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1

Kielich do kiduszu w zbiorach Działu Rzemiosła Artystycznego i Kultury Materialnej Muzeum Narodowego w Krakowie

100%
Paś M.
Kwartalnik Historii Kultury Materialnej
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2012
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vol. 60
|
issue 3
483-488
EN
The Kiddush goblet which is discussed in the article was among the several old masterpieces stolen from the so-called Old Synagogue in Cracow in 1892. Although the goblet was soon recovered, it was too badly damaged to serve ritual purposes, as Kiddush goblets, used during the Sabbath and other festivals, had to be flawless. Therefore, before 1902, the goblet was passed to the National Museum, and it was reassembled there. Although this reconstruction has slightly changed its original shape, known from old drawings, it is still the pride of the Museum’s collection of Judaica. In the literature the goblet is dated to the 16th or 17th c. but a closer analysis of its ornaments suggests that the dating should be changed to the mid 18th c.
2
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Zespół opraw modlitewników prezentowanych na Pierwszej Wystawie Współczesnej Sztuki Kościelnej im. Piotra Skargi w Krakowie w 1911 roku

100%
Paś M.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
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2018
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issue XI
81-98
PL
W 1911 roku Miejskie Muzeum Techniczno- -Przemysłowe zorganizowało dwa kursy dla introligatorów pod kierownictwem znanego krakowskiego introligatora Bonawentury Lenarta. Prace wykonane na drugim z kursów, w którym wzięło udział dziesięciu czeladników, zaprezentowano na Pierwszej Wystawie Współczesnej Sztuki Kościelnej im. Piotra Skargi, którą otwarto 7 grudnia tegoż roku. Łącznie wystawiono 30 prac introligatorskich – 25 wykonali uczestnicy kursu, a 5 Bonawentura Lenart. Porównując spis wystawionych dzieł – oprawionych modlitewników – z dzisiejszymi zbiorami Muzeum Narodowego w Krakowie, można stwierdzić, że obecnie 16, a zatem więcej niż połowa dzieł eksponowanych w 1911 roku znajduje się w kolekcji Muzeum. Artykuł opisuje oprawy wykonane na kursie i następnie prezentowane na wystawie.
EN
In 1911 the City Museum of Technology and Industry organized two courses for bookbinders under the direction of the famous Kraków bookbinder Bonawentura Lenart. The works made during the second course, in which ten journeymen participated, were presented at the Piotr Skarga First Exhibition of Contemporary Church Art, which opened on December 7 of the same year. A total of 30 bookbinding works were exhibited - 25 were made by the course participants and 5 by Bonawentura Lenart. Comparing the list of exhibited works - bound prayer books - with today’s collections of the National Museum in Krakow, it can be said that currently 16, that is more than half of the works exhibited in 1911, are in the Museum’s collection. The article describes the covers made during the course and then presented at the exhibition.
3
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„Vivat Arconia!”. Pamiątki po Pawle Jarnuszkiewiczu (1857–1934) w zbiorach Muzeum Narodowego w Krakowie

100%
Paś M.
Res Gestae. Czasopismo Historyczne
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2019
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vol. 9
111-122
PL
The ninth of May this year marks the 140th anniversary of the establishment of one of the oldest student corporations, “Arkonia”, founded by Poles studying at the Riga University of Technology. In this context, the article discusses a few pieces of previously unpublished memorabilia of one of its founding members, Paweł Jarnuszkiewicz (1857–1934). ey were donated to the Museum on 25 November 1988 by Barbara Jarnuszkiewicz-Maldini (1925–2000), daughter of Brigadier General Czesław Jarnuszkiewicz (1888–1988). This relatively small group of items connected toher grandfather, father of her mother Maria Wanda née Jarnuszkiewicz, consists of: a cap and five ribbons in the colours of Arkonia together with a badge from one of them, number 10 of “Biuletyn Arkoński” from 1933, a manuscript of a poem commemorating the day when the corporation was founded, and an excerpt from number 13/14 of “Gazeta Cukrownicza” from 1934 with a posthumous note dedicated to Jarnuszkiewicz.
4

Rękawiczki z portretem Tadeusza Kościuszki w zbiorach Muzeum Narodowego w Krakowie

