Lorentz, Stanisław; Rottermund, Andrzej: Neoclassicism in Poland (Warsaw, 1986)

Kamsetzer designed the sconces as part of his work with
Merlini in the elaboration of the decoration and furnish-
ings for the Knights’Hall. 14 works madę in Dresden to
Kamsetzer’s design. 3 pieces have been salvaged from this
set, now providing the pattern for the reconstruction of the
lost eleven. Kamsetzer’s sconces were distinguished by
their highly individual elaboration, whereas their form of
iaurels was strictly related to the decorative motifs in the
interior, devoted to the glory of eminent Poles, where the
motifs of Iaurels was fully justified.
Bibliography: Iskierski, Bronze Works, item 4, p. 8; Catalogue of
Drawings, part 1, Varsaviana, items 492 and 493, p. 116
Jan Jerzy Bandau (d. before 1817)
233 [215] Soup tureen with base, 1785-1787; silver, gilded
parts, height 51.5 cm, tureen diameter 29, base diameter
52.5; signed “IGB” in an oval, “12”; on the base the
engraved Wczele coat of arms; National Museum in War-
saw, inv. no SZM 5496
Jan Jerzy Bandau came to Warsaw from Hungary before
1768. He was one of the most eminent Polish goldsmiths in
the second part of the 18th century and the early 19th
century. The»soup tureen in the collections of the National
Museum in Warsaw is an example of neoclassical gold-
smith’s work in Warsaw. This took shape under the in-
fluence of French neoclassicism, drawing upon its deco-
rative motifs, which were combined with naturalistic ones,
such as the boar’s legs which support the tureen or the
snail on the top of its cover. The tureen used to belong to
Władysław Roch Gurowski (1717-1790), Grand Marshal
of the Crown, whose cort of arms, Wczele, was engraved
on the base of the vessel.
Bibliography: The Cacaiogueof the Eshibition “Polonia: arteecultura”,
item 140, p. 151
Teodor Pawłowicz (working 1784-1794)
234 [217] Champagne cooler, 1789; silver, height 19.5,
diameter 18; signed “TP” in a double ovał, a smali eagle in
an oval, “12” in an oval and a mermaid with the datę
“1789”, engravecj coats of arms Leliwa and Korczak;
National Museum in Warsaw, inv. no 1977
Apart from J.J. Bandau and J. Skalski, Teodor Pawłowicz
was the most outstanding goldsmith working in Warsaw in
the last years of the 18th century. His works were
characterized by their simple, neoclassical form and re-
strained use of decorative motifs, mainly from the reperto-
ry of neoclassical ornamentation.
Bibliography: The Catalogue of the Exhibition “Polonia: arte e cultura ”,
item 138, p. 151
Józef Skalski (working 1790-1820)
235 [216] Winę jug, c. 1800; silver, gilded inside, height
33, diameter 13.9; signed “I.S” in a rectangle, “12”;
National Museum in Warsaw, inv. no SZM 5455
Works by Józef Skalski were representative of the period of

maturę neoclassicism. They were characterized by geome-
trized forms and conspicuous restraint in using decorative
elements. The artistic values of those works were consti-
tuted above al! by the balanced proportions of the
particular parts.
Bibliography: The Catalogue of the Exhibilion “Polonia: arte e eultura”,
item 139, p. 151
236 [XX] Vase, produced by the King’s manufactory at
Belweder, 1770-1780; faience, height 44.5, diameter 24;
National Museum in Warsaw, inv. no 52C 1293/1
The King’s manufactory of pottery called Belweder began
production in 1770, directly sponsored by King Stanislas
Augustus. The Belweder pottery was patterned on Far
Eastern ceramics. The greatest popularity was gained by
decorative sets, as a rule of three vases, with decoration of
the Far Eastern, most often Chinese, type painted in rich,
vivid colours. The vase shown here repeats the Far Eastern
pattern in shape, whereas distinctly neoclassical modera-
tion and order can be felt in the decoration.
Bibliography: T. Mańkowski, Królewska fabryka farfurowa w Belwede-
rze (The King’s Factory of Pottery at Belweder - in Polish), “Sztuki
Piękne”, 1932, no 3, pp. 73-90
237 [XVIII] Set of three vases, Warsaw, produced by Karol
Wolff’s manufactory, 1780-c. 1794; faience, height of the
larger vase 42, height of the smaller ones 37; National
Museum in Warsaw, inv. nos 128987, 128988, 128757
The pottery manufactory founded by Karol Wolff at Bielin
in Warsaw was in production in 1779-1800. Wolffs
pottery, like that from the Belweder manufactory, was
derived from Chinese ceramics. A characteristic feature of
these vases was gilded flower decoration against a chocolate
brown background. Sets of such vases, when placed on
mantlepieces or console-tables, were fairly characteristic
element of Polish neoclassical interior decoration.
Bibliography: Sztuka zdobnicza, dary i nabytki 1945-1964. Katalog
(Decoratiee Arts, Gifts and Purchases 1945-1964. Catalogue-in Polish),
National Museum inWarsaw, Warsaw 1964, item 478, p. 113
238 [XIX] Soup tureen, Korzec, 1790-1796, porcelain,
24 x 23 x 19; National Museum in Warsaw, inv. no 130196
The manufactory founded by Józef Klemens Czartoryski at
Korzec was the first manufactory in Poland to produce
porcelain. The earliest porcelain objects were madę in
1790, and the manufactory was closed down in 1832. In the
first years it took its patterns from renowned manufacto-
ries, mainly at Meissen and in Vienna. In painted decora-
tion, however, very individually treated flower motifs -
roses, pansies, bluebottles, forget-me-nots etc. - were
introduced. The shapes of the Korzec products, a typical
example of which is the tureen in the collections of the
National Museum in Warsaw, were still strongly rooted in
the baroąue tradition.
Bibliography: Ryszard Stanisław Ryszard, Porcelana od baroku do

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