| Id | Inventory_no_Sanitized | Inventory No. | Category | Subcategory | Item name | Alternate name | Place of origin | Date | Acquisition date | Description | Decoration | Material | Technology | Marks | Inscription | Author | Size | Notes | Picture | img1 | img2 | img3 | img4 | img5 | img6 | img7 | img8 | img9 | img10 |
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| 1 | H4-NS-5092 | H4-NS-5092 | Ritual items | Dishes and containers | “Paskivnyk” | “Dorinnyk” | Eastern Galicia, the Hutsul region; Pechenizhyn village, Kolomyia raion, Ivano-Frankivsk province | 19th century | 1891 | Original caption by František Řehoř: Cebryk paskovyj, in which the Ruthenians from the area of Kolomyia bring food for a blessing to the church on Eastern Sunday. An item from the village Pechenizhyn near Kolomyia. A small container made of spruce, consisting of eight staves, a bottom and two hoops (the head hoop has slid towards the bottom one due to the drying of the wood), arched handle is made of hazel. Paskivnyk containers of this type were widespread mainly in Hutsulsina but they appeared also in other ethnographic areas, especially Pokuttya, with which close trade and economic contacts were maintained. This type of container was used solely for the transport of special dishes (ceremonial Paska [Easter leavened bread], hard boiled eggs and decorated Easter eggs, cured meat products, cheese, butter, salt and horseradish) at Easter to the church, where the priest blessed them with holy water. If a special wooden lid was not available, The Paskivnyk was covered with woven or embroidered cloth. Paskivnyks were occasionally decorated with ribbons, flowers and willow twigs. | The handle, the rim of the container and the central field of the lid, between the hoops, is decorated with a burned “window” pattern made by metal rods called “stamps, styli, or spikes.” One “window” is also burned at the inner bottom of the container. The rim of the container is decorated with crescent cut-outs. | Spruce, beech, hazel wood | Cooperage techniques (hewing, cutting, chiseling, bending); woodburning with a metal rod ((“stamp”) | Ornamental symbol of a “window” | The author could be a carver from the Hutsul region in Galicia, Yuriy Hrymalyuk from the Hrymalyuk family, the village Richka, Kosiv District, Ivano-Frankivsk Province. F. Řehoř could have bought it in Pechenizhyn. | h = 29 cm, w = 28 cm | .jpg) |
https://sbirkafrantiskarehore.nm.cz/img/H4-NS-5092 (1).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-5092 (15).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-5092 (3).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-5092 (4).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-5092 (7).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-5092 (9).jpg | ||||||
| 2 | H4-NS-5093 | H4-NS-5093а | Ritual items | Dishes and containers | “Paskivnyk” | “Dorinnyk” | Eastern Galicia; the Hutsul region; probably Richka village, Kosiv raion, Ivano-Frankivsk province | 19th century | A small container made of spruce wood, consisting of eight staves, a bottom, beech hoops and a lid. “Paskivnyk” containers of this type were widespread mainly in the Hutsul region, but they appeared also in other ethnographic areas, especially Pokuttya, with which close trade and economic contacts were maintained. This type of container was used solely for the transport of special dishes (ceremonial Paska [Easter leavened bread], hard boiled eggs and decorated Easter eggs, cured meat products, cheese, butter, salt and horseradish) at Easter to the church, where the priest blessed them with holy water. If a special wooden lid was not available, The Paskivnyk was covered with woven or embroidered cloth. Paskivnyks were occasionally decorated with ribbons, flowers and willow twigs. | The central field of the container is decorated with a burned “window” and “tooth” design made by metal rods called “stamps, styli, or spikes.” The lid bears a symbol of a “diamond cross” (i.e. a cross whose arms are ended with diamonds with the “window” pattern inside), crossed by another cross with the “window” pattern at its ends. | Spruce and beech wood | Cooperage techniques (hewing, cutting, chiseling, bending); woodburning with a metal rod “stamp” | Ornamental symbols of a “window,” “teeth” | The author could be a carver from the Hutsul region in Galicia, Yuriy Hrymalyuk from the Hrymalyuk family, the village Richka, Kosiv District, Ivano-Frankivsk Province. F. Řehoř could have bought it in Pechenizhyn. | h = 18 cm, w = 26 cm | .jpg) |
