The late baroque altar made of gilded bronze was presented in 1772 to king Stanislaus Augustus Poniatowski by Papal nuncio in the Polish-Lithuanian Commonwealth, Giuseppe Garampi, in the name of Pope Clement XIV. It was created in about 1772 in Rome and adorned with king's coat of arms in lower part and a relief with the scene of the "Beheading of St. John the Baptist" in the center. The central tondo is probably of an earlier production from about 1688-1689 by Urbano Bertesi after Ciro Ferri's design or was based on a 17th-century form. Similar bronze relief, commissioned in 1688 by Gregorio Carafa, Grand Master of the Order of Saint John preserved affixed to the front of the altar in the Oratory of St. John's Co-Cathedral in La Valletta, Malta.
In 1777, the king's altar was installed in the new Chapel of the Warsaw's Royal Castle, so-called Saxon Chapel (today's concert hall) and remained there until 1832, when all precious furnishings were taken to Saint Petersburg, possibly at the request of Joanna Grudzińska, Princess of Lovich, morganatic wife of the Grand Duke Constantine Pavlovich of Russia who died in Tsarskoye Selo in 1831. In aftermath of the November Uprising against the Russian Empire all furnishings of the Royal Castle in Warsaw were confiscated by order of Tsar Nicholas I and some destroyed like ceiling painting and the inscription on the frieze in the Knights' Hall and marble decorations of the Marble Room reused during conversion of the Piarists Church in Warsaw into Russian Orthodox Church.
The Poniatowski altar was installed in the church of St. John the Baptist in Tsarskoye Selo. In 1938 the church was closed by the Soviets and the altar was transferred to the Museum of the History of Religion in Saint Petersburg, then known as Leningrad.
Altar of king Stanislaus Augustus with Beheading of St. John the Baptist by Anonymous from Rome, ca. 1772, Museum of the History of Religion in Saint Petersburg.
Tondo with Beheading of St. John the Baptist by Urbano Bertesi after Ciro Ferri, 1688, St. John's Co-Cathedral in La Valletta.
Bishop Piotr Gembicki was one of the most meritorious benefactors of the Wawel Cathedral in Kraków. Among numerous goldworks donated personally by the bishop to the Cathedral there was a gold chalice in 1643, a gold monstrance in 1647, silver figures of Saints Sigismund and Ladislas (of approx. 20 kg each) in 1653, silver reliquaries of Saints Venerandus and Maschalina and a wooden coffin for relics, lined with velvet and decorated with silver fixtures before 1654.
Subsequently after his death the following valuables were given to the Cathedral by executors of Bishop's last will: a gold cross with diamonds to adorn a monstrance, a set of gold figures representing the Christ Crucified, the Saviour, St. Mary, St. John the Baptist and the Apostles, bought in 1656 from Queen Marie Louise Gonzaga, two silver altar sets (cross and six chandeliers), silver basin with a jug, silver crosier.
According to the Bishop's will also some mobilia from Kraków's Bishop Palace were granted to the Cathedral like "a pair of red velvet Italian chairs with gilded wood" and another "high gilded chair with statues of Saints Peter and Paul".
Monstrance donated by Bishop Piotr Gembicki to the Wawel Cathedral by Anonymous from Bologna and Kraków, ca. 1647, Wawel Cathedral Treasury.
Throne of Bishop Piotr Gembicki with statues of Saints Peter and Paul and his coat of arms by Anonymous from Kraków, between 1642 and 1654, Wawel Cathedral.
The General Inventory of the Wilanów Palace from November 10th, 1696 is a document preserved in the Archive of Old Documents in Warsaw. It includes approximately 3500 items - 433 paintings, 1200 thalers worth jewels (only priced positions) and 4801 grzywnas (1100 kg) of silver (only positions with weight included) supervised by burgraves Brochocki and Cieszkowski and delivered by supervisors of silver Mr. Dyniewicz and Hyacynt Kredencerz. The document was prepared in Złoczów for Prince Aleksander Sobieski by burgrave Stanisław Cieszkowski basing on earlier General Register.
The documents provides supplementary information on some of the most precious items in the Royal Collection like the canopy above the King’s bed which was described by Papal nuntio in Poland Andrea Santa Croce as “a gobelin with pearls and precious stones” presented to the King by shah of Persia. According to the inventory, the canopy was made from rich velvet “Persian fabric” with colorful pattern with figures on gold background. However the inventory does not include some rarities from the King’s library, promised by the King to the Fatebenefratelli in Lwów, like for example “one horn of a sea unicorn whale, crocodile, a head of a sawfish (or a crocodile), whale fin, rhinoceros horn, sea cancer”.
Reliquary of St. John of Nepomuk from the jewel casket of Queen Marie Casimire Sobieska by circle of Hans Jakob Mair, before 1688 (casket) and brother Makary Sztyftowski, 1732 (figures), Jasna Góra Treasury, offered by the Queen to the Jasna Góra Monastery in 1688.
Study for a monogram of Queen Marie Casimire Sobieska by Tylman Gamerski, fourth quarter of the 17th century, Warsaw University Library.
Silver casket of John III Sobieski by Armenian workshop in Lviv, second half of the 17th century, Saint Mary's Church in Kraków.
Velvet wall hanging by Anonymous from Turkey, ca. 1650, Cloister of Benedictine Sisters in Krzeszów.
Crystal and silver field altar set with a cross and two candlesticks of John III Sobieski by Anonymous from Augsburg, before 1684, Museum in Studzianna-Poświętne, offered by the King to the Studzianna Monastery in 1684.
Silver tray with a courtly couple by Markus Wolf in Augsburg, before 1676, Jasna Góra Treasury, offered by King John III Sobieski to the Jasna Góra Monastery in 1676.
Ebony games table set with nacre with heraldic white eagle and two Cossacks by Anonymous from Poland or Germany, 1676-1680, Munich Residence. Most probably commissioned by John III Sobieski.
Fragment of amber altar of John III Sobieski by workshop of Michael Redlin in Gdańsk, second half of the 17th century, Czartoryski Museum in Kraków.
Family portraits and ebony-silver table of John III Sobieski by Samuel Schneeweiss from about 1695, displayed at the Wawel Castle.
Detail of a panel from an oval tent with two masts by Anonymous from Turkey, first half of the 17th century, Wawel Royal Castle, trophy captured at Vienna by John III Sobieski.
Hilt and scabbard of a sabre of Hetman Stanisław Żółkiewski by Anonymous from Turkey, early 17th century, Jasna Góra Treasury, offered by the Pauline Fathers to King John III Sobieski before the Battle of Vienna who took only blade.
Detail of portrait of John III Sobieski by Prosper Henricus Lankrink, after 1676, Wawel Royal Castle.
Silver sanctuary lamp by Gergen Schneider in Gdańsk, 1667, Jasna Góra Monastery, offered in 1669 by Jan Sobieski and Marie Casimire as an ex-voto to the Chapel of the Virgin Mary at Jasna Góra.
