An old tool made of wood from Świątniki Górne, closely related to the workshop manufacturing padlocks. its main element is a wooden pole with a flywheel mounted on it. The horizontally placed handle is connected to the pole by a cord.
The padlock may be opened by activating an appropriate latch, called a pillar. Thanks to this, the keyhole cover (the so-called “shield”) opens. Due to the high cost of production, such padlocks were manufactured very rarely, and the production process itself required mastering the craft of padlock making perfectly.
The sculpture was made of polychrome and gilded lime wood. It presents the Saint in bishop’s robes, in a lively position: his body is slightly turned to the left and bent, his left leg lunged. The bishop is holding the hem of the coat in his right hand. With his left hand, he is picking up a man with a moustache from the ground, dressed in a short hooded coat and trousers, depicted in a reduced scale.
The bas-relief was purchased for the collection in 1969 in the Kraków Desa. It was assumedly created in the 17th century and is one of the oldest and most valuable sculptures in the Nowy Sącz collection.
The figure of Mary comes from the Crucifixion Group, which includes the sculpture of St. John the Evangelist, her pendant, also in the collections of the Museum of Ziemia Biecka. Initially, it was believed that both figures were placed on the rainbow beam of the Biecz parish church. However, their small size in relation to the parish space, according to art historians, excludes this view. They probably topped of one of the altarpieces.
The workshop of a pipe-maker, as well as a stud-maker, consisted of a small table on four wide spread legs, with a rather shallow drawer, bordered on three sides with low slats preventing tools and items lying on the table from sliding down. A small iron anvil was attached to the table; on top of the table, there were tools, scraps of metal, and rivets, as well as various bits and pieces which could be of use. The drawer was used to keep larger pieces of sheet metal, as well as unfinished and finished goods. The workshop was usually placed by the window in a dark room in the cottage, or it was taken outside on warm and sunny days.
A Baroque architectural throne for a church monstrance. A Baroque framing decorated with an auricular style ornament as well as a radiant halo consisting of rays alternately straight or curved. At the sides are two allegorical figures, at the finial of the framing are two figures of angels.
Ceramic corner tile taken from a clay stove, the so-called heater. It was made by the pottery workshop of Jan Oksitowicz, a potter enrolled in the Kraków guild in 1832. The tile comes from a stove which existed even in the interwar period in one of the Kraków tenement houses belonging to the Tarnowski family. After World War II, the stove stood in the former residence of this family in Dzików near Tarnobrzeg, from where, dismantled, it found its way to Kraków again.
The sculpture depicts the Crucified Christ. The Saviour has dark hair falling on his shoulders, a short beard and moustache. The figure’s hands were completely destroyed.
It is a gothic sculpture depicting a figure in contrapposto, hands folded for prayer, face with a straight, narrow nose, small lips, head slightly bowed, covered with a cloak falling on the shoulders, bare neck, dress with a partially preserved polychrome in red, robes falling with heavy folds.
The chalice is an example of seventeenth-century goldsmithing in Małopolska, with features typical of the workshops of the region such as a slim and smooth bowl set in a basket, an oval nodus, repoussé decorations, and motifs of heads of winged cherubs, which was a common element of the decoration of gold products from Kraków in that period.
The Włocławek cup is the most precious and one of the oldest exhibits of decorative art from the collections at the National Museum in Kraków. It was made in the 1st half of the 10th century, presumably in a workshop located on the territory of Lorraine or Alemannia.