of precious metal, and nowadays is the source of information about the history of the object; its interpretation, however, often requires detective work.
The set consists of a glass bottle and the original Chanel No 5 cardboard perfume box. The bottle is made of crystal glass, in the form of a flattened rectangular decanter, with a bevelled crystal stopper.
The set consists of a crystal perfume bottle with a stopper and a cardboard case. The bottle comes in the form of a bulky decanter similar in shape to to a rectangular prism, with volutes facing downwards at its neck. The stopper is polished, in the shape of a leaf, a spade from a pack of playing cards. A round paper label with the name “MITSOJKO” is set on one of the sides of the bottle, against the background formed by an ornamentation composed of a pattern of red floral tendrils.
Three Roger&Gallet packagings: two cardboard pouncet-boxes and a glass bottle.
The round cardboard pouncet-box is covered with yellow paper featuring decorative motifs in black, red and green. On the lid of the box, there is a large tinted basket with a blue ribbon pressed into the cardboard, featuring simplified representations of yellow, red and orange flowers among green leaves, on a yellow background, with lines spreading out like rays.
The crystal bottle takes the form of a decanter similar to a cuboid in shape, with a neck featuring a wide flange and a glass stopper. The crystal knob-shaped stopper is cut into in a bevelled pattern. Its rim, made from a gilded mass and featuring a carmine ribbon, is decorated with a gilded ornament.