Plaque showing the Adoration of the Shepherds by Hans Jakob I Bacchmann, 1624, Jasna Góra Treasury, from the small altar offered by Konstanty Sobieski to the Jasna Góra Monastery in 1708. Most probably commissioned by Sigismund III Vasa.
Church vestments decorated with emblems of the Order of the Holy Ghost in connection with conferring of this order to John III Sobieski by Anonymous from Poland, ca. 1676, Parish Church in Pilica.
Jewels (172 items)
No 1. | P. Ale: | Pure gold watch set with diamonds | 580 thalers
No 31. | P. Const: | IESVS monogram set with diamonds with three pearls | 220 thalers
No 36. | P. Alex: | Image of Our Lady set with diamonds | 200 thalers
No 40. | P. Ale: | Jasper figurine with gold, set with diamonds, emeralds and rubies | 150 thalers
No 60. | P. Jaco: | Ring with coat of arms of the King |
No 97. | P. Con: | Big knife with crystal handle set with turquoises | 100 thalers
Silverware (122 items)
No 4. | | Silver bowl made in Augsburg with a cover with phoenix | weight 36 grzywnas
No 8. | | Three storey fountain with gilded elements made in Augsburg | weight 108 grzywnas
No 9. | | Silver pyramid with 11 baskets made in Augsburg | weight 45 grzywnas
No 12. | | Large gilded basin with a jug with eagle | weight 147 grzywnas
No 13. | | Smooth jug with gilded parts with double headed eagle [imperial or Russian?] | weight 48 grzywnas
No 19. | | Round gilded basin with a jug with lion and Topór coat of arms | weight 44 grzywnas
No 21. | | Trimmed basin with the Story of Belisarius made in Augsburg | weight 23 grzywnas
No 22. | | Similar basin with the Story of Mordecai | weight 18 grzywnas
No 23. | | Trimmed tray with the Story of Bacchus made in Augsburg | weight 14 grzywnas
No 24. | | Round tray with a person pointing finger made in Augsburg | weight 11 grzywnas
No 25. | | Tray with Neptune made in Augsburg | weight 9 grzywnas
No 26. | | Gilded tray with a boar | weight 7 grzywnas
No 27. | | Silver tray with Magi | weight 12 grzywnas
No 28. | | Silver tray with handles with Convivium Deorum | weight 14 grzywnas
No 30. | | Silver tray with gilded handles with a shepherdess with a dog | weight 7 grzywnas
No 31. | | Basket with gilded handles, Justice and Abundance| weight 11 grzywnas
No 32. | | Basket with gilded handles with three goddess | weight 14 grzywnas
No 33. | | Basket with gilded handles with Quatuor Anni tempora | weight 12 grzywnas
No 42. | | Serving silver tray with King’s coat of arms made in Paris | weight 4 grzywnas
No 44. | | Gilded set for one person with King’s coat of arms made in Paris | weight 11 grzywnas
No 52. | | Two gilded trays engraved with fruits and butterfly made in Augsburg | weight 9 grzywnas
No 79. | | Pair of vases with large handles with bases with King’s coat of arms made in Paris| weight 536 grzywnas
No 81. | | Silver screen with angels and a crown made in Augsburg | weight 242 grzywnas
No 88. | | Twelve gilded plates with King’s coat of arms| weight 33 grzywnas
No 92. | | 22 smooth gilded plates with coat of arms and letters A.R. | weight 51 grzywnas
Goldsmithery (538 items)
No 1. | P.Al:| Gold bowl in the shape of a shell presented by Elector of Brandenburg with his coat of arms | weight 894 red zlotys
No 2. | P.Iacobus:| Smaller gold bowl with Chinese people and flowers| weight 192 red zlotys
No 6. | P.Con:| Smooth gold cup on three knobs with coat of arms of Elector of Brandenburg and ducal cap| weight 480 red zlotys
No 7. | Queen:| Large jasper bowl with gold bottom and gold handles, gold cover with 4 crystals and a crane holding a sapphire| weight 600 red zlotys
No 8. | P.Iacobus:| Jasper bowl in gold frame set with rubies with eagle’s head | weight 150 red zlotys
No 9. | P.Al:| Jasper chalice with a high bottom and a silver frame set with rubies, cover with a lily, set with diamonds and emeralds| weight 250 red zlotys
No 17. | | Black agate casket in gold frame with four columns, set with crystal, and Passion of Christ| weight 500 red zlotys
No 26. |P.Con.| Engraved crystal bowl with high bottom with crystal eagle |
No 42. |P.Al.| Chinese inkwell in the shape of a lectern with a gold lock set with diamonds |
No 49. |P.Al.| Nautilus cup in the shape of a ship with a mast on a dolphin |
No 64. || Gilded silver figurine of Arion among dolphins |
No 70. |P.Al.| Turkish porcelain censer in silver frame set with rubies and other precious stones|
No 78. |Princess| Gilded silver casket set lavishly with stones with an eagle at the top|
No 80. |P.Iacobus| Nautilus cup in silver frame with a Triton |
No 81. |P.Con:| Nautilus cup in silver frame with a gilded swan |
No 82. |P.Iacobus| Box in the shape of a pyramid with 7 green filigree bottles |
No 84. |P.Al.| Coral bush on a silver pedestal with silver Andromeda |
No 85. |P.Con.| Green jasper bowl in gold frame, cover with Diana | 40
No 87. |P.Al.| Pure gold saltcellar with a cover with Cleopatra and a pearl | 115
No 88. |P.Con.| Heart-shaped bowl in gold frame |
No 92. |P.Con.| Our Lady made in coral on a gilded silver pedestal |
No 97. |P.Con.| Filigree palace with a garden |
No 98. |P.Iacobus.| New bone inlaid checkers with amber pawns in walnut box|
No 100. || Mathematical box covered with black leather adorned with silver with King’s arms, two mathematic instruments inside in smaller boxes |
No 112. |P. Iacobus.| Silver chimney screen with green glass|
No 113. |P. Al.| A pair of stone pictures with flowers made in Florence, one with a frame the other without |
No 120. |P. Al.| Silver altar with Immaculate Conception in a box|
P.1 No 129. |P. Iac.| Pure gold candlestick of 93 red zloty weight|
P.1 No 130. |P. Con.| Gilded altar with Nativity of Christ in a box|
P.1 No 131. |P. Al.| Another altar with Resurrection of Christ |
Walled treasury in the southern tower of the Wilanów Palace
P.2 No 123. |P. Iac.| Ebony table set with silver with an instrument inside and four s-shaped elements on each side in lower part |
P.2 No 125. |P. Iacobus.| Gilded clock with a sun index with perpendicular |
P.2 No 126. |P. Constantin| Gilded clock with small turned posts and a perspective (a telescope?)|
P.2 No 128. |P. Iacobus| A clock with a siren on a black pedestal with six knobs, turret at the top with a figure |
P.2 No 130. |P. Iacobus| Inkwell set with tortoiseshell and mother of pearl in silver frame |
No 137. |P. Con. | Filigree silver tray set with precious stones with two cupids in the center |
No 144. |P. Iacobus. | Jasper chalice set with diamonds, rubies and emeralds 175 silver worth | 175
No 146. |P. Con. | Small Chinese tray with trimmed borders, lacquered in black with gold with a bowl adorned similarly with a gold stamp inside set with emeralds, accompanied with three Chinese gods made in the same way with nodding heads |
No 147. | | Picture on canvas with Our Lady with Saint Francis covered with metal riza adorned with stones, diamonds and pearls in corners, this picture hung always in the bedroom of his Highness in Wilanów|
