The Holy Trinity triptych, which occupies the east wall of the Holy Cross Chapel in Wawel Cathedral, was most likely created by the Kraków workshop of Jakub of Sącz, also known as the Master of the Holy Trinity Triptych or Master of the Choirs, in 1467, according to the date inscribed on the altarpiece.

Jakub of Sącz (Jacobus de Sandecz or de Nova Sandecz) worked in Kraków, Sącz, and Bardejov (Slovakia). In 1460, referred to as Jakub pictor de Nowa Sandecz, he received a commission from Jan Długosz (1415-1480), canon of Kraków, to create a copy of a curtain (cortina) depicting the Savior against the background of Jerusalem, a gift from the Queen of France. For this work, Długosz was to pay four florins and provide a canvas. An agreement was reached on May 12, with the work to be completed by September 29. That same year, the artist signed a contract with the Bardejov council for the creation of an altarpiece of Saint Giles, for the sum of one hundred guilders and a festive robe. Furthermore, two important commissions in Nowy Sącz and Bardejov, executed in 1466, testify to the fact that Jakub carried out many projects, often almost simultaneously.

The triptych was commissioned as an altarpiece for the opposite Chapel of the Holy Trinity, also known as the Chapel of Queen Sophia of Halshany (d. 1461). The queen, the fourth wife of Jogaila of Lithuania (King Ladislaus II Jagiello), of Ruthenian origin, was a staunch opponent of Latin Catholicism (after "Śladem mistrza warsztatu ołtarza św. Trójcy na Wawelu ..." by Ewa Trajdos, p. 111, 114-116, 118). She most likely also financed the altar of her chapel, originally decorated with Ruthenian frescoes. The decoration of the chapel itself was finally completed in 1464, although it had been built much earlier, between 1431 and 1433. According to other theories, the triptych was commissioned by Jan Hińcza of Rogów (d. 1473), Crown Treasurer and castellan of Sandomierz. This same man had been accused, forty years earlier, in 1427, along with several other knights of the court, of having an affair with the queen. Jan Hińcza was arrested and imprisoned in the dungeons of Chęciny Castle. When Queen Sophia took the oath of innocence before the ecclesiastical court, the case came to an end (after "Niewierność małżeńska królowej Zofii Holszańskiej ..." by Wioletta Zawitkowska, p. 21-23).

The altarpiece depicts the resurrected Christ flanked by two angels, Saint Sophia with her daughters (the queen's patron saint), and Saint Anne at the top. The central group of the Holy Trinity is flanked by statues of Saints Dorothy, Margaret, Catherine, and Barbara, and by two painted panels depicting choirs of apostles, martyrs, prophets, and virgins on the inner faces, and the conversion of Saint Paul, the vision of Saint Eustace, Saint George slaying the dragon, and Saint Secundus crossing the Po River on the outer faces. The painter dressed the saints and biblical figures in armor and costumes typical of the nobility and townspeople of the time. In 1616 or earlier, the altar was moved to its present location in the Chapel of the Holy Cross. 

Triptych of the Holy Trinity by workshop of Jakub of Sącz, 1467, Chapel of the Holy Cross in Wawel Cathedral.

Statue of Saint Dorothy from the Triptych of the Holy Trinity by workshop of Jakub of Sącz, 1467, Chapel of the Holy Cross in Wawel Cathedral.

Choir of the Holy Virgins from the Triptych of the Holy Trinity by workshop of Jakub of Sącz, 1467, Chapel of the Holy Cross in Wawel Cathedral.

​Conversion of Saint Paul from the Triptych of the Holy Trinity by workshop of Jakub of Sącz, 1467, Chapel of the Holy Cross in Wawel Cathedral.

​Vision of Saint Eustace from the Triptych of the Holy Trinity by workshop of Jakub of Sącz, 1467, Chapel of the Holy Cross in Wawel Cathedral.

