DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.38678#0287
representing the work on the construction of the road and
panoramas of three towns: Warsaw, Siedlce and Brześć.
Paweł Maliński had prepared plaster-of-Paris models in
1823, and they were cast in iron in 1825: one for the
monument in Warsaw, the other for that at Terespol. The
series of reliefs for the Monument of Labour was important
both for Maliński’s work and the deyelopment of Połish
sculpture in the 19th century. The artist introduced here
realistic motifs related to the everyday labour of the
workers; the latter appearing for the first time in Polish art
as an autonomous theme.
Bibliography: D. Kaczmarzyk, Realistyczne rzeźby Pawia Malińskiego
na Pomniku Pracy (The Realistic Sculptures by Paweł Maliński on the
Monument of Labour - in Polish), “Rocznik MNW”, II, 1956, pp.
381-410; Kaczmarzyk, Polish Sculpture, item 369, p. 106
Paweł Maliński
228 [210] Figures of old men, detail of the frieze on the
faęade of the Grand Theatre in Warsaw, 1830; stucco in
relief, 50x78; Historical Museum of Warsaw, inv. no 2176
Artistic Handicrafts
Unknown author
229 [XII] Coronation sword of King Stanislas Augustus,
1764; oxidized Steel pommel, gilded inscriptions; gilded
and enamelled silver hilt; silk-covered wooden sheath,
91.3x15.5; on one side of the blade can be found the
emblem of the Commonwealth, the Ciołek coat of arms
(Stanislas Augustus’) and the inscription “Stanislaus Au-
gustus Rex Dedit ANNO 1764”, on the other side there is
the same inscription and the initials SAR (Stanislaus
Augustus Rex) with a crown; National Museum in War-
saw, inv. no SZM 6752
The sword was specially madę on the occasion of the
coronation of King Stanislas Augustus. It was one of the
earliest examples of introducing a neoclassical set of motifs
into works of decorative crafts. Research has so far failed to
identify the author of this outstanding work of art. It is
presumed that the sword was madę by a Warsaw goldsmith
carrying out the King’s orders. The sword, and other
regalia, can be seen in the well-known portrait of King
Stanislas Augustus in coronation dress, painted by Marcel-
lo Bacciarelli in 1768-1771.
Bibliography: The Catalogue of the Exhibition “Polonia: arte e cultura”,
item 146, p. 155
Philippe Caffieri the Younger (1714-1774)
230 [212] Candelabrum from the Ballroom at the Royal
Castle in Warsaw, 1766-1768; gilded bronze, 93x65x44;
signed “fait par Caffiery en 1766”; National Museum in
Warsaw, inv. no MŁ 529
Philippe Caffieri the Younger was one of the most
outstanding French bronze-founders in the second half of
The theme of the frieze adorning the faęade of the theatre
was a scene from Greek mythology representing the return
of Oedipus and the common people from the Olympic
Games. Only two fragments have survived from this relief,
which was very badly damaged in 1939. As in his other
works related to architecture (e.g. in the tympanum of the
Kazimierzowski Pałace or the fieze in the salon of Blue
pałace), so here Maliński strictly observed the classical
patterns. He tended to emphasize the neoclassical forms of
monumental edifices by sculpted compositions in the same
style. In his other works, particularly in portraits and
religious sculptures, he revealed his ties with the tradition
of baroąue sculpture, and in his last work some preroman-
ticist forms could be detected.
Bibliography: W. Tatarkiewicz, D. Kaczmarzyk, Klasycyzm i roman-
tyzm w rzeźbie polskiej (Neoclassicism and Romanticism in Polish
Sculpture - in Polish), “Sztuka i Krytyka”, VII, 1956, nos 1-2, pp.
48-50; Dary i nabytki. Katalog Muzeum Historycznego m.st. Warszawy
(Gifts and Purchases. A Catalogue of the Historical Museum of Warsaw -
in Polish), Warsaw 1970, item 128
the 18th century. For Stanislas Augustus he madę, among
other things, six candelabra for the decoration of the
Ballroom. These candelabra were among the earliest neo-
classical examples in artistic handicrafts in Europę. Their
composition was derived from the ancient tripod, whereas
the decorative motifs, such as meander, garlands, cornuco-
pias etc., were drawn from the classical repertory.
Bibliography: Iskierski, Bronze Works, item 1, p. 7
\
Jean Louis Prieur (18th century)
231 [214] Candelabrum from the Throne Room at the
Royal Castle in Warsaw, 1766; gilded bronze, 62x36x36;
National Museum in Warsaw, inv. no MŁ 531
The two candelabra which were designed in 1766 for the
King’s Bedchamber can be seen in a drawing madę by
Victor Louis the same year. The idea of the candelabra was
conceived of by Prieur, whose candelabrum design has
survived in the royal archives. They were madę in Paris and
sent to Warsaw in 1777. D. Merlini used them to furnish
the Throne Room, which he was decorating in 1781-1786.
Apart from the candelabra from the Ballroom, they were
among the best of French bronze works which were used to
furnish the Stanislas Augustus interiors at the Royal Castle.
The candelabra were composed from typically neoclassical
decorative motifs: eagles, ram’s heads and garlands.
Bibliography. Iskierski Bronze Works, item 7, p. 8; Catalogue of
Drawings, part 1, Varsaviana, item 306, p. 90 and item 333, p. 95
Jan Chrystian Kamsetzer
232 [213] Sconces from the Knights’ Hall at the Royal
Castle in Warsaw, 1786; gilded bronze, 62x45x26; Na-
tional Museum in Warsaw, inv. no MŁ 847
286
panoramas of three towns: Warsaw, Siedlce and Brześć.
