The horse tack shown is a part of the almost typical horse-riding equipment used in the Republic of Poland by rich noblemen and magnates in the 17th and 18th centuries. The tack consists of a saddle, a girth, stirrups and a bridle with szkofia and a breastplate. The shabrack with a pair of tassets also originates from Adam Sapieha's collection, though the previous owner is unknown.
Hunting arquebus with a wheel-lock, after Jan Klemens Branicki (1689–1771), the Grand Hetman of the Crown.
Old-time hunting, being an elite form of entertainment for the highest levels of society, required an adequate frame, created by, e.g., luxurious firearms. This kind of weapon was usually made from precious materials and artfully decorated in a style typical of the epoch.
The pride of the palace in Slavuta was a small pastel portrait which presented a charming teenage girl. It depicts Teresa née Czartoryska, the daughter of Józef Klemens, the founder of the china manufacturing plant in Korets. The girl’s mother was duchess Dorota née Jabłonowska, who was famous for her beauty. The author of the portrait was one of the most outstanding French painters, Elisabeth Louise Vigee-Lebrun /1755–1842/.
A parchment with texts in Latin, issued in Wiewiórka, a holiday residence of the Tarnowski family. Suspended on an olive coloured rope is the knight seal of Jan Tarnowski – round, made of red wax, in a wax bowl of a natural colour, with an image of the Leliwa coat of arms, which functions as a symbol of Tarnów to this today, with the legend “IOANNIS COMES IN TARNOW.”
On the 29th of September 1528, in the castle in Tarnów, John, the King of Hungary, Dalmatia, and Croatia, Margrave of Moravia and Lusatia, Duke of Silesia, granted the town of Tarnów, in return for the hospitality provided by Jan, Count of Tarnów, Voivode of Rus, 500 florins of annual income derived from the Košice tricesima, which was a fee charged from merchants entering the Kingdom of Hungary.
The portrait shows Teresa Karolina Radziwiłłowa, the daughter of the Grand Hetman of the Crown, Wacław Rzewuski and Anna née Lubomirska. From 1764 she was married to Karol Stanisław Radziwiłł, the voivode of Vilnius, popularly known as My Dear Sir [Panie Kochanku]. Divorced in 1781, she remarried Feliks Chobrzyński.
In the Korzec collection in Tarnów, which numbers 450 inventory items, a small vase of the kantharos type deserves special attention. Vases of this type served as decorations and were produced on the occasion of anniversaries or other events. The excellent quality of the product and the elegance of its form and decorations prove the high level of manufacturing quality in the 1st two decades of the 19th century. In Polish museum collections, a similar small vase can be found in the collection of the National Museum in Warsaw.
This plate was originally located above the entrance gate to the city of Biecz. It belonged to Mikołaj Ligęza from Bobrek (c. 1530–1603) who obtained the position of starosta (district governor) of Biecz in 1561, through his marriage to Elżbieta née Jordan, and in 1575 – the position of the governor of Biecz Province from Jan Tarło.
A bright green coin made of glass which constituted as a substitute for legal tender within the territory of the dominion of the Koryciński family of the Topór [Axe] coat of arms from Jodłowa. Inside a glass disc there was the Koryciński coat of arms in the shape of an embossed axe; above it there is a crown with nine tops.
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.
Jan Branicki from Ruszcza, district governor of Niepołomice in the years 1585–1611, took particular care of church paraments (vestments, liturgical vessels and all accessories indispensable for celebrating liturgy and cult). He funded chasubles, dalmatics, copes, albs, thuribles or cruets for the church in Niepołomice while his wife Anna was a founder of altar cloths, a veil, a monstrance and a black veil for the altar used during the Great Lent.
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 head is made of gold with six feathers fully covered with an engraved and chiselled floral ornament with niello petals, leaves and palmettes. At the end of the head there is a screwed-in pear-shaped pinnacle with embedded rubies and diamonds. When screwed out, it enables the feathers to protrude.
The portrait of Klementyna Countess Ostrowska, of the aristocratic Sanguszko family (1786–1841), was made around 1822. The author was Vincenzo Camuccini, a famous Italian artist, professor of the Academy of St. Luke in Rome. It comes from the palace of the Sanguszko family in Gumniska where, among a rich collection of works of art, there was also a collection of family portraits.
Aside from its practical functions, the silver tableware collected and stored in Old Polish houses also had representative functions. There was also a separate group of dishes of a primarily decorative character, whose original, sophisticated form, perfection of composition, and materials used for their production were to dazzle and delight the guests.
The portrait depicts Seweryn Jan Rzewuski of the Krzywda coat of arms, a son of Stanisław Mateusz, the Grand Crown Hetman, an older brother of Hetman Wacław Rzewuski, and of Ludwika née Kunicka.
Jewish settlements in Poland began during the period of the Piast dynasty and increased in the 14th-16th centuries. At first, Jews settled in larger towns, in search of better living conditions. The first Jews arrived in Tarnów in the mid-15th century. The proof of this is the mention of Kafel, a Jew, which can be found in the court files of Lviv from 1445.
The furnace presented on our website was made in the factory founded in 1881 by Prince Michał Radziwiłł in the Majolica Workshop in Nieborów. Although it only existed for 11 years, the factory in Nieborów created a characteristic, recognizable style, apparent also in our exhibit...
On the initiative of Prince Józef Klemens Czartoryski, in 1784, a faience factory commenced operation in his Volhynian estates, in the suburbs of the town of Korets, in Józefina. It was the second farfurnia (in old Polish: factory of faience), after the one founded by King Stanisław August in Belweder near Warsaw on the territory of former Polish-Lithuanian Commonwealth. Czartoryski was well aware that the possession of the necessary resources within his own estates was the most lucrative way of organizing factories. For this reason, he sent samples of argil from the area of Korets to be analysed by experts in the famous. The outcome turned out to be to his advantage. The discovered deposits of kaolin, and other materials essential for production (kaolin was brought from Dąbrowica near Korets, flint — from Krzemieniec, and chalk — from Jampol), paved the way for business development.
A cope is a long and wide cloak, worn over shoulders and fastened on the chest during the Liturgy of the Hours, the celebration of the sacraments outside the Holy Mass, and the exposition of the Blessed Sacrament. The only ones authorized to wear it are bishops, presbyters, and deacons who received permission from the Holy See.