No 148. | | Large ebony cabinet framed in gold with enameled elements, diamonds and precious stones, mirrors in the drawers|
No 160. | P. Iacobus. | Delftware vase with ships and King’s monogram|
No 161. | | Two large walnut wardrobes set with silver trimmed pieces filled with delftware and porcelain|
No 162. | P.Const| Crystal clock in gilded silver frame|
No 163. | P. Iacobus. | Velvet wallpapers with crimson flowers on yellow background |
Al freco painted cabinet
No 170. | | Red tortoiseshell cabinet on six legs |
No 171. | | Large jasper cabinet with drawers adorned with pietra dura and silver, in inner part 9 stone pictures and 18 metals |
No 172. | | Mirror on high pedestal with a clock adorned with stones and silver festoons |
No 176. | | Overbed canopy in Chinese style with gold, fringed with gold and silk |
No 189. |P. Al. | Small ebony table set with silver on crystal legs |
No 193. |P. Al. | Amber cross in a box |
No 203. | | Roman cabinet with drawers with Story of Moses behind glass, in this cabinet a clock with a lamp and gilded Curtius on horseback at the top |
No 204. | | Large cabinet made in Florence adorned with tortoiseshell and other stones, with a clock at the top |
No 205. | | Large chair covered with gold fabric with crimson lining with silk fringe with gold and gilded silver knobs|
No 206. |P. Constanti | Velvet wallpapers with crimson crowns and flowers on golden background |
No 208. | | Pietra dura table with jasper settings with figures on gilded wooden legs |
No 210. | | Carved gilded table made in France with arms of the King and Queen covered with profuse Persian fabric at the top |
No 214. | | Gilded wooden bed carved with shell forms with two cupids standing on turtles on the head side and two dolphins in leg side|
No 224. | | Black table with flowers and a parrot in the center on walnut legs|
No 226. |P.Con | Large amber cross on high pedestal in a box |
No 229. | | Calambuco wood Three Kings in a shed adorned with rubies and diamonds |
No 234. |P.Con: | Chinese satin dressing gown adorned with painted flowers with orange cotton linen |
No 235. |P.Ale: | White satin dressing gown embroidered with flowers and double-headed eagle in the center, scarlet satin linen |
No 243. |P.Alexander: | A pair of velvet Persian pillows with pyramid pattern on gold background and with orange satin linen |
No 247. |P.Iacobus. | Turkish tortoiseshell casket set with mother of pearl |
King’s Chinese Study
No 248. |P. Alexander. | Chinese satin wall hangings with sewn flowers, birds and figures |
No 250. || Wooden carved and gilded bed made in France with Queen’s monogram |
No 255. || Chinese gilded table with a drawer on four legs with a Chinese cabinet with drawers atop containing Chinese boxes, gods, pictures, flowers set in brass |
No 256. ||Gilded wooden statue of a Chinese god |
No 258. | P.Ale. |Chinese casket set with mother of pearl in brass frame |
King’s dressing room
No 263. | P.Al: | Ivory casket set with jasper |
No 271. | P.Iacobus | Square pillow with octagonal crimson flowers on silver and gold background |
No 275. | | Lying deer with coral antlers |
No 276. | | Round table with King’s monogram |
No 277. | P. Alex.| Old elongated Chinese chest with rounded cover, set with mother of pearl |
No 280. | | Large shell of a sea turtle in form of a shield |
No 281. |P. Con. | Smooth silver table on a pedestal with checkers inside |
No 282. |P. Con. | Small ebony angular table on eight legs, set with silver |
No 290. | | Filigree altar set with precious stones with two pictures, Passion of Christ in upper part and Our Lady of Sorrows in lower part|
No 291. | To Żółkiew| Large gilded can set with precious stones in a box with white Holy Ghost atop and gilded rays, it was made for the Church in Żółkiew |
No 295. | given to the Princess| Profuse Persian wall hangings with flowers, birds and letters Ioannes Rex |
No 312. | P. Alexander. | Two small perfume pillows to the great canopy, one in pearl color satin, sewn with gold and silver thread with a marzipan colored lace, the other one painted with figures|
No 321. | | Round Turkish leather table embroidered with gold and silver |
No 330. | | Half-silk wall hanging with flames hung before the bathroom, 7 pieces |
No 331. | | Velvet red wall hangings with embroidered female figures, 12 large and small pieces |
No 332. | | Velvet green tapestries with emperors, 10 large and small pieces |
No 333. | | Canopy from the above set, crimson velvet with coat of arms of ancestors of His Highness |
No 334. |to the Queen | Tapestry set sewn with gold with battles, received from his highness Elector of Bavaria, 8 pieces |
No 373. |P. Const. | Canopy made from a rich fabric, with silver flowers on a gold background, with a marzipan colored fringe and one silk rope |
No 374. || Crimson canopy embroidered in floral motives in gold thread, green silk fringe with gold thread |
No 377. |P. Alexander| Two crimson velvet portieres with coat of arms of the King with pearl colored satin linen |
No 381. |One to P. Iacob the other to P. Alex.| Two rich curtains with satin blue center embroidered with gold thread with stars, moon fazes, with green cotton linen |
No 407. |P. Con:| Persian small crimson kilim in gold and silver striations with blue cotton linen|
No 419. || Two velvet crimson chairs with patterns and gilded knobs, fringe and gallon in gold|
No 421. || Folded velvet crimson chairs in a gilded silver frame |
No 437. || Hanging crystal candlestick in red case |
No 444. || A pair of paintings with palaces and people in turbans before them in gilded carved frames |
No 446. |P. Alexander | A pair of paintings on silver plates with Alexander on horseback and His Majesty on the other in black ebony frames |
No 447. |P. Alexander| Veronica with the veil behind the glass in silver covered frame |
No 454. |P. Iacob | Gilded wooden inkwell painted with birds |
No 455. |P. Con: | Small ivory square casket with brass gilded slats in corners with pieces of crystal on sides and cover |
No 458. |P. Al: | Mother of pearl inkwell with a mirror inside under the cover |
No 471. |P. Al: | Wooden Chinese tray with a pitcher set with mother of pearl |
No 487. |P. Al: | Brass table clock in form of a tower on black pedestal |
No 489. |P. Iac. | Bronze equestrian figure of Gustavus Adolphus |
No 492. || Jasper green rosaries, and a moose horn with relics of different saints with silver filigree cross |
Paintings (316 items)
No 1. || Painting with sea ducks with ducklings and a hoopoe in black frame |20
No 4. || Painting with a dragon with a snake and a hoopoe on a tree in black frame |20
No 5. || Large painting with Mercury at the table with other gods in carved gilded frame |
No 8. || Dutch painting with a hovel by the sea and land with travelers in black frame |110
No 10. || Painting with a fire of Amsterdam Town Hall in black frame |110
No 11. || Pair of paintings with different fruit and sea cancer (crabs?) without frame |12