Paweł Maliński had prepared plaster-of-Paris models in
1823, and they were cast in iron in 1825: one for the
monument in Warsaw, the other for that at Terespol. The
series of reliefs for the Monument of Labour was important
both for Maliński’s work and the deyelopment of Połish
sculpture in the 19th century. The artist introduced here
realistic motifs related to the everyday labour of the
workers; the latter appearing for the first time in Polish art
as an autonomous theme.
Bibliography: D. Kaczmarzyk, Realistyczne rzeźby Pawia Malińskiego
na Pomniku Pracy (The Realistic Sculptures by Paweł Maliński on the
Monument of Labour - in Polish), “Rocznik MNW”, II, 1956, pp.
381-410; Kaczmarzyk, Polish Sculpture, item 369, p. 106
Paweł Maliński
228 [210] Figures of old men, detail of the frieze on the
faęade of the Grand Theatre in Warsaw, 1830; stucco in
relief, 50x78; Historical Museum of Warsaw, inv. no 2176
Artistic Handicrafts
Unknown author
229 [XII] Coronation sword of King Stanislas Augustus,
1764; oxidized Steel pommel, gilded inscriptions; gilded
and enamelled silver hilt; silk-covered wooden sheath,
91.3x15.5; on one side of the blade can be found the
emblem of the Commonwealth, the Ciołek coat of arms
(Stanislas Augustus’) and the inscription “Stanislaus Au-
gustus Rex Dedit ANNO 1764”, on the other side there is
the same inscription and the initials SAR (Stanislaus
Augustus Rex) with a crown; National Museum in War-
saw, inv. no SZM 6752
The sword was specially madę on the occasion of the
coronation of King Stanislas Augustus. It was one of the
earliest examples of introducing a neoclassical set of motifs
into works of decorative crafts. Research has so far failed to
identify the author of this outstanding work of art. It is
presumed that the sword was madę by a Warsaw goldsmith
carrying out the King’s orders. The sword, and other
regalia, can be seen in the well-known portrait of King
Stanislas Augustus in coronation dress, painted by Marcel-
lo Bacciarelli in 1768-1771.
Bibliography: The Catalogue of the Exhibition “Polonia: arte e cultura”,
item 146, p. 155
Philippe Caffieri the Younger (1714-1774)
230 [212] Candelabrum from the Ballroom at the Royal
Castle in Warsaw, 1766-1768; gilded bronze, 93x65x44;
signed “fait par Caffiery en 1766”; National Museum in
Warsaw, inv. no MŁ 529
Philippe Caffieri the Younger was one of the most
outstanding French bronze-founders in the second half of
The theme of the frieze adorning the faęade of the theatre
was a scene from Greek mythology representing the return
of Oedipus and the common people from the Olympic
Games. Only two fragments have survived from this relief,
which was very badly damaged in 1939. As in his other
works related to architecture (e.g. in the tympanum of the
Kazimierzowski Pałace or the fieze in the salon of Blue
pałace), so here Maliński strictly observed the classical
patterns. He tended to emphasize the neoclassical forms of
monumental edifices by sculpted compositions in the same
style. In his other works, particularly in portraits and
religious sculptures, he revealed his ties with the tradition
of baroąue sculpture, and in his last work some preroman-
ticist forms could be detected.
Bibliography: W. Tatarkiewicz, D. Kaczmarzyk, Klasycyzm i roman-
tyzm w rzeźbie polskiej (Neoclassicism and Romanticism in Polish
Sculpture - in Polish), “Sztuka i Krytyka”, VII, 1956, nos 1-2, pp.
48-50; Dary i nabytki. Katalog Muzeum Historycznego m.st. Warszawy
(Gifts and Purchases. A Catalogue of the Historical Museum of Warsaw -
in Polish), Warsaw 1970, item 128
the 18th century. For Stanislas Augustus he madę, among
other things, six candelabra for the decoration of the
Ballroom. These candelabra were among the earliest neo-
classical examples in artistic handicrafts in Europę. Their
composition was derived from the ancient tripod, whereas
the decorative motifs, such as meander, garlands, cornuco-
pias etc., were drawn from the classical repertory.
Bibliography: Iskierski, Bronze Works, item 1, p. 7
\
Jean Louis Prieur (18th century)
231 [214] Candelabrum from the Throne Room at the
Royal Castle in Warsaw, 1766; gilded bronze, 62x36x36;
National Museum in Warsaw, inv. no MŁ 531
The two candelabra which were designed in 1766 for the
King’s Bedchamber can be seen in a drawing madę by
Victor Louis the same year. The idea of the candelabra was
conceived of by Prieur, whose candelabrum design has
survived in the royal archives. They were madę in Paris and
sent to Warsaw in 1777. D. Merlini used them to furnish
the Throne Room, which he was decorating in 1781-1786.
Apart from the candelabra from the Ballroom, they were
among the best of French bronze works which were used to
furnish the Stanislas Augustus interiors at the Royal Castle.
The candelabra were composed from typically neoclassical
decorative motifs: eagles, ram’s heads and garlands.
Bibliography. Iskierski Bronze Works, item 7, p. 8; Catalogue of
Drawings, part 1, Varsaviana, item 306, p. 90 and item 333, p. 95
Jan Chrystian Kamsetzer
232 [213] Sconces from the Knights’ Hall at the Royal
Castle in Warsaw, 1786; gilded bronze, 62x45x26; Na-
tional Museum in Warsaw, inv. no MŁ 847
286