DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.38678#0289
cmpiru (Porcelain from the Baroąuc to the Empire Style - in Polish),
Warsaw 1964, pp. 90-97
239 [218] Cup with a view of the castle ruins at Łobzów,
Baranówka, c. 1820; porcelain, cup height 11.5, saucer
diameter 15.4; National Museum in Warsaw, inv. no 76621
The manufactory at Baranówka was founded in 1804 and
produced throughout the 19th century. Despite its strong
ties, particularly initially, with the manufactory at Korzec,
the Baranówka products were characterized by definitely
neoclassical form. They were unique with their painted
miniaturę landscape and architectural views, in distinctly
documentarily exact representatjon. In this they were
different from the Korzec products with their morę freely
selected landscape motifs. This new approach to architec-
tural views was a reflection of the broad interest in
antiąuarianism. On the one hand, outstanding monuments
of Polish architecture, on the other, classical architectural
themes were shown. For this purpose the manufactory
drew upon graphic publications, above all, in the case of
Polish architecture, upon Z. Vogel’s album of views. For
instance, the cup with a view of the castle at Łobzów was
decorated on the basie of an etching by J.Z. Frey after Z.
Vogel. Patterns were also provided by Domenico Pronti’s
album with views of Romę.
Bibliogniphy. S. Gebethner, H. Chojnacka, Krajobraz z architekturą na
ceramice polskiej (The Architectural Landscape on Polish Ceramics),
(in:) Treści dzieła sztuki (The Subject Mattcrof Works of Art-in Polish),
Warsaw 1969, pp. 251-276
240 [220] Malmsey bottle, Urzecze, c. 1785; cut glass,
height 20; National Museum in Warsaw, inv. no 19454
The bottle is adorned with the Odrowąż coat of arms of
Michał Straszewicz, Upita Castellan, an,d the Murdelio
coat of arms of Maria Straszewicz, nee Oskierko. The
highest prosperity of the Urzecze manufactory came in the
middle of the 18th century when its products became an
important part of the furniture of baroąuc interiors (mir-
rors, chandeliers). A change in taste, followed by a change
in style, brought about in the eighties of the 18th century
a simplification in forms and the introduction of neoclas-
sical ornamentation in glassware. Patterns, as in the case of
the malmsey bottle with the Odrowąż and Murdelio coats
of arms, were drawn from English glassware.
Bibliography. Polskie szkło do połowy 19 wieku (Polish Glassware until
the Middle of tlie 19th Century- in Polish), Wrocław 1974, p. 139
241 [219] Tankard and winę glass, Urzecze, c. 1810; cut
glass, tankard height 17, winę glass height 12; National
Museum in Warsaw, inv. nos 30034 and 19791
The tankard is adorned by the initials “DXR” of Duke
Dominik Radziwiłł. These objects are representativeof the
late neoclassical products of the Urzecze manufactory.
Characteristic features of this stage of the development of
glassware were the strongly geometrized shapes and the
so-called diamond cut. This cut, which consisted in carving
out in the walls a compact system of diamond-shaped
prisms, was then popular in all the centres of European
glassware production.
Bibliography: Polskie szkło do połowy 19 wieku (Polish Glassware until
the Middle of the 19th Century- in Polish), Wrocław 1974, p. 139
242 [221] Console-tąble from the Throne Room at the
Royal Castle in Warsaw, c. 1780; gilded wood, mosaic
table-top, 85 x 160x63; National Museum in Warsaw, inv.
no MŁ 909
Two console-tables from the Throne Room are among the
most valuable pieces of furniture from the Stanislas Augus-
tus interiors of the Royal Castle in Warsaw. It is particular-
ly interesting to notę the mosaic panels of these console-
-tables. The multi-coloured mosaic was probably the work
of an Italian, Pompeo, Savini. Scenes with representations
of doves and ducks and ornamental motifs were based,
ąuite strictly, on classical prototypes. The borders of the
tables contain the motif of meander, characteristic of the
early stage of neoclassicism.