https://sbirkafrantiskarehore.nm.cz/img/H4-NS-5093 (1).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-5093 (2).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-5093 (3).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-5093 (4).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-5093 (5).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-5093 (6).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-5093 (7).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-5093 (9).jpg | |||||
| 3 | H4-NS-1216 | H4-NS-1216 | Religious items | Liturgical items | Hand cross | The Pax (cross for Kiss of Peace) | Eastern Galicia; Sambir-Zhydachiv area, Piilo village, Kalush Raion, Ivano-Frankivsk province | 19th century | Original description: a three-crossbeam wooden hand cross, deep woodcut. One side depicts the Crucifixion, the other the Virgin Mary; both upper and bottom crossbeams bear designs imitating a script. The cross is very abraded. It was displayed for kissing on the throne in front of the Holy Gate inside the church. It is an older work made by a self-taught Ruthenian. The item is carved from a single piece of wood, probably coniferous (spruce or pine?). It is a three-crossbeam cross. The end of the handle is hollowed out, so it could have also been used erect, standing on a tetrapod, the altar table in front of the Holy Gate. However, it implies that the cross must have also had some form of a base, or a pedestal. In other words, this cross could have had two main functions: during the liturgy when the priest held it and at particular moments as he blessed the worshippers making the sign of a cross; and standing (or laying) on the tetrapod, where the worshippers kissed it (“bowed to it”). Original description of the decoration: the silhouette of the cross is repeated along the outline in the form of a stripe that frames the motifs carved on its beams. Front face: the Crucifixion theme (Golgotha) with Jesus Christ engraved in its centre, with outstretched arms and legs pronouncedly bent at the knees. Jesus’s head inclines towards his right shoulder. The loincloth is depicted with oblique repeating stripes suggesting folds of cloth. His halo has the form of a semicircle of triangles. There is an image of the Virgin Mary on the right side of Jesus Christ and Saint John the Evangelist on the left, with their figures depicted only up to the waist. Above this composition is the Christogram “ІС ХС” (Jesus Christ). The space between the crossbeams bears the inscription, “Цръ Слави” (King of Glory). The lower crossbeam is decorated with a row of crosses, framed by a stylized braid. Another monogram, “МЛРБ,” is near the handle, which means “The place of Golgotha became paradise.” Reverse: Virgin Mary with baby Jesus. Central part depicts the full-length figure of the Virgin Mary holding baby Jesus at her side. Their background is plain and smooth. On both sides, there are half-length figures, probably prophets, because it is a simplified scene of “Virgin Hodegetria.” Above the scene are two monograms “MR θϒ” (Mother of God) and the inscription “Цръ Слави” (Lord of Glory). At the bottom of the scene, there is a series of vertical notches that resemble a motif of a “fence.” This is surrounded by a stylized “braiding” pattern. Further down, there are two crosses, again surrounded by a stylized “braiding.” At the end of the central register, there is an equal-armed cross, probably with the author’s initials. | Spruce, pine (?) wood | Carpentry techniques (hewing, cutting, chiseling); carving techniques – engraving and flat clearance | Ornamental elements: stylized “braiding,” “crosses” and “fence.” | Front face: above the Crucifixion scene is the Christogram “ІС ХС” (Jesus Christ); at the top is the inscription “Црь Слави,” i.e. Lord of Glory. On the reverse side: above the Virgin Marry with baby Jesus is a monogram “MR θϒ,” i. e. Mother of God. At the end of the central register are the carved initials, probably, of the master (workshop mark). | Unknown master with professional skills | h = 25.5 cm, w= 12 cm | .jpg) |
https://sbirkafrantiskarehore.nm.cz/img/H4-S-1216 (10).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1216 (12).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1216 (14) – kopie.jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1216 (15) – kopie.jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1216 (16).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1216 (8).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1216 (9).jpg | ||||||
