The first, and quite numerous, projects of railway transport in the Wieliczka salt mine were designed around the mid-19th century; however, they were never implemented because of the enormous costs of drift reconstruction. Only in 1857 did the board devise the first precise plan for this challenging enterprise and the first works commenced. In 1861 the first metal rails were installed and after that almost all transport in the mine was conducted by wagons with metal boxes or horses pulling platforms.
Exhibits like this are rarely seen in Polish museums. This beautifully ornamented, obviously black hearse dates back to the late 19th century. Its owner put it up for sale in Bęczarka, a village located 20 km from Dobczyce. One of the residents of Dobczyce bought it and donated it to the local Regional Museum.
Travel clocks, also called carriage clocks, were produced in many European watchmaker workshops from the 2nd half of the 17th century. Around the year 1700, Friedberg became the most important centre of their production, and they were mainly intended for export to Paris and London.
The Children in a rubbish cart exhibit was designed by Tadeusz Kantor and executed in the 1st half of the 1980s drawing upon the idea of the Informel Theatre and the Cricot 2 Theatre performance, W małym dworku [Country House], whose premiere was staged in Kraków in the Krzysztofory Gallery on 14 January 1961 (see “Wardrobe — Interior of Imagination”).
In the extensive exhibition devoted to the history and culture of the Romani/Gypsies, the exhibits particularly attracting the attention of visitors are the colourful wagons presented in the courtyard of the Ethnographic Museum. Preserved in the Polish landscape in the 1st half of the 20th century as well as in Polish pop culture thanks to the song by Maryla Rodowicz, they make an interesting memento of the vagabond, truly “Gypsy life”.
The Osa M50 and M52 scooters are the only Polish mopeds designed for batch production. Works on the design and production of the Polish scooter started in the Progress and Sports Department of the Warsaw Motorcycle Factory (WFM — Warszawska Fabryka Motocykli) by engineers Krzysztof Brun, Jerzy Jankowski and Tadeusz Mathia in 1951. From the group of discussed designs based on already manufactured elements of motorcycles that were produced in Poland, the OSA model was eventually selected.
Mine carts, called Hungarian dogs, appeared in the Wieliczka excavations at the end of the 18th century, and they were put into operation by the Austrian partition authorities, to whom the mine belonged at that time. The rather funny name of these transport devices is most likely related to the sounds made by their wheels while moving.
Wózeczek stał się w spektaklu symbolem wspomnienia dzieciństwa. Czytamy w Przewodniku po spektaklu: „Idziemy ku przodowi w przyszłość, / równocześnie zagłębiając się w rejony / PRZESZŁOŚCI, czyli ŚMIERCI. (...) / Siedzę na scenie, / JA — rzeczywisty, lat 70... / nigdy już nie stanę się na nowo / chłopcem, gdy miałem 6 lat... / wiem o tym, ale pragnienie jest / nieprzeparte, / nieustanne, / napełnia całe moje istnienie... / W drzwiach zjawia się / MAŁY ŻOŁNIERZYK — dziecko / JA — GDY MIAŁEM 6 LAT, / na dziecinnym wózeczku / (na moim wózeczku!)”.
This wooden steam train was made by Tadeusz Matusiak in the German prison camp, Luckenwalde (Stalag III-A), in 1944. Tadeusz Matusiak, who was born in Kęty in 1907, was a house painter by profession; from an early age, he painted pictures and carved in wood with great passion. He was a very talented artist.
A cart pulled by wheeled horses or rocking horses used to be one of the most favourite toys for children. Nowadays, it is coming back to store shelves in a fashionable and ecological design. This wooden cart is part of a larger collection of toys from the museum in Myślenice and the object used to present the history of folk toy manufacturing in general. Folk toys are more than merely usable items as all of them have their own history and all members of a family were engaged in the production process. They were made mainly by peasants in the winter time, when they were able to carve toys because of less agricultural work.
In the 19th century and up to the mid-20th century, Kraków was a major centre of the folk toy industry. This was because during winter (when bricklaying ceased), the masons of the suburbs of Kraków: Zwierzyniec, Krowodrza, Czarna Wieś, Ludwinów and Podgórze (which was a separate town until 1915) could earn extra money by building and selling cribs, as well as going carolling with puppet nativity scenes. They were also engaged in the production of popular toys to be later sold during annual spring fairs.
A toy cart, or actually a platform on wheels with holes to thread a pulling cord through and 31 figurines arranged on it, rocking while the toy is pulled. The whole toy, including the platform and the figurines, is made of polychrome wood. The rectangular platform with its bevelled corners and wheels are painted green. The edges are coated with white, yellow and pink paint, and the spokes are marked with yellow, blue and red.