No 13. || Painting of a lady in white dress with a gentleman playing lute in black frame |100
No 15. || Painting of a lady in scarlet dress playing clavichord with a gentleman in black frame |100
No 16. || Passion of Christ in ivory on violet velvet with a gold gallon |150
No 19. || Image of Saint Francis on marble in form of an altar triptych in frame adorned with silver |6
No 20. || Image of Deposition of Christ in ivory in black frame |70
No 22. || Image of Nativity of Christ in ivory in black frame |100
No 23. || Image of Nativity of Christ in marble in black frame |15
No 24. || Pair of oval glassed images with Christ the Savior and Mary in carved gilded frame |60
No 26. || Painting with the Story of Herod in carved gilded frame |30
No 27. || Pair of glassed images with goddesses and Vulcan on the other in carved gilded frame |60
No 29. || Pair of images with a Swiss man with halberd and a Dutch woman in gilded frame |
No 31. || Painting of Mary sitting under the tree with Saint Joseph in gilded frame |
No 33. || Pair of glassed images with the Story of Actaeon in tortoiseshell frame set with brass and tin |40
No 34. || Painting of Assumption of Mary by Bacici in carved gilded frame |100
No 35. || Painting of Jupiter by Mr Jerzy (Jerzy Siemiginowski-Eleuter) in carved gilded frame |60
No 37. || Glassed portrait of Queen of France (Anne of Austria) in gilded frame |10
No 39. || Painting of Abraham and Hagar in gilded frame |130
No 42. || Painting of Mary on white satin in plant paint in gilded frame |13
No 44. || Painting of Mary Magdalene lying under the tree on tin plate in gilded frame |25
No 45. || Painting of Mary looking upwards with Jesus in gilded carved frame |50
No 46. || Painting of a Capuchin monk with a book, reading, in gilded frame |15
No 47. || Painting of an old Capuchin monk with a skull contemplating Passion of Christ in gilded frame |10
No 49. |P.Al:| Miniature glassed painting of decapitation of Saint Margaret in filigree frame set with precious stones |
No 50. |P.Al:| Miniature glassed painting of Saint John with a lamb in filigree frame set with enamel and precious stones |
No 53. || Painting of Saint John pointing upwards in filigree frame set with precious stones |
No 69. || Painting of Christ with the Pharisees by Raphael in gilded frame |150
No 74. || Portrait of Portuguese rabbi by Rembrandt in black frame |150
No 75. || Painting of the same dimensions of a Jewish Girl in a beret in black frame |190
No 76. || Painting of an old Spanish woman in gilded carved frame |30
No 78. || Bas-relief presented by His Holiness Pope Ottoboni (Alexander VIII) with Saint Ignatius and his companions in smooth metal gilded frame, on lapis and amethyst background, hung on a silk rope with silver knobs |300
No 79. || Painting of Passion of Christ on tin plate in pietra dura frame |60
No 81. || Painting of Saint Anthony resurrecting a child on tin plate in carved frame with gilded copper elements |130
No 82. || Natural marble image with battle of Amazons in brass frame with marble medallions and silver cherubs |45
No 83. || Painting of Moses leaving Egypt with his people in bone inlaid frame |300
No 84. || Painting of Procession Saint Gregory in Rome with a round top in metal gilded frame |130
No 86. || Pietra dura image with Annunciation, the head of an angel damaged in gilded metal frame |50
No 87. || Bas-relief pietra dura image with fruit and flowers in a lapis vase in black frame |50
King’s Dutch Study
No 88. || Pair of Dutch paintings with peacocks, turkeys and hen with chickens on one of them and red kite eating a pigeon, hens and hen with chickens on the other one, both in gilded frame|
No 89. || Painting with flowers in a glass bowl in carved gilded frame with King’s monogram|80
No 92. || Painting with Three Kings by Rembrandt in black frame|100
No 93. || Painting with Abraham and Hagar by Rembrandt in black frame|100
No 97. || Painting of an old lady reading a book in octagonal black frame|50
No 103. || 12 images of Chinese Emperors in round black frames |12
No 104. || Image of man sitting behind bars with a lady in white dress visiting him in black frame |10
No 105. || Bas-relief wax image of Veraicon (or Saint Veronica) in oval carved and gilded frame |
No 107. || Ivory image of Rape of Proserpine in black frame | 100
No 108. || Pair of Chinese images on white satin with gods sitting on storks in a simple wooden frame at the bottom| 8
King’s Chinese Study
No 113. || Painting of Christ in the Garden by Lavinia Fontana (?) in gilded carved frame| 30
No 116. || Painting of Christ with Samaritan woman on tin plate in black frame with gilded slat| 60
No 120. || Painting of Sybil praying to Apollo in gilded frame| 60
No 122. || Portrait of Helena (Henrietta?), Queen of England in gilded frame| 40
No 123. || Painting of Neptun and other gods on tin plate in gilded frame| 18
No 126. || Pair of Chinese images on white satin with a greyhound on one of them and a tiger on the other | 18
No 127. || Painting with angels holding cross in clouds in gilded frame | 20
No 128. || Painting of Christ in the Garden on black marble by Anthony van Dyck in gilded frame | 45
No 129. || 14 miniature images of Chinese Emperors in black round frames | 24
King’s Dressing Room
No 135. || Dutch painting of a sick lady with a doctor checking the urine and child playing with a dog in leather covered silver plated frame with a gilded slate | 70
No 136. || Painting of a lady playing clavichord and a servant in third room sweeping in leather covered silver plated frame with a gilded slate | 30
No 139. || Painting of a lady playing viola da gamba with a female servant playing lute in black frame| 10
No 140. || Painting with ladies drinking coffee in leather covered gilded frame | 50
No 141. || Painting with marble pitcher and fruit in leather covered gilded frame | 10
No 145. || Marble image of a white goddess turned into a tree (Daphne?) in octagonal black frame | 30
No 148. || 4 paintings representing four continents in separate frames containing 17 small pictures painted on tin plate |
Upper Treasury with paintings from the Lower Gallery and Library
No 151. || Dutch landscape painting with people resting under the tree in black frame | 40
No 152. || Painting of a butler entering the room before a lady in white dress in black frame | 10
No 156. || Painting of a lady in gold dress playing lute, a girl giving her a letter in black frame | 35
No 157. || Painting of a lady in white dress with a gentleman putting his leg on her in simple white frame | 35
No 160. || Painting with a gilded cup, herring on a plate, bread and oysters in black frame | 50
No 161. || Painting of a Knight of Malta returning from the war, and the other one dancing with a lady in black frame| 15
No 163. || Pair of paintings with herrings, garlic, onion, white bread and a glass of wine in simple white frame| 80
No 167. || Painting of three people standing at the sea shore, two sitting and one old man pointing to the sea in black frame | 30