| 4 | H4-NS-1301 | H4-NS-1301 | Housewares | Dishes and utensils | Nutcracker | Nut sheller | Eastern Galicia; the Hutsul region; Pechenizhyn village, Kolomyia raion, Ivano-Frankivsk province | 19th century | 1891 | Original description: Wooden, two-part, richly decorated with a woodcut. The hooked part is made of pear wood and decorated with a geometric ornament of squares. The second part from white wood has a tree ornament. The work of Ruthenian Ivan Luhovyk. The item is made of wood and consists of two movable parts: the shorter straight part is inserted into a hole in the second part, which is L-shaped and functions as scissors. The nutcracker was used to crack nuts by inserting them between the movable parts, which were then pressed hard by the force of the hand, crushing the shell. Wooden nutcrackers decorated with geometric carvings were widespread mainly in Galicia and Pokuttya. In the same area, metal nutcrackers “roosters,” made of brass (tombac), and decorated with relief stamping, engraving and sometimes paint, were also used. | The surface of the item is decorated with notching (the “fence” motif = a horizontal row of notches) and carving (triangles of “wheat” [small grains carved with a half round chisel] and “kopanycya” [triangular notches]). | Wood | Carpentry techniques (hewing, planing); carving techniques: engraving, chiseling | Ornamental motifs of “fence,” triangles, squares, “wheat.” | Ivan Luhovyk, fork artist from the Hutsul region in Galicia; Pechenizhyn, Kolomyia raion, Ivano-Frankivsk province. | l = 21 cm, w = 8.4 cm | .jpg) |
https://sbirkafrantiskarehore.nm.cz/img/H4-S-1301 (1).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1301 (2).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1301 (4).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1301 (5).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1301 (8).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1301 (9).jpg | ||||||
| 5 | H4-NS-1314 | H4-NS-1314 | Ritual items | Dishes and containers | Goblet – “porciyka” | “Povnytsya” cup | Eastern Galicia; the Hutsul region; Ivano-Frankivsk province | Second half of the 19th century | 1899 | A goblet for the “Povnytsya” wedding ritual, wooden, lathed, on a carved stem. Richly decorated with a woodcut. It bears a motif of the Cossack cross (wedge cross in squares) alternated with “wheat ears.” Until the mid-20th century, these cups, called “Porciyka” (derived from “portion”), were used at weddings during the ceremony of presenting the gifts to the newlyweds. They were the type of gifts that were never returned, no matter how the marriage turned out in the future. In the Hutsul region, “Porciyka” cups were richly decorated with carving. “Povnycia” set consists of a shallow wooden plate into which the mead was poured; a special ornamentally carved wooden spoon and two rings to prevent it from falling into the drink; and one of two “Porcijka” cups. During the ceremony, the parents of the newlyweds and the wedding quests toasted twice: first to the newlyweds, then to the wedding guests, who stand in a line, ready to present the newlyweds with the gifts, most often money. | Surface of the item is decorated with wood engraving (series of lines, teeth, crosses) and woodcut (“wheat ears”), and a flat relief protruding from the background (“cross” in a square). | Wood | Turning techniques; carving techniques: incising, cutting, flat relief protruding from the background | Ornamental motif “stripes,” “teeth,” “crosses,” “wheat,” “tears” | The author comes from the Hutsul region in Galicia, Ivano-Frankivsk province. | h = 10 cm, w = 5 cm | .jpg) |
https://sbirkafrantiskarehore.nm.cz/img/H4-S-1314 (1).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1314 (2).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1314 (4).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1314 (5).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1314 (6).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1314 (7).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1314 (8).jpg | |||||
| 6 | H4-NS-1315 | H4-NS-1315 | Ritual items | Dishes and containers | Goblet | Cup | Eastern Galicia; the Hutsul region; Ivano-Frankivsk province | Second half of the 19th century | 1899 | Original description: Wooden, lathed, on a low carved stem, round base, decorated with engraved lines. A quote from the old item card: Hutsul brings grain, honey, etc. to the church in it, when visiting family, when ordering requiem mass for the deceased members of the family, or for “Sorokoust.” In this vessel, the Christian brought the gifts of “bread” to the church as an offering to God, and the priest ate them after the service. “Sorokoust” is a specific divine liturgy celebrated for forty days as a commemoration of the dead, or prayer for health. During the first part of the liturgy, the priest carries out the Liturgy of Preparation “Proskomedia,” when he divides the bread (Prosphora) and mentions the name of the person for whom the Sorokous liturgy was ordered. The name of this Christian is also uttered after the consecration of the Holy Gifts. At the end of the liturgy, all Prosphora particles are placed into the goblet, at which point a special prayer is sung. | The surface of the item is decorated only with engraved paired grooves, spaced in a certain rhythm. The grooves were made with a milling cutter. | Wood | Woodturning | Engraved stripes | The author comes from the Hutsul region in Galicia; Ivano-Frankivsk province. | h = 15.3 cm, w = 10 cm | .jpg) |
