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EN
The collection of goldsmithery and jewellery at Cracow’s National Museum contains a group of over 40 works donated in 1903-1913 coming from the former collection of Leonard Lepszy, a known researcher into goldsmithery and material culture in Cracow, lover of monuments, author of many publications on history of art. The collection may have been created starting already from the 1880s when Lepszy held the position of the inspector, and later head of the still-then Austro-Hungarian Hallmark Office. It may have been started with the pieces brought to the Office in order to have them melted either to receive the metal or the money in return. Leonard Lepszy tried to purchase as many as he could of the most precious and interesting works, thus saving them from a total destruction. At the same time the works served him as the grounds for pioneer, systematic research into the hallmarks visible in old silver pieces; e.g. hallmarks cut out from the historic pieces brought to the Hallmark Office in Cracow and Lvov and given to Karl Knies who used them to publish a study on Austrian hallmarks. A part of Leonard Lepszy’s collection was presented in Cracow in 1904 at metal craft exhibition; confrontation of the catalogue notes with the Museum’s archival records allowed for a hypothetical reconstruction of the collection from before 1913 as well as identification of respective works in the Museum’s collection.
EN
The paper presents selected aspects the goldsmithery of Wielbark culture in Roman period. Based on analyzes of chemical composition of fi nds from the cemetery at Weklice, site 7, Elbląg commune and fi nds from selected cemeteries of Roman period located on the Elbląg Heights, three main groups of raw materials were separated: gold, silver and copper alloys. They were also discussed selected techniques of production of jewelry and costume elements, most commonly used by Wielbark culture goldsmiths: casting, forging, filigree, granulation, gilding, soldering. Based on the collected data it was found that the Wielbark culture goldsmith workshop was one of the highest technology levels of ancient goldsmithery.
EN
Goldsmithery has belonged to important handicrafts in Slovakia. Goldsmiths have been making not only devotions, but also serviceable and decorative utensils of gold and silver. The archival documents of goldsmith guild in Banská Bystrica include 175 goldsmiths who were active from the 14th to the 19th century. One of the most prominent representatives of goldsmithery in the 19th century in Banská Bystrica was Samuel Libay (1782-1866), who was goldsmith master craftsman for several years. In 1841, he finished his first great and extraordinary artwork made of fine, silver wire, filigree bust of the emperor Francis I.
EN
The chalice from the Corpus Christi hospital church in Elbląg is one of the most outstanding works of goldsmithing in the area of former Royal Prussia. On the basis of the goldsmith’s mark - which was still rare at the time - it is associated with the person of Dionisius Freymann, a goldsmith active in Elbląg since 1508. The chalice is distinguished by its meticulous workmanship, its high technical quality, but also by its high-class composition of form, using various means of artistic expression. It occupies a position of distinction in the entire abundant output of Prussian goldsmiths of the time. After 1945 it was thought to have been lost, donated to the Primate of Poland, Cardinal Stefan Wyszyński, after 1967 and given by him in 1970 to the Treasury of Gniezno Cathedral.
PL
Kielich z kościoła szpitalnego Bożego Ciała w Elblągu należy do najwybitniejszych dzieł złotnictwa na terenie dawnych Prus Królewskich. Na podstawie znaku złotniczego – co wówczas było jeszcze rzadkością – wiązany jest z osobą Dionisiusa Freymanna, złotnika czynnego w Elblągu od 1508 roku. Kielich wyróżnia się starannością wykonania, wysoką jakością techniczną, ale także wysokiej klasy kompozycją formy, przy zastosowaniu różnych środków wyrazu artystycznego. Zajmuje pozycję odrębną w całej obfitej wytwórczości ówczesnych złotników pruskich. Po 1945 roku uchodził za zaginiony, ofiarowany Prymasowi Polski kard. Stefanowi Wyszyńskiemu po 1967 i przekazany przez niego w 1970 do Skarbca katedry w Gnieźnie.
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