No 169. || Paintings of old men on wood panel, one of them holding a herring and money without frame |
No 171. || Straw image with a landscape without frame |
No 176. || Pair of round paintings on marble with Actaeon and sirens on dolphins in the other one in grey octagonal frames | 30
No 180. || Painting with a Dutch dwelling with a female cook pouring milk, in gilded copper frame (copy of Vermeer’s Milkmaid?) | 10
No 187. || Ivory image with Caritas on black velvet in oval carved and gilded frame | 40
No 188. || Pair of paintings with a girl at the window with a candle and an old lady with a pitcher watering plants in a pot in the other one, both in gilded carved frames | 54
No 190. || Picture of Mary Magdalene embroidered in silk in gilded frame |
No 191. || Pair of pictures in wax on jasper with Andromeda and Phaethon on the other in silver frame |
No 192. || Glassed picture with a perspective in white wax with two sitting people in black wax in black frame |10
No 197. || Small painting on tin plate with banquet of King Ahasuerus in black frame |45
No 198. || Small painting on tin plate with a soldier killing a queen and a city in flames in black frame |19
No 199. || Small painting with Sodoma in flames and two angels above throwing flames in smooth gilded frame|20
No 201. || Painting with a Franciscan monk listening to a confession in gilded frame |13
No 202. || Pair of paintings with a Dutch man killing lice and the other one scratching in his bosom, both in large black frames |20
No 204. || Painting on wood with Head of Saint John in black frame with gilded elements with turquoise and silver gilded slate |15
No 207. || Painting on tin plate with different travelers under a rock and a woman with a child on her arms in black frame |
No 208. || Pietra dura picture with a parrot on a cherry wood in black frame |10
No 210. || Large painting with an old man by Rembrandt in gilded frame and rounded top |80
No 214. || Painting with a glassed cupboard with different papers in fir white frame |15
No 215. || Painting on wood with Venus holding her leg and Cupid, under the tree without a frame |6
No 221. || Painting of Mary Magdalene with an angel and a skull in gilded frame |60
No 225. || Pair of new paintings with a Lot standing by a pitcher and a banker counting gold coins on the other, both without frames |16
No 229. || Painting of Nativity of Christ on black marble in gilded carved frame |15
No 230. || Ivory picture with a lion hunt on black velvet in black frame |45
No 230. || Dutch painting with cattle, shepherd on horseback and the other one holding a goat by the horns in black frame |50
No 238. || Painting with fruit in white porcelain on a small table covered with a red fabric in black frame |4
No 241. || Painting with a shepherdess on a grey donkey, hunter on horseback with a bird and dogs before her and two traveling Capuchin monks in black frame |90
Paintings in Marywil
No 252. || Large landscape painting with ruins and people on mules in gilded frame |20
No 253. || Large painting with a lute and different mathematical instruments, clock and two silver vases in gilded frame |10
No 259. || Painting with a battle of Turks and Hungarians, with a gentleman on horseback with a sword and a cross hanging on his chest in gilded frame |12
No 260. || Painting of the same dimensions on canvas with a battle of Turks under a besieged castle and Croats coming with the rescue in gilded frame |12
No 261. || Elongated painting (horizontal?) with a farrier nailing on a white horse before a smithy and soldiers returning to the camp in carved gilded frame |10
No 262. || Elongated painting (horizontal?) with a farrier nailing on a horse before a smithy with more horses while a woman with a child is sitting on the ground in black frame |40
No 274. || Painting with gypsies by the fire and soldiers playing cards under the tree in black frame with gilded slat |2
No 276. || Painting with wandering gypsies walking and on wagons, female gypsies with children, kitchen pots and other utensils beside them in black frame |2
No 277. || Painting in grisaille with Charon and sitting soldiers in black frame |3
No 278. || Pair of old style paintings with a King and a Queen in black frame |4
No 280. || Painting on oak panel with a female cook with a pheasant in black frame |8
No 281. || Large painting with Salvator Mundi |20
No 286. || Portrait of a man in red costume lined with sable and yellow żupan in black frame |20
No 287. || Portrait of Queen Eleanor in white dress in a simple frame |20
No 288. || Portrait of Queen of Sweden in old style costume with a ruff collar in black frame |4
No 291. || Painting with a painter looking on engravings with a palette and brushes beside him in black frame |8
No 292. || Painting with a lady sitting by the table with a lute beside her in elongated black frame|5
No 293. || Painting of half nude Mary Magdalene kneeling before the cross with her hands in prayer in black frame|10
No 296. || Portrait of Queen of Scotland (Mary Stuart?) on wood in black frame|2
No 299. || Landscape painting with Dutch cattle and a shepherd leaning on an ox in black frame with double gilded slat|3
No 300. || Painting with a parrot and a sea cat (northern fur seal?) and chamamilla creature on the tree beside, in black frame with double gilded slat |20
Items in a chest in the Warsaw Treasury
No 569. |P.Alex.| Tiger leather lined with gold satin |
No 570. |P.Iacobus.| Tiger skin lined with blue cotton |
No 571. |P.Const.| Smaller tiger skin lined with orange kindyak |
No 572. |P.Const.| Large tiger skin, not lined |
No 573. |P.Iacob.| Small tiger skin, not lined |
No 574. |P.Alex.| Leopard skin lined with different stripes of velvet with silver and gold twines between, silver and gold crowns in corners, buttons in one end, lined with yellow cotton fabric |
No 575. |P.Constanti.| Small leopard skin lined with red büründzuk (silk with metal thread fabric from Turkey), paws and tail lined with ocher velvet|
No 576. |P.Alexander.| Leopard skin lined with different stripes of velvet with silver and gold twine, with crowns embroidered with gold in each corner, buttons in one end, lined with blue cotton fabric |
No 577. || Skin of a black wolf given to voivode (duke) of Courland |
See some of Sobieski treasures on Artinpl Pinterest site.
The set was commissioned by the Empress Dowager Eleonor Gonzaga (1630-1686) in about 1668. The monstrance preserved in the Kunsthistorisches Museum in Vienna (inv. no. GS D 25), while candlesticks, together with the smaller monstrance were offered by the Empress to the Jasna Góra Monastery in 1670 on the occasion of the wedding of her daughter, the Archduchess Eleanor Maria Josefa of Austria with King Michael Korybut Wiśniowiecki.
Silver and crystal monstrance set with precious stones by Hans Jakob Mair, ca. 1668, Jasna Góra Treasury.
Silver candlestick set with precious stones by Hans Jakob Mair, ca. 1668, Jasna Góra Treasury.