https://sbirkafrantiskarehore.nm.cz/img/H4-S-1315 (1).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1315 (2).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1315 (3).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1315 (4).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1315 (5).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1315 (6).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1315 (7).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-S-1315 (8).jpg | ||||
| 7 | H4-NS-1209 | H4-NS-1209 | Items related with folk customs, ceremonial items | Orthodox Christian ritual – Easter | Jordan Cross (?) | Eastern Galicia; the Hutsul region; Ivano-Frankivsk province | Second half of the 19th century | 1899 | This type of cross had a protective function. It was attached to barns before the Feast of the Jordan (Epiphany, Vodochrescha). Original description by František Řehoř: A simple wooden cross made of two flat slats, profiled at the ends. Such were placed on the child’s grave. This information is not accurate. It raises questions about the rounded bottom of the cross: why would it be smoothed and its tip rounded, if it was intended for a grave? Also, a cross for such a purpose would barely have profiling, because such notches would hasten its destruction. It is therefore obvious that this is a Jordan amulet cross, which was usually attached to door frames. Another hypothesis is that it is a model of a tomb cross. It is made from the wood of a coniferous tree and consists of two parts which are secured together by a notch and a nail. The profiled diamond-shaped cut-outs at its ends resemble other types of crosses (roadside, tombstone, processional) that were made in the Eastern Carpathians. | Wood, metal | The author comes from the Hutsul region in Galicia; Ivano-Frankivsk province. | h = 38.5 cm, w = 16 cm | .jpg) |
https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1209 (1).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1209 (10).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1209 (11).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1209 (12).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1209 (2).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1209 (4).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1209 (5).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1209 (6).jpg | ||||||||
| 8 | H4-NS-1211 | H4-NS-1211 | Items related with folk customs, ceremonial items | Orthodox Christian ritual – Easter | Jordan Cross (?) | Eastern Galicia; Zhabie village (now Verkhovyna),Verkhovyna raion, Ivano-Frankivsk province | Second half of the 19th century | This type of cross had a protective function. It was attached to barns before the Feast of the Jordan (Epiphany, Vodochrescha). Original description by František Řehoř: A simple wooden cross made of two flat slats, profiled at the ends. Such were placed on the child’s grave. This information is not accurate. It raises questions about the rounded bottom of the cross: why would it be smoothed and its tip rounded, if it was intended for a grave? Also, a cross for such a purpose would barely have profiling, because such notches would hasten its destruction. It is therefore obvious that this is a Jordan amulet cross, which was usually attached to door frames. Another hypothesis is that it is a model of a tomb cross. It is made from the wood of a coniferous tree and consists of two parts which are secured together by a notch and a nail. The profiled diamond-shaped cut-outs at its ends resemble other types of crosses (roadside, tombstone, processional) that were made in the Eastern Carpathians. | Wood, metal | The author comes from the Hutsul region in Galicia, Zhabie village (now Verkhovyna), Verkhovina raion, Ivano-Frankivsk province. | l = 36.5 cm, w = 19.5 cm | .jpg) |
https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1211 (1).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1211 (2).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1211 (3).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1211 (5).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1211 (6).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1211 (8).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1211 (9).jpg | ||||||||||