​Saint George fighting the dragon from the Triptych of the Holy Trinity by workshop of Jakub of Sącz, 1467, Chapel of the Holy Cross in Wawel Cathedral.

​Saint Secundus crossing the river Po from the Triptych of the Holy Trinity by workshop of Jakub of Sącz, 1467, Chapel of the Holy Cross in Wawel Cathedral.

Before 1516, the Confraternity of Saint Reinhold in Gdańsk commissioned an altarpiece for the chapel of this saint in the city's Church of St. Mary. The outer panels 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 is now on display in the Medieval Art Gallery of the National Museum in Warsaw (oak, central panel: 194 x 158 cm, each wing: 194 x 75 cm, predella: 76 x 252, inv. M.Ob.2190/1-8 MNW). It is the earliest known work commissioned by patrons from the territories of present-day Poland.

The second could be a triptych depicting the Adoration of the Magi with a monarch wearing the chain of the Order of the Golden Fleece, housed in the Gemäldegalerie in Berlin (oak, central panel: 72 x 52 cm, each wing: 69 x 22 cm, inv. 578). It was acquired from the Reimer collection in Berlin in 1843. It was most likely commissioned by King Sigismund I the Old (1467-1548).

The outer parts of the wings were painted in grisaille with effigies of Saint Christopher and Saint Sebastian, which might indicate the donor and his patron saints. However, among the recipients of the Order of the Golden Fleece between 1451 and 1531, none bore the name Sebastian, and only one the name Christopher: Christopher (1453-1527), Margrave of Baden. Although the latter is depicted with a similar headdress (crinale), his features are entirely different. Other garments are also very similar to those in known effigies of the Polish monarch, such as the Communion of King Sigismund I, a leaf from the Prayer Book of Sigismund I, by Stanisław Samostrzelnik, dating from 1524 and held at the British Library. The King of Poland received the Order of the Golden Fleece in 1519, at the age of 52.

Sources relating to the artistic contacts between the Polish court and the Netherlands during this period are very scarce. Among the commissions confirmed by surviving inventories and accounts, the following can be cited:

In 1526, Queen Bona Sforza commissioned sixteen tapestries de lana cum figuris et imaginibus (of wool with figures and images) in Antwerp, with a total surface area of ​​200 Flemish square inches. They were transported to Kraków via Frankfurt am Main, Nuremberg, and Wrocław.

In 1533, King Sigismund I commissioned sixty tapestries in Antwerp, through Seweryn Boner and Mauritius Hernyck, featuring the coats of arms of Poland, Lithuania, and the Duchy of Milan. These included twenty large tapestries with a green and blue background, twenty-six tapestries without coats of arms, and six tapestries with figurative scenes. The commission cost 1,170 florins, and the tapestries were transported to Kraków via Nuremberg, Leipzig, and Wrocław (after "Mecenat Zygmunta Starego w zakresie rzemiosła artystycznego" by Adam Bochnak, p. 216-217).

In 1536, the king acquired seven paintings in Flanders to decorate the apartments of Prince Sigismund Augustus at Wawel Castle, for the sum of 35 florins (pro septem imaginibus Flandrensibus pictis, after "Ars Auro Prior ..." by Juliusz A. Chrościcki, p. 321).

The marble bust of Queen Barbara Zapolya, now in Olesko Castle and executed in the Dutch Renaissance style, was probably part of a larger commission placed by Sigismund I around 1520.

In turn, the splendid painting of the Holy Family, housed in the National Museum of Poznań and attributed to the workshop of Joos van Cleve, was acquired by Atanazy Raczyński (1788-1874) in 1828 from the collection of the painter Natale Schiavoni (1777-1858) in Venice (oil on panel, 80 x 59 cm, inv. MNP FR 440, earlier MNP Mo 107, after "Galeria Atanazego Raczyńskiego" by Maciej Piotr Michałowski, p. 174). This painting, like those in Genoa, was probably commissioned by Italian clients.