Who is the mysterious girl dressed in contemporary, although a bit out of fashion at the time of creation, Spanish dress? The portrait is a so-called pendant, one of two paintings hung together with similar or respective topic. In portraiture usually depicting couples, man and wife, mother and daughter, father and son, brother and sister, in opposite poses. Basing on dimensions (134 x 98 cm), style, topic and costume similarity, the portrait of unknown Princess is undoubtedly a pendant to portrait of Prince Sigismund Casimir Vasa preserved in the Austria’s Ambras Castle collection (division of Kunsthistorisches Museum in Vienna, inventory number 8198) and attributed to Dutch painter at the Polish court in Warsaw Peter Danckerts de Rij. Young prince, about 4 years old, was depicted in a fancy polish costume – green żupan, standing on a loggia (arcaded terrace) of Ladislaus IV’s favourite residence in Warsaw facing Vistula River. Sigismund Casimir was the only son of the King by his first wife Archduchess Cecilia Renata of Austria. The portrait is recorded in the Ambras Castle inventories as far as the year of 1663, hence it could be a gift of the King of Poland to his Austrian cousins. The reason why the portrait of Polish princess does not preserved in the same location might be that she was illegitimate daughter of the King, who could not be introduced to the imperial family. It might have been in the collection of the Polish Vasas till 1673, when John II Casimir’s belongings were put on sale in Paris. Ladislaus’ Queen became pregnant three times during her marriage. Apart from Sigismund Casimir (1 April 1640), she gave birth to a daughter Maria Anna Isabella on 8 January 1642, who died one month later and on 23 March 1644 Cecilia Renata gave birth her third child, a stillborn daughter. She died next day as a consequence of an infection. None of king’s siblings had a child in 1640s, consequently the portrait could not depict a living, legitimate member of the Royal family.
The only confirmed illegitimate child of the King, Władysław Konstanty (Ladislaus Constantine), was born around 1635. Although the male children were frequently depicted in long dresses in baroque era, he was approximately 10 years old at the time when the portrait was executed, hence too old to wear such costume. The features of the sitter are also more feminine and typical for young girls of that time. It is possible then, what was suggested several times, that Ladislaus had a daughter by his mistress Jadwiga Łuszkowska born in about 1640. The portrait can be considered as unprecedented depiction of illegitimate child together with "prince of the blood" in Habsburg circle, and it is a testimony of great affection of the King to his children.
oil on panel, ca. 1535, 33.6 × 25.2 cm (13.2 × 9.9 in), inventory number Wil.1591, Museum of King John III's Palace at Wilanów
The painting represents one of several versions of ''Madonna of the Cherries'' created by Giovanni Pietro Rizzoli, called Giampietrino in about 1508-1510 when he was working alongside Leonardo da Vinci. The Giampietrino's painting is possibly a reproduction of a Madonna painted by Leonardo for Francis I of France. The latter work was probably a painting that influenced Joos van Cleve who was frequently employed by French court. The painting by Giampietrino from doctor Karl Lanz's collection is a direct link to the lost da Vinci's original. The composition enjoyed great success in the early decades of the 16th century and some twenty three versions attributed to Joos van Cleve's workshop have been identified.
Similar painting is in the Arnold and Seena Davis Collection. The work was acquired by Stanisław Kostka Potocki for his collection in the Wilanów Palace in Warsaw.
Before 1516 the confraternity of Saint Reinhold in Gdańsk commissioned a retable for the Saint Reinhold Chapel of the Saint Mary's Church in the city. The outer wings of the polyptych were painted in the workshop of Joos van Cleve, who depicted himself as Saint Reinhold.
The polyptych was shipped to Gdańsk in 1516 and today is on display in the Gallery of Medieval Art of the National Museum in Warsaw (oak, central panel 194 × 158 cm (76.4 × 62.2 in), each wing 194 × 75 cm (76.4 × 29.5 in)). It is the first confirmed work commissioned by patrons from territories of today's Poland.
The second could be Triptych with the Adoration of the Magi with a monarch in a chain of the Order of the Golden Fleece in the Gemäldegalerie, Berlin (oak, central panel 72 × 52 cm (28.3 × 20.5 in), each wing 69 × 22 cm (27.2 × 8.7 in)). It was acquired from the Reimer Collection in Berlin in 1843. Possibly commissioned by Sigismund I of Poland.
The outer parts of the wings were painted en grisaille with effigies of Saints Christopher and Sebastian, which may indicate the donor, his patron saints, however among recipients of the Order of the Golden Fleece between 1451 and 1531 there were no Sebastian and only one Christopher - Christopher, Margrave of Baden-Hachberg (1453-1527). Although the latter was portraited in the similar headdress (crinale), he was not a king to depict himself as one of the Magi, and his facial features are completely different. Also other garments are very close to those from the known effigies of the Polish monarch - eg. Communion of Sigismund I, a leaf from the Prayer Book of Sigismund I the Old by Stanisław Samostrzelnik from 1524 in the British Library. The king of Poland was awarded the Order of the Golden Fleece in 1519 at the age of 52.
The sources on artistic contacts of the Polish court at that time with the Netherlands are very scarce. Among commissions confirmed in preserved inventories and accounts the are the following.
In 1526 queen Bona Sforza commissioned in Antwerp through Seweryn Boner, 16 tapestries "de lana cum figuris et imaginibus" of 200 flemish square inches in its entity. They were transported to Kraków via Frankfurt upon Main, Nuremberg and Wrocław.
In 1533 king Sigismund I commissioned through Boner and Mauritius Hernyck in Antwerp 60 tapestries with coat of arms od Poland, Lithuania and Duchy of Milan among which 20 bigger with green and blue background, 26 tapestries without coat of arms and 6 tapestries with figural scenes. The commission cost was 1170 florins and tapestries were transported to Kraków via Nuremberg, Leipzig and Wrocław.
In 1536 the king acquired 7 paintings in Flanders to adorn the apartments of prince Sigismund Augustus at the Wawel castle for 35 florins ("pro septem imaginibus Flandrensibus pictis").
The subtle marble bust of Queen Barbara Zapolya from Olesko Castle in the style of Netherlandish renaissance was probably part of a larger commission made by Sigismund I around 1520.
The first wooden manor on the site was constructed for Dukes of Masovia in the 15th century. It was later owned from 1516 by Anna Radziwiłł, Duchess regent of Masovia and Queen Bona Sforza after 1546 for whom an Italian style Renaissance garden was created. The new lavish wooden manor in mannerist style was built in 1570s for Anna Jagiellon. It was here that the premiere of blank-verse tragedy The Dismissal of the Greek Envoys by Jan Kochanowski took place on January 12, 1578. Sigismund III Vasa resided in the manor during the summer. Between 1602 and 1603, according to the Royal accounting books, the old manor was renovated and a new wooden house was built nearby. In 1606 the plan of the manor and garden was prepared for the king by Alessandro Albertini.
When in 1619 the king purchased the allotments belonging to Augustinian friars the construction of a new brick palace become possible. The spot for a Royal summer palace was chosen approximately 120 meters north from the original manor. According to the cornerstone founded in 1972 in the foundations of the eastern wing the construction started on September 16, 1624. The structure was designed by Matteo Castelli and Constantino Tencalla and accomplished after king's death by his son Ladislaus IV Vasa. In 1655 during the so-called Deluge of the Polish-Lithuanian Commonwealth (invasion of allied forces of Sweden from north, Brandenburg from west, Transilvania from south and Muscovy from East), the castle was devastated and remained practically uninhabited till 1668 when it was given to Teodor Denhoff.
It is a rectangular building with four octagonal towers at the corners, arcaded courtyard and a loggia with a view on Vistula River. Largely destroyed several times it was reconstructed in 1975.
