Walery Gadomski studied at the School of Drawing and Painting under Wojciech Stattler (drawing and painting) and Henryk Kossowski (sculpture) in the period 1850–1858. He was simultaneously educated in Franz Bauer’s workshop at the Academy of Fine Arts in Vienna (1856–1858). He fought in the January Uprising. In the years 1876–1889, he taught sculpting at the School of Fine Arts in Kraków. He became famous for his busts of contemporaries, for example, Jan Matejko or Józef Szujski, and historical figures (Veit Stoss, Jan Długosz).
Maria Sobańska (1887–1948) belonged to the noble, influential Skrzyński family, who, in the 19th century, became the owner of the nearby village of Zagórzany in Gorlice. She was the sister of Aleksander Józef Skrzyński, a diplomat and politician known before the war, the Prime Minister of the Second Polish Republic in 1925–1926 ...
The portrait of a head comes from a bust of a Roman woman who lived in the mid–3rd century. With a realistic expression of facial features, it depicts a middle-aged woman. The big eyes looking straight and thin, slightly tight lips suggest a firm character. The cheeks are fleshy but with visible zygomatic bones; the jaw is massive, with a clearly marked full chin. The hairdo expresses the fashion at the time, referring to a hairstyle introduced by Julia Domna, the wife of Emperor Septimius Severus.
The sculpture comes from the palace in Bobrek and represents one of the Potulicki Counts (the trouble is that it is unclear which one). The name “Kazimierz Count Potulicki” was used in the case of Kazimierz Ludwik Łukasz Count Potulicki of Więcborg, of the Grzymała coat of arms (1793–1871) and his son, Kazimierz Wojciech Count Potulicki of Więcborg, of the Grzymała (1820–1880) coat of arms.
A small, barely 40 centimetre tall statuette depicts one of the greatest Krakow historians and journalists of the 19th century: Professor of Kraków Alma Mater, Józef Szujski. The bronze bust depicts a middle-aged man with a distinctive look: a high forehead, combed hair, and a short beard with moustache.
Prince Józef Poniatowski — nephew of the last king of Poland, general commander of the army of the Duchy of Warsaw — died in the Battle of Leipzig in 1813. Death in the waters of the Elster River initiated the cult of his character, strongly associated with the legend of Napoleon. In 1817, the prince's body was placed in the St. Leonard's Crypt under Wawel Cathedral. The bust is an original copy of a study for the famous Warsaw monument of Prince Józef Poniatowski, sculpted by Bertel Thorvaldsen. Jakub Tatarkiewicz, who — like Konstanty Hegel and Paweł Maliński — was Thorvaldsen's student at the Roman Academy of St. Luke, successfully adapted the cold neoclassicism of his teacher here.
In the collection there is a bust sculpture depicting an image of Roman Damian Sanguszko (1832–1917). Roman Damian was the eldest son of Władysław and Izabela née Lubomirski, and a landowner in the Zaslav Region, an heir to the family property in Volyn. He managed property in the Slavuta Region and the famous horse stud in Chrystivka.
The bust of Maria, née Skrzyńska Sobańska, made in the Art Nouveau style, was carved out of Carrara marble. The object—acquired after the liquidation of a mansion—was transferred to the Regional Museum in Gorlice. Maria Sobańska came from the influential Skrzyński noble family, which had the title of “Count” .
Solidus (Lat. solidus, i.e. solid) was a Roman gold coin introduced by Constantine the Great at the beginning of the 4th century and used as the main Byzantine trade coin. Coins with images of emperors were minted during their reign.
Józef Szujski (1835–1883), born in Tarnów, was permanently associated with Kraków because of his life, academic work, and political activity. A pupil of the Saint Anna Junior High School in Kraków, he had shown many abilities since he was a child. He knew six foreign languages, wrote poetry, and, in later years...
The sculpture represents a figure of a sitting woman depicted from the waist upwards. The woman is holding binoculars and slightly leaning out of the theatre box, assumedly to take a better look of the details of the artistic event in which she is participating. There is a satisfaction, or even reverie visible on her face. Is it because of the play?
Most probably, the glass shows the bust of Adolf Starzeński, commemorating his participation in the Polish national uprising against Russia at the turn of 1830 and 1831...
A treasure of four gold Roman coins from the 5th century AD was found in Witów. It contains three solidi of Emperor Theodosius II (402–450) and one solidus of Emperor Valentinian II (424–455). The first group of coins presents a bust in an armour on the obverse. The name of the emperor is inscribed on the rim — DN THEODOSI-VS P.F. AVG.
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.
Adam Mickiewicz (1798–1855), was the greatest poet of Polish Romanticism, a national poet, publicist, and political activist. David d'Angers, was a French sculptor, the author of monuments and tombstones, medallions, and portrait busts. In 1829, during his stay in Weimar — where he was working on the bust of Johann Wolfgang Goethe — he met Adam Mickiewicz, with whom he later became friends.
Feliks Jasieński (1861—1929), pseudonym “Manggha”, the outstanding connoisseur of art, patron and collector; he was broadly educated and talented musically. He exerted a considerable influence on the art culture of Kraków at the turn of the 20th century by his activity in the field of arts, his views, publications, and also by making the gathered collections available, including the rich collection of Japanese and Western European drawings and utilitarian objects from the Far East.
The exhibit comes from the 1876 Peruvian collection of Władysław Kluger and was created during the period of Chimú culture. The vessel consists of two separate pieces, whose bodies were conjoined with a wide tunnel. They also feature a common handle connecting their necks.
The photograph shows an alley in Henryk Jordan’s Park with two distant busts of famous personalities. The white marble-sculpted busts are a noteworthy detail, the Barthesian punctum, or the intriguing elements of the picture. The bushes make up an evenly trimmed hedge. It is a stereoscopic photograph, a single print with two separate shots.
The sculpture presents a classicist bust of a young woman with a slightly bent head turned to the right. Admittedly, a faint resemblance of the artistic vision of the German sculptor to the actual figure raised doubts, but how many times have images been idealised, beautifying the portrayed individuals and making them look younger?