DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.23631#0086
cups with miniature portraits of national heroes, mostly Prince Joseph Poniatowski, landscapes and
armorial bearings, or else with silver-painted grass motifs. Baranowka made also ornamental vases and
tiles in imitation of foreign patterns, for example the Dagoty Factory in Paris. When Michael de Mezer
died in 1820, management of the Baranowka factory was taken over by his sons, Konstanty and Seweryn.
Five years later, Baranowka was granted the right to mark its wares with the two-headed eagle. The
earliest Baranowka trade-mark was composed of three blue stars set in a triangle and the word 'Baranow-
ka', later only with the letter 'B' or the word 'Baranowka'. After 1830, the standard of its production
deteriorated, perhaps because of the competition of cheap Czech porcelain, which was then flooding
East European markets.
The third important porcelain manufactory was established in Tomaszow Lubelski by Aleksander
August Zamoyski, who invited Francois de Mezer from Korzcc as early as 1795. Tomaszow Lubelski
produced only faience until 1806, when twelve shops went into operation, and the manufactory opened
its own store in Warsaw. A difficult problem was the obtaining of kaolin which had to be brought from
the Austrian partition zone. Tomaszow porcelain was noted for its technical standard and aesthetic qualities,
but most of the motifs and designs were modelled on Baranowka wares. Its coffee sets bore original
ornaments in the form of portraits of famous men painted en grisaille among decorative golden motifs.
The peak period of the Tomaszow manufactory ended in 1815. The earliest trade-mark of Tomaszow
consisted of three lances, the two side ones arranged slantwise across the middle one, in imitation of the
Zamoyski coat of arms; later the word 'Tomaszow' or 'in Tomaszow', either impressed or painted, was
added, occasionally accompanied by the date.
In addition to the porcelain manufacturers discussed above, in all of which the de Mezer family played
a role of primary importance, a number of others were active, for example the manufacture in Horodnica,
established by Jozef Czartoryski in 1807, which at first produced faience only. In the 1850s Horodnica
came into the possession of Waclaw Rulikowski, who switched to porcelain production.
In 1828, an important porcelain factory was opened at Cmielow where a small faience manufactory,
founded by Jacek Malachowski, former Lord Chancellor of Great Poland, had been in operation since
the beginning of the century. The majority of employees at Cmielow were local peasants and soon the
trade of porcelain maker became hereditary among them, passing from father to son. When Malachowski
died, his manufactory passed to Prince Drucki-Lubecki, Finance Minister of the Kingdom of Poland, but
its rapid development did not begin until 1835, when Gabriel Weiss, an eminent expert from Bohemia,
was appointed manager. It should be noted that small deposits of kaolin were found on the spot. Porcelain,
modelled in moulds and hand painted, was produced at first in small quantities only. In the 1860s Cmielow
was transformed into a fairly large factory, employing about a hundred workers. About that time, it
attracted the attention of Kazimierz Cybulski, a dealer in porcelain who had his shop in Warsaw's
Senatorska Street. Cybulski began purchasing Cmielow wares in raw finish, white and undecorated,
which he had ornamented in Warsaw with Polish patriotic motifs, modelled mainly on well-known
paintings by Simmler and Loefler, and with architectural designs, such as Warsaw's Sigismund Column
or Lazienki Palace. After 1863, Cybulski purchased Cmielow and proceeded to modernize methods of
production with the help of foreign experts, among them a Frenchman of Polish origin, Stanislas Thiele
(Tylicki). Thiele, however, soon left Cmielow and moved to Nieborow where he took up employment
in the Radziwill majolica manufactory. Cmielow wares had the trade-mark FPC and mitre painted in
cobalt blue under the glazing or just the word 'Cmielow', sometimes an impressed triangle with the
letter 'C in the middle, or else the word 'Cmielow' between two twigs. Beginning probably with the
take-over by Cybulski, Cmielow began producing small glazed figures and biscuit medallions with portraits
of famous Poles, for example Tadeusz Rejtan and Frederic Chopin.
We have already said that originally all Polish porcelain manufactures produced only faience. As a rule
throughout the 19th century, faience and porcelain were made in the same manufactories, though a number
of strictly faience establishments were opened. Cheaper than porcelain, faience was always in great
demand. Though its production was on a large scale, particularly in the first half of the 19th century,
such objects are now very rare. Very few examples of Korzec faience have been preserved, for example,
a vase decorated with grapevine with the ears in the shape of fauns' heads (now in the Lancut Museum)
and a similar vase and tea set in the National Museum in Cracow. Baranowka faience is represented today
by a single piece: a white calyx-shaped dish, which is to be seen in the National Museum in Warsaw.