| 9 | H4-NS-1217 | H4-NS-1217 | Religious items | Liturgical items | Hand cross for blessing | The Pax (cross for Kiss of Peace) | Eastern Galicia | Second half of the 19th century | A handmade wooden cross with three-crossbeams. A small protrusion carved at its bottom end suggests that the cross may have been inserted into a stand, making it a throne cross, or one that was placed on a tetrapod. Two grooves are engraved above the handle, resembling rings. Both faces of the cross are decorated with carved motifs, surrounded by a frame that symbolizes the Ark. Front face: The Crucifixion scene and standing figures. The figure of Christ is very elongated, his loins wrapped in a cloth, whose folds are indicated by short cuts. On Jesus’s head, which inclines towards his right shoulder, is a stylized crown of thorns. On both sides, there are half-length figures, who are highly stylized so that they cannot be identified. However, according to established iconography, the Virgin Mary would be on the left and John the Evangelist on the right. Behind Christ is a halo carved in the form of triangular notches. On either side of Christ’s legs are vertical zigzag grooves. Above Christ’s head, there is a subtle outline of the Cross, upon which Jesus was crucified. Above is the framed inscription, “ІСХС” (Jesus Christ). A similar monogram is repeated at the bottom part of the cross. The third arm of the cross is decorated with engraved lines, surrounded by a grooved frame with narrow notches. Along the edges, individual letters can be identified. It is also possible to distinguish several more letters on the upper arm, “СЕЕ…НИ.” Reverse face: The Virgin Mary with the baby Jesus. The silhouettes of the figures, especially the three-dimensional carving of the face, hands, folds of the robe and the smaller side figures (angels?), reveal that it was made by a skilled craftsman. The framed monogram “MP Θυ” (Mother of God) is carved above the figures. A similar monogram is carved below the bottom arm of the cross. The bottom arm is decorated with a grooved “fence” motif, framed by oblique notches. The upper arm has a similar frame, in the centre of which is a stripe with words that are undecipherable, with only a few letters that can be discerned (ЦЕЕ…). | Profiling, engraving, notching techniques | Wood | Carpentry, engraving and notching techniques | h = 32 cm, w = 13 cm | .jpg) |
https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1217 (1).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1217 (11).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1217 (12).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1217 (13).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1217 (2).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1217 (3).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1217 (6).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1217 (7).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1217 (8).jpg | ||||||
| 10 | H4-NS-1292 | H4-NS-1292 | Housewares | Dishes and containers | Tobacco case | “Rachva” | Eastern Galicia; the Hutsul region; perhaps Yavoriv village, Kosiv raion, Ivano-Frankivsk province | Late 19th century | 1889 | Wooden tobacco case, round, with a lid ended by a pointed tip. The vessel is richly decorated with carving and inlaid with brass wire. The circumference of the lid is decorated with triangular motifs with other “meshed” geometric decorations inside them, and scalloped “tears.” The sides of the container are decorated with vertical stripes and more geometrically-decorated motifs of “hooves,” “wheat ears,” and a “fence.” Based on the applied motifs and the rich composition of the carved ornaments, we can hypothetically determine the author of the work. It was most likely Vasyl Shkriblyak (7 January 1856–21 November 1921). This artist used similar elements with the same composition in other works. | Woodcarving techniques, contour engraving, notching and carving with half-round chisel, decorated with brass elements | Wood, brass | Most likely Vasyl Shkriblyak (7 January 1856 – 21 November 1921). This assumption is based on the similarity with other known objects decorated with similar elements. | h = 11 cm, w = 9.2 cm | .jpg) |
https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1292 (10).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1292 (11).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1292 (12).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1292 (2).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1292 (5).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1292 (7).jpg | https://sbirkafrantiskarehore.nm.cz/img/H4-NS-1292 (9).jpg | |||||||
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