Bibliography: M. Kwiatkowska, Hebanowa konsola z Zamku Królews-
kiego w Warszawie i zagadnienia stylu “;i la grecąuc” (The Ebony
Console-Table from the Royal Castle and the Problem^of the Style “ii la
grectjue"- in Polish), BAH, 1969, no 1, p. 87
243 [XV] Table, France, 1777-1780; mahogany, bronze,
Sevres porcelain panels, 84x 82x82; signed (on the porce-
lain) “Dodin 1777” and (on the wood) “Carlin”; National
Museum in Warsaw, inv. no SZMb 1962
The table, as Pierre Verlet has recently determined, was
bought in Sevres in 1780 by the Duke d’Artois and as early
as 1782 it was in Warsaw. King Stanislas Augustus in-
tended it for the Closet of European Monarchs, or Confer-
ence Closet, at the Royal Castle in Warsaw, furnished in
1783-1784. The central scene, referring to a painting of
1772 by J. Raoux, was the work of Ch.-N. Dodin, the table
itself that of M. Carlin. The central colour scene and six
other scenes painted en grisaille represent episodes from
the life of Telemachus, the protagonist of the well-known
novel Les Aventures de Telćmaąue by Francois de Sali-
gnac de Mothe-Fenelon. The subject matter of this work
includes, for example, the presentation of an ideał form of
government, with its essential principles of avoiding wars,
being supported by a strong gentry stratum and providing
conditions for development in commerce and agriculture.
The ideas contained in the scenes adorning the table must
have greatly impressed the King, for he had this table set in
a room dedicated to European monarchs.
Bibliography: P. Verlet, Objects prestigieux retrouves, “Revue de Part”,
no 314, 1976, pp. 64-66; A. Rottermund, Stolik z Gabinetu Monarchów
Europejskich (The Table from the Closet of European Monarchs), (in:)
Ars Auro Prior(in Polish), Warsaw 1981, pp. 567-574
244 [222] Chair, Kolbuszowa, c. 1790, walnut, leather
upholstery (new), 87x42x38.5; National Museum in
Warsaw, inv. no MŁ 482
288
Warsaw 1964, pp. 90-97
239 [218] Cup with a view of the castle ruins at Łobzów,
Baranówka, c. 1820; porcelain, cup height 11.5, saucer
diameter 15.4; National Museum in Warsaw, inv. no 76621
The manufactory at Baranówka was founded in 1804 and
produced throughout the 19th century. Despite its strong
ties, particularly initially, with the manufactory at Korzec,
the Baranówka products were characterized by definitely
neoclassical form. They were unique with their painted
miniaturę landscape and architectural views, in distinctly
documentarily exact representatjon. In this they were
different from the Korzec products with their morę freely
selected landscape motifs. This new approach to architec-
tural views was a reflection of the broad interest in
antiąuarianism. On the one hand, outstanding monuments
of Polish architecture, on the other, classical architectural
themes were shown. For this purpose the manufactory
drew upon graphic publications, above all, in the case of
Polish architecture, upon Z. Vogel’s album of views. For
instance, the cup with a view of the castle at Łobzów was
decorated on the basie of an etching by J.Z. Frey after Z.
Vogel. Patterns were also provided by Domenico Pronti’s
album with views of Romę.
Bibliogniphy. S. Gebethner, H. Chojnacka, Krajobraz z architekturą na
ceramice polskiej (The Architectural Landscape on Polish Ceramics),
(in:) Treści dzieła sztuki (The Subject Mattcrof Works of Art-in Polish),
Warsaw 1969, pp. 251-276
240 [220] Malmsey bottle, Urzecze, c. 1785; cut glass,
height 20; National Museum in Warsaw, inv. no 19454
The bottle is adorned with the Odrowąż coat of arms of
Michał Straszewicz, Upita Castellan, an,d the Murdelio
coat of arms of Maria Straszewicz, nee Oskierko. The
highest prosperity of the Urzecze manufactory came in the
middle of the 18th century when its products became an
important part of the furniture of baroąuc interiors (mir-
rors, chandeliers). A change in taste, followed by a change
in style, brought about in the eighties of the 18th century
a simplification in forms and the introduction of neoclas-
sical ornamentation in glassware. Patterns, as in the case of
the malmsey bottle with the Odrowąż and Murdelio coats
of arms, were drawn from English glassware.