Plan of the manor and garden in Ujazdów near Warsaw in 1606 by Alessandro Albertini, scale from. 1: 800, hand drawn multicolored document, 42 × 56 cm (16.5 × 22 in), signed: Il sito della villa di Jasdovia; Alessandro Albertini, 1606, Archiwum Główne Akt Dawnych w Warszawie, Zb. Kart. 570 – 1
Cornerstone of the Ujazdów Castle, sandstone, 57 × 57 × 10 cm (22.4 × 22.4 × 3.9 in), inscription in Latin: REGIAE AMOENITATI / SACRA / COELO SOLO LVCO LACV COLLE VALLE / LAETA / PALATIA AESTIVA / FELICIB[us]. FVNDAMENTIS AVSPICATVRV[m.] SAXVM / ANNO D[omi]NI MDCXXIV SEPTEMBR[e] / SIGISMVNDO III POLONIAE XXXVII / CO[n]STANCIA ANNO REGE / POSITVM / ANNO D[omi]NI 1624 DIE 7[septem]BRIS (Devoted Royal delight (...) summer palace), Muzeum Zamku i Szpitala Wojskowego na Ujazdowie
In 1622 Constance of Austria, Queen consort of Poland, sent a gift to sons of her younger sister Duchess of Tuscany. The sons of Maria Maddalena of Austria were presented with a set of colourful costumes - żupan dress, delia coat and other necessary utensils of a Polish noble, including pernach mace and zygmuntówka sabre among others. Their new exotic attires were captured in a series of portraits by Justus Sustermans, at least one of which was sent to Warsaw in gratitude to Queen of Poland.
The portrait in the collection of Flint Institute of Arts (inventory no. 1965.15) depicting Maria Maddalena of Austria with her son Ferdinand in Polish costume is an exact copy of a painting preserved in the Uffizi in Florance (inventory no. 1890, 2246). It was by most accounts in the possession of the Polish Vasas and was transferred by John II Casimir Vasa to France after his abdication in 1668.
Detail of portrait of Maria Maddalena of Austria duchess of Tuscany with her son Ferdinand in Polish costume by Justus Sustermans, 1622, Flint Institute of Arts (inventory no. 1965.15).
Portrait of Leopoldo de' Medici in Polish costume with a pernach mace by Justus Sustermans, 1622, Galleria degli Uffizi, (inventory no. 1890 Nr.3660).
Equestrian portrait of Ferdinando de' Medici in Polish costume with a sabre by Justus Sustermans, ca. 1622, Konopiště Castle.
In the beginning of the 17th century the medieval abode of the Dukes of Masovia was largely extended to house the parliament of the Polish-Lithuanian Commonwealth, offices and court of the Vasas. The Italian architects Giovanni Trevano, Giacomo Rodondo, Paolo de la Corte and Mateo Castello constructed a Mannerist-early Baroque five-sided shape palace between 1598-1619. In 1621-1627, with the threat of Ottoman invasion, the palace was fortified with a curtain wall from the Vistula according to Italian concept of palazzo in fortezza. Between 1634 and 1637 a large hall was constructed in upper parts of the southern wing to house opera hall of King Ladislaus IV and in 1637 the staircase tower was largely remodelled (Ladislaus' Tower). In 1643 the Prince-Cardinal Charles Ferdinand Vasa's Palace was erected on the northern bastion of the Castle's curtain wall and in 1644 a new gate (Saint John's Gate) and the Sigismund Column were erected by royal architect Constantino Tencalla in Baroque style.
During the so-called Deluge of the Polish-Lithuanian Commonwealth (invasion of allied forces of Sweden from north, Brandenburg from west, Transilvania from south and Muscovy from East), the castle was devastated in three occupations by foreign forces between 1655-1656 (the last was Transilvanian occupation). All valuables, including marble pavements, chimneys and window sills were shipped to Sweden, while the interiors were turned into stables and a hospital.
Detail of the Plan of Warsaw in 1656 by Nicolas Pérelle after Erik Dahlbergh, printed in 1696. The fortifications of the Royal Castle in Warsaw were built in the years 1596-1627 giving the structure the more modern appearance according to principles of the Old Italian School (circle of Antonio da Sangallo). They consisted of a 162-metre-long curtain wall flanked by bastions on either side. Two shorter walls connected the bastions with the Castle. The wall rose at least 6.70 metres above the ground level. The fortifications were made of granite rocks, and due to the instability of the terrain, oak piles were also driven into the ground, the basic material for the surface construction was limestone surmounted with bricks. The remnants of the fortifications were absorbed by subsequent buildings in the 18th-century.
2. Old Town Hall at the Main Market Square
3. Saint John's Cathedral
4. Royal Castle
5. Courtyard before the castle with Baroque Saint John's Gate
6. Sigismund Column
7. Medieval Cracow's Gate
Ladislaus' Tower of the Castle, 1637.
Dutch tile with a soldier, 1630s, from the excavations in the Castle's garden.
Stove tile with a lion or a griffon, 17th century, from the excavations in the Castle's garden.
Tile with eagles from a stove, 17th century, from the excavations in the Castle's garden.
Sigismund III Vasa on catafalque by Christian Melich, 1633, Wawel Royal Castle.
Portrait of Archduchess Maria Anna of Bavaria (1551-1608) in mourning by Ottavio Zanuoli, ca. 1600, National Museum in Szczecin. Possibly from the collection of Sigismund III; mother of two wives of Sigismund III Vasa had a great influence at the court in Warsaw.
Portrait of bearded female court dwarf Helena Antonia Galeckha of Liège by Anonymous from Wrocław, ca. 1621, National Museum in Wrocław. Helena Antonia came to Poland in 1605 as a maid of honour of Queen Constance of Austria.
Hunting set of eviscerating instruments of Sigismund III Vasa made of iron and stag's horn by Anonymous from Poland or Germany, 1621, National Museum in Warsaw. Maker's mark in the form of three towers. Adorned with crowned cartouche with arms of Poland, Lithuania, Sweden, Gotland and the Vasas and a hunting scene - stag brought to bay by hounds; in compartments three small knives.
Polish hussar saddle by Anonymous from Poland, before 1600, Kremlin Museum, from the collection of Sigismund III Vasa.
Kalkan shield of Sigismund III Vasa by Anonymous from Persia or Turkey, end of the 16th century, Wawel Royal Castle.
Silverware of Sigismund III Vasa in archaeological cabinet in Kraków, published in Tygodnik ilustrowany, 1877, No. 64.
Ship-shaped table decoration with the Colossus of Rhodes of Sigismund III Vasa by Georgius Sporboth, 1580s, Kremlin Museum.
Ewer from a hand wash set of John Casimir Vasa by David Schwestermüller, ca. 1640, Kremlin Museum.
Silver vessel in the form of a camel by Salomon von der Rennen, Gdańsk, 1642-1644, Kremlin Museum. Presented by the Commonwealth's ambassador Adam Kisel to Tsar Alexei Mikhailovich in 1647. Possibly a royal commission that adorned Castle's interiors.
