DOI Page / Citation link:
https://doi.org/10.11588/diglit.38678#0290
Kolbuszowa, a smali town in the area ot Rzeszów, was one
ot the most important centres of Polish furniture-making in
the 18th century. The furniture from Kolbuszowa and
other centres nearby was characterized by veneered sur-
faces, mainly from walnut, less freąuently from yew and
a kind of birch-wood, and by rich inlaid work mostly from
ash, sycamore, cherry-tree, pear-tree, plum-tree, and
black oak. Geometrical and vegetal motifs were most
frequent. Patterns from West European furniture were
used, but adapted to the native traditions. An example of
this can be a set of chairs madę under the influence of
English patterns from the end of the 18th century, with
geometrized form, motifs of meander and garlands, charac-
teristic of products dating from that period.
Bibliography: Maszkowska, History of Polish Furniture-Making,
pp. 14-19, 87
245 [223] Armchair, Polish make, end of the 18th century;
oak, 88x123x47.5; National Museum in Warsaw,
Nieborów Branch, inv. no NB 627 MNW
The armchair was madę at the reąuest of Duchess Helena
Radziwiłł, nee Przeździecka, for the Diana’s Tempie in the
park of Arkadia. It used to stand on a stone plinth in the
central room of the Tempie. Its shape was patterned after
the Italian type of Renaissance armchairs; its back was
adorned by a Roman eagle in relief.
Bibliography: Maszkowska, History of Polish Furninire-Making, p. 88
246 [224] Escritoire, Polish make, c. 1780; oak, rosewood
veneer, inlaid work, waxed and painted cloth, bronze,
106.5x76x53; National Museum in Warsaw, Nieborów
Branch, inv. no NB 233 MNW
A lady’s escritoire, composed of a table and a case-like top,
called a bonheur-du-jour, was a characteristic piece of
French furniture in the epoch of Louis XVI. This type
spread to Poland; we know of pieces of furniture produced
by Polish cabinet-makers. A feature which madę them
distinct from West European furniture was the covering of
large surfaces by waxed cloth on which symmetrically
composed flower decoration would be painted.
Bibliography: Maszkowska, History of Polish Furninire-Making, p. 91
247 [225] Chest of drawers, Warsaw make, c. 1780; oak,
rosewood veneer, inlaid work, waxed and painted cloth,
bronze, 90x118x53; National Museum in Warsaw,
Łazienki Branch, inv. ML 148
In her work on the Polish furniture of the Age of Enlighten-
ment, Maszkowska has attributed the chest to the royal
workshops, working for Stanislas Augustus. This furniture
was characterized by a simple case form. It was mostly
decorated by cut-out and applied geometrical openwork
ornamentation and by flower decoration painted on cloth.
Bronze fittings with commonplace neoclassical motifs
formed major complements of the whole.
Bibliography: Maszkowska, History of Polish Furniture-Making, p. 92;
item 77
The catalogue was prepared in 1974 by Andrzej Rotter-
mund
289
ot the most important centres of Polish furniture-making in
the 18th century. The furniture from Kolbuszowa and
other centres nearby was characterized by veneered sur-
faces, mainly from walnut, less freąuently from yew and
a kind of birch-wood, and by rich inlaid work mostly from
ash, sycamore, cherry-tree, pear-tree, plum-tree, and
black oak. Geometrical and vegetal motifs were most
frequent. Patterns from West European furniture were
used, but adapted to the native traditions. An example of
this can be a set of chairs madę under the influence of
English patterns from the end of the 18th century, with
geometrized form, motifs of meander and garlands, charac-
teristic of products dating from that period.
Bibliography: Maszkowska, History of Polish Furniture-Making,
pp. 14-19, 87
245 [223] Armchair, Polish make, end of the 18th century;
oak, 88x123x47.5; National Museum in Warsaw,
Nieborów Branch, inv. no NB 627 MNW
The armchair was madę at the reąuest of Duchess Helena
Radziwiłł, nee Przeździecka, for the Diana’s Tempie in the
park of Arkadia. It used to stand on a stone plinth in the
central room of the Tempie. Its shape was patterned after
the Italian type of Renaissance armchairs; its back was
adorned by a Roman eagle in relief.
Bibliography: Maszkowska, History of Polish Furninire-Making, p. 88
246 [224] Escritoire, Polish make, c. 1780; oak, rosewood
veneer, inlaid work, waxed and painted cloth, bronze,
106.5x76x53; National Museum in Warsaw, Nieborów
Branch, inv. no NB 233 MNW
A lady’s escritoire, composed of a table and a case-like top,
called a bonheur-du-jour, was a characteristic piece of
French furniture in the epoch of Louis XVI. This type
spread to Poland; we know of pieces of furniture produced
by Polish cabinet-makers. A feature which madę them
distinct from West European furniture was the covering of
large surfaces by waxed cloth on which symmetrically
composed flower decoration would be painted.
Bibliography: Maszkowska, History of Polish Furninire-Making, p. 91
247 [225] Chest of drawers, Warsaw make, c. 1780; oak,
rosewood veneer, inlaid work, waxed and painted cloth,
bronze, 90x118x53; National Museum in Warsaw,
Łazienki Branch, inv. ML 148
In her work on the Polish furniture of the Age of Enlighten-
ment, Maszkowska has attributed the chest to the royal
workshops, working for Stanislas Augustus. This furniture
was characterized by a simple case form. It was mostly
decorated by cut-out and applied geometrical openwork
ornamentation and by flower decoration painted on cloth.
Bronze fittings with commonplace neoclassical motifs
formed major complements of the whole.
Bibliography: Maszkowska, History of Polish Furniture-Making, p. 92;
item 77
The catalogue was prepared in 1974 by Andrzej Rotter-
mund
289