Bibliography. Polskie szkło do połowy 19 wieku (Polish Glassware until
the Middle of tlie 19th Century- in Polish), Wrocław 1974, p. 139
241 [219] Tankard and winę glass, Urzecze, c. 1810; cut
glass, tankard height 17, winę glass height 12; National
Museum in Warsaw, inv. nos 30034 and 19791
The tankard is adorned by the initials “DXR” of Duke
Dominik Radziwiłł. These objects are representativeof the
late neoclassical products of the Urzecze manufactory.
Characteristic features of this stage of the development of
glassware were the strongly geometrized shapes and the
so-called diamond cut. This cut, which consisted in carving
out in the walls a compact system of diamond-shaped
prisms, was then popular in all the centres of European
glassware production.
Bibliography: Polskie szkło do połowy 19 wieku (Polish Glassware until
the Middle of the 19th Century- in Polish), Wrocław 1974, p. 139
242 [221] Console-tąble from the Throne Room at the
Royal Castle in Warsaw, c. 1780; gilded wood, mosaic
table-top, 85 x 160x63; National Museum in Warsaw, inv.
no MŁ 909
Two console-tables from the Throne Room are among the
most valuable pieces of furniture from the Stanislas Augus-
tus interiors of the Royal Castle in Warsaw. It is particular-
ly interesting to notę the mosaic panels of these console-
-tables. The multi-coloured mosaic was probably the work
of an Italian, Pompeo, Savini. Scenes with representations
of doves and ducks and ornamental motifs were based,
ąuite strictly, on classical prototypes. The borders of the
tables contain the motif of meander, characteristic of the
early stage of neoclassicism.
Bibliography: M. Kwiatkowska, Hebanowa konsola z Zamku Królews-
kiego w Warszawie i zagadnienia stylu “;i la grecąuc” (The Ebony
Console-Table from the Royal Castle and the Problem^of the Style “ii la
grectjue"- in Polish), BAH, 1969, no 1, p. 87
243 [XV] Table, France, 1777-1780; mahogany, bronze,
Sevres porcelain panels, 84x 82x82; signed (on the porce-
lain) “Dodin 1777” and (on the wood) “Carlin”; National
Museum in Warsaw, inv. no SZMb 1962
The table, as Pierre Verlet has recently determined, was
bought in Sevres in 1780 by the Duke d’Artois and as early
as 1782 it was in Warsaw. King Stanislas Augustus in-
tended it for the Closet of European Monarchs, or Confer-
ence Closet, at the Royal Castle in Warsaw, furnished in
1783-1784. The central scene, referring to a painting of
1772 by J. Raoux, was the work of Ch.-N. Dodin, the table
itself that of M. Carlin. The central colour scene and six
other scenes painted en grisaille represent episodes from
the life of Telemachus, the protagonist of the well-known
novel Les Aventures de Telćmaąue by Francois de Sali-
gnac de Mothe-Fenelon. The subject matter of this work
includes, for example, the presentation of an ideał form of
government, with its essential principles of avoiding wars,
being supported by a strong gentry stratum and providing
conditions for development in commerce and agriculture.
The ideas contained in the scenes adorning the table must
have greatly impressed the King, for he had this table set in
a room dedicated to European monarchs.
Bibliography: P. Verlet, Objects prestigieux retrouves, “Revue de Part”,
no 314, 1976, pp. 64-66; A. Rottermund, Stolik z Gabinetu Monarchów
Europejskich (The Table from the Closet of European Monarchs), (in:)
Ars Auro Prior(in Polish), Warsaw 1981, pp. 567-574
244 [222] Chair, Kolbuszowa, c. 1790, walnut, leather
upholstery (new), 87x42x38.5; National Museum in
Warsaw, inv. no MŁ 482
288