Crystal bowl by Anonymous from Western Europe (Milan?), beginning of the 17th century, Kremlin Museum. Presented by King Ladislaus IV Vasa to Tsar Alexei Mikhailovich in 1645.
Salt cellar made by Sigismund III Vasa, 1610s, Treasury of the Munich Residence.
Ciborium made by Sigismund III Vasa, before 1623, destroyed during World War II.
Filigree tray by Anonymous from Poland, ca. 1620, Schatzkammer der Residenz München, from dowry of Anna Catherine Constance Vasa.
Amber platter by Anonymous from Königsberg, 1620s, Kremlin Museum. Presented by the Commonwealth's ambassador Józef Gabriel Stepkowski to Tsar Alexei Mikhailovich in 1645. Possibly a royal commission that adorned Castle's interiors. Among gifts from King Ladislaus IV Vasa in 1645 there were also:
- a chess table with a set of chess pieces,
- a very large platter in silver frame,
- several magnificent cups,
- a coffer,
- a small chest of drawers with numerous amber souvenirs in it,
- a crucifixion scene in amber.
Amber candlesticks decorated with ivory by Anonymous from Gdańsk or Königsberg, mid 17th century, Kremlin Museum. Possibly a royal commission that adorned Castle's interiors and was presented to the Tsar of Russia.
Cover of a book with supralibros of Bishop Charles Ferdinand Vasa, 1630s, Polish Library in Paris.
Casket regal, a small portable organ, by Anonymous from Poland, ca. 1640, Royal Castle in Warsaw, from the court of Ladislaus IV Vasa.
Button of Sigismund III Vasa and parts from the so-called "Vasa chain" by Anonymous from Poland, before 1632, Jasna Góra Treasury.
Enamelled gold medal in filigree frame of Ladislaus IV Vasa by Anonymous from Poland, ca. 1636, Kunsthistorisches Museum.
Portrait of Queen Cecilia Renata of Austria, first wife of Ladislaus IV Vasa by Peter Danckerts de Rij, ca. 1643, Pushkin Museum in Moscow. The painting initially adorned the Marble Room at the Royal Castle in Warsaw.
Portrait of Queen Marie Louise Gonzaga, second wife of Ladislaus IV Vasa by Anonymous painter after Justus van Egmont, between 1646-1650, Grazie di Curtatone (Mn), Santuario della B. V. delle Grazie, Sagrestia Nuova.
Miniature of Queen Marie Louise Gonzaga by Jean Petitot, before 1650, Ham House, Surrey.
Reconstruction of the Opera Hall of Ladislaus IV Vasa at the Royal Castle in Warsaw. Double-storied and over 50m long room was constructed before 1637 and finally destroyed by Russian troops in 1707.
1. Great Staircase
2. Vestibule before the Senate Chamber
3. Senate Vestibule
5. Audience space
Design for a coffered ceiling for the Royal Castle or Villa Regia Palace in Warsaw by Giovanni Battista Gisleni, 1637/1643, Dresden State Art Collections.
Ebony cabinet with Roman gods and personifications of the Four Seasons by David Altenstetter, ca. 1600-1610, Visitationist Monastery in Warsaw, one of a pair commissioned by Sigismund III Vasa.
Ebony cabinet with Roman gods and personifications of the Four Seasons by Georg Jungmair, ca. 1600-1610, Visitationist Monastery in Warsaw, one of a pair commissioned by Sigismund III Vasa.
Personification of summer from the ebony cabinet with Roman gods and personifications of the Four Seasons by Georg Jungmair, ca. 1600-1610, Visitationist Monastery in Warsaw, one of a pair commissioned by Sigismund III Vasa.
Reliquary of Saint Victoria by Jeremias Flicker II, ca. 1620, Visitationist Monastery in Warsaw, commissioned by Sigismund III Vasa.
Fragment of tin-silver sarcophagus of Sigismund III Vasa with the king at Smolensk in 1610 by Michael Fros in Wrasaw and Anonymous from Gdańsk, 1632, Wawel Cathedral.
Silver plaque with the Washing of the Feet (upper part) and the Last Supper (lower part) by Matthias Walbaum, circa 1623-1625, Vilnius Cathedral, turned to serve as a tabernacle door before 1712. Possibly one of a series of silver plaques commissioned in Augsburg by Sigismund III Vasa. Current location, Vilnius Cathedral, close to the former Ducal Palace, makes it even more probable. Very similar plaques by Walbaum are in the Visitationist Church in Warsaw (Altar of Marie Louise Gonzaga, turned into a tabernacle) and in the Diocesan Museum in Płock (Portable altar of Constance of Austria).
Ebony altar adorned with silver plaques with the scenes from the life of the Virgin Mary by Hans Jakob I Bacchmann, 1624, Jasna Góra Treasury. Most probably commissioned by Sigismund III Vasa.
Gold statuette of Saint John the Evangelist by Anonymous from Augsburg, 1610s, Cathedral Treasury in Wrocław. King Sigismund III had 12 statues of the apostles of pure gold on an ebony base and a statue of the Saviour, the Virgin Mary, and that of holy martyr Sigismund, all of pure gold. The statuette of Saint John the Evangelist was donated by Sigismund's son, Charles Ferdinand Vasa, to the Wrocław Cathedral.
Reliquary for a piece of wood from the Holy Cross with imperial double-headed eagle and figures of St. Ladislaus and St. Cecilia by Hornus Reutel, 1637, Treasury of the Dominican Monastery in Kraków, wedding gift to Ladislaus IV and Cecilia Renata of Austria from Rafał Mikołaj Korsak, Uniate Metropolitan Archbishop of Kiev.
Chasuble according to tradition donated by Queen Cecilia Renata between 1642 and 1644, fabric from Italy first half of the 16th century, Jasna Góra Treasury.
Portrait of Philip III of Spain by Andrés López Polanco, ca. 1617, Skoklosters slott, possibly from the collection of Sigismund III Vasa. In 1615 Queen Constance of Austria, Sigismund's second wife, ordered the Commonwealth's ambassador in Spain to ask for the portraits of the members of the Spanish Royal family. Her elder sister Margaret of Austria, was a wife of King Philip III of Spain. Since the new Holy Roman Emperor, Matthias, resided more frequently in Vienna then in Prague from 1612, the portraits of Spanish Habsburgs would be sent to Vienna after this date, consequently it is more probable that the Philip III's portrait was captured by Swedish forces in Warsaw and not in Prague.
Portraits of two sisters, daughters of Philip III of Spain and Margaret of Austria: Empress Maria Anna of Spain by Frans Luycx, ca. 1638 and Anne of Austria, Queen of France by Charles Beaubrun, ca. 1645. Both portraits were given to the Visitationist Monastery in Warsaw by John II Casimir Vasa in September 1668 and by most accounts adorned Castle walls.
Portrait of Eleonora Gonzaga (1630-1686) by Frans Luycx, ca. 1651, Nationalmuseum in Stockholm. A portrait of a relative to Queen Marie Louise Gonzaga and a wife of Emperor Ferdinand III, cousin of John II Casimir Vasa was sent to Warsaw and was captured by Swedes in 1655 (from the collection of Gripsholm Castle).
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