Among the many faience manufactures operating in the 19th century, special mention should be made
armorial bearings, or else with silver-painted grass motifs. Baranowka made also ornamental vases and
tiles in imitation of foreign patterns, for example the Dagoty Factory in Paris. When Michael de Mezer
died in 1820, management of the Baranowka factory was taken over by his sons, Konstanty and Seweryn.
Five years later, Baranowka was granted the right to mark its wares with the two-headed eagle. The
earliest Baranowka trade-mark was composed of three blue stars set in a triangle and the word 'Baranow-
ka', later only with the letter 'B' or the word 'Baranowka'. After 1830, the standard of its production
deteriorated, perhaps because of the competition of cheap Czech porcelain, which was then flooding
East European markets.
The third important porcelain manufactory was established in Tomaszow Lubelski by Aleksander
August Zamoyski, who invited Francois de Mezer from Korzcc as early as 1795. Tomaszow Lubelski
produced only faience until 1806, when twelve shops went into operation, and the manufactory opened
its own store in Warsaw. A difficult problem was the obtaining of kaolin which had to be brought from
the Austrian partition zone. Tomaszow porcelain was noted for its technical standard and aesthetic qualities,
but most of the motifs and designs were modelled on Baranowka wares. Its coffee sets bore original
ornaments in the form of portraits of famous men painted en grisaille among decorative golden motifs.
The peak period of the Tomaszow manufactory ended in 1815. The earliest trade-mark of Tomaszow
consisted of three lances, the two side ones arranged slantwise across the middle one, in imitation of the
Zamoyski coat of arms; later the word 'Tomaszow' or 'in Tomaszow', either impressed or painted, was
added, occasionally accompanied by the date.
In addition to the porcelain manufacturers discussed above, in all of which the de Mezer family played
a role of primary importance, a number of others were active, for example the manufacture in Horodnica,
established by Jozef Czartoryski in 1807, which at first produced faience only. In the 1850s Horodnica
came into the possession of Waclaw Rulikowski, who switched to porcelain production.
In 1828, an important porcelain factory was opened at Cmielow where a small faience manufactory,
founded by Jacek Malachowski, former Lord Chancellor of Great Poland, had been in operation since
the beginning of the century. The majority of employees at Cmielow were local peasants and soon the
trade of porcelain maker became hereditary among them, passing from father to son. When Malachowski
died, his manufactory passed to Prince Drucki-Lubecki, Finance Minister of the Kingdom of Poland, but
its rapid development did not begin until 1835, when Gabriel Weiss, an eminent expert from Bohemia,
was appointed manager. It should be noted that small deposits of kaolin were found on the spot. Porcelain,
modelled in moulds and hand painted, was produced at first in small quantities only. In the 1860s Cmielow
was transformed into a fairly large factory, employing about a hundred workers. About that time, it
attracted the attention of Kazimierz Cybulski, a dealer in porcelain who had his shop in Warsaw's
Senatorska Street. Cybulski began purchasing Cmielow wares in raw finish, white and undecorated,
which he had ornamented in Warsaw with Polish patriotic motifs, modelled mainly on well-known
paintings by Simmler and Loefler, and with architectural designs, such as Warsaw's Sigismund Column
or Lazienki Palace. After 1863, Cybulski purchased Cmielow and proceeded to modernize methods of
production with the help of foreign experts, among them a Frenchman of Polish origin, Stanislas Thiele
(Tylicki). Thiele, however, soon left Cmielow and moved to Nieborow where he took up employment
in the Radziwill majolica manufactory. Cmielow wares had the trade-mark FPC and mitre painted in
cobalt blue under the glazing or just the word 'Cmielow', sometimes an impressed triangle with the
letter 'C in the middle, or else the word 'Cmielow' between two twigs. Beginning probably with the
take-over by Cybulski, Cmielow began producing small glazed figures and biscuit medallions with portraits
of famous Poles, for example Tadeusz Rejtan and Frederic Chopin.
We have already said that originally all Polish porcelain manufactures produced only faience. As a rule
throughout the 19th century, faience and porcelain were made in the same manufactories, though a number
of strictly faience establishments were opened. Cheaper than porcelain, faience was always in great
demand. Though its production was on a large scale, particularly in the first half of the 19th century,
such objects are now very rare. Very few examples of Korzec faience have been preserved, for example,
a vase decorated with grapevine with the ears in the shape of fauns' heads (now in the Lancut Museum)
and a similar vase and tea set in the National Museum in Cracow. Baranowka faience is represented today
by a single piece: a white calyx-shaped dish, which is to be seen in the National Museum in Warsaw.
Among the many faience manufactures operating in the 19th century, special mention should be made