100%
Paś M.
Kwartalnik Historii Kultury Materialnej
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2011
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vol. 59
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issue 2
217-224
EN
Since 1891 the National Museum in Cracow has owned a pair of woman’s gloves decorated with a portrait of Tadeusz Kościuszko. The gloves were sewn by hand from lambskin (?) with silk thread. The right glove is decorated with a tondo with a copperplate portrait of Tadeusz Kosciuszko in left profile, showing him raising a sabre with the inscription: “Death or Victory”. Under the tondo there is a signature reading: J.[ózef] Łęski sc. [ulpsit] Varsaviae 1794, and underneath: “Let me once again fight for the Fatherland / TADEUSZ KOŚCIUSZKO / The Highest Commander of the armed forces of / THE POLISH NATION. The left glove is decorated with a copperplate engraved inscription: “A keepsake for a patriotic collector”, surrounded with a wreath of laurel and palm leaves (?) tied in a bow. A meticulous analysis of historic records and iconographic sources has uncovered the model of Kosciuszko’s portrait and the circumstances of producing the gloves. After the outbreak of the Kościuszko Uprising in March 1794, a violent battle took place in Warsaw on the 17th and 18th of April, as a result of which many inhabitants lost all their property and were left with nothing to live on. The municipal authorities initiated a collection of money which was conducted in Warsaw churches by ladies of noble and burgher families. The collection was commemorated with gloves. The originator of this idea was probably Reverend Onufry Kopczyński. The commemorative gloves were probably manufactured in Michał Grosse’s workshop and Kosciuszko’s portrait was most likely prepared by the engraver Jabłoński. It is certain that 82 pairs of such gloves were made. The pair kept in the National Museum in Cracow, which probably belonged to Anna Krajewska, is the only one surviving.
5
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Szklane modele kamieni jubilerskich w zbiorach Muzeum Narodowego w Krakowie

63%
Myśliński M., Paś M.
Saeculum Christianum. Pismo Historyczne
|
2021
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vol. Wydanie specjalne
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issue 28
85-93
EN
In 1884 and 1885, the Technical and Industrial Museum in Kraków bought four sets of glass models of jewellery stones. They were models of the most famous diamonds, diamond cut models, models of weight of precious stones (carats), models of colors and crystallographic systems of precious stones. The purchase was likely caused by the fact that the Museum conducted educational activity from 1868 and its role was, among others, to raise the level of education of local craftsmen, entrepreneurs and traders.After the liquidation of the Technical and Industrial Museum in 1950, the aforementioned four sets were transferred to the collection of the National Museum in Kraków. Based on the documents, inventory cards and trade stickers preserved in the Museum, it can be indisputably concluded that these sets of stones, made with great precision, were purchased at the Vaclav Frič store in Prague. Their creator could have been one of the two extremely talented glassmakers, Leopold or Rudolph Blaschka of Dresden, with whom Frič cooperated intensively. The two glassmakers are known primarily as creators of zoological and botanical models, characterized by great precision. Their works nowadays adorn many university, museum and private collections.
PL
W 1884 i 1885 roku Muzeum Techniczno-Przemysłowe w Krakowie kupiło cztery komplety szklanych modeli kamieni jubilerskich. Były to modele najsłynniejszych diamentów, modele szlifów kamieni szlachetnych, modele wagi (masy) kamieni szlachetnych (karaty), modele kolorów i układów krystalograficznych kamieni szlachetnych. Zakup ten był spowodowany zapewne tym, że muzeum prowadziło od 1868 roku bardzo ożywioną działalność edukacyjną i jego rolą było m.in. podnoszenie poziomu wykształcenia tutejszych rzemieślników, przedsiębiorców i handlowców. Zbiór czterech kompletów trafił następnie – po likwidacji Muzeum Techniczno-Przemysłowego w roku 1950 – do kolekcji Muzeum Narodowego w Krakowie. Zachowane w muzeum dokumenty, karty inwentarzowe, nalepki handlowe pozwalają bezsprzecznie stwierdzić, że te wykonane z wielką precyzją komplety modeli kamieni zakupione zostały w sklepie Vaclava Friča w Pradze. Ich twórcą mógł być jeden z dwóch niezwykle utalentowanych szklarzy – Leopold lub Rudolph Blaschka z Drezna, z którymi Frič intensywnie kooperował. Szklarze są znani przede wszystkim jako twórcy modeli zoologicznych i botanicznych, odznaczających się wielką precyzją wykonania. Ich dzieła stanowią obecnie ozdobę wielu kolekcji uniwersyteckich, muzealnych i prywatnych.
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