DOI Page / Citation link:
https://doi.org/10.11588/diglit.23631#0087
of Glinsk near Zolkiew and Lubartow established by Henryk Lubiehski in 1834, which produced objects
in neo-classical style. The faience manufacture opened in 1807 in Horodnica by Jozef Czartoryski, had
close ties with Korzec. Horodnica was substantially developed in circa i860, when the number of its
employees increased to 350 who had a special settlement built for them. Horodnica produced mainly
table services, jugs, pitchers and candlesticks. In the latter half of the 19th century, Jewish businessmen
and merchants opened a number of faience manufactories calculated to bring in rapid profit, for example
in Pruszkow near Warsaw, and in Wloclawek. In order to win a large clientele, these produced wares
adorned with sentimental patriotic ornaments in print. The majolica manufacture established by Michal
Radziwill in Nieborow in 1881, was the last venture of this type to be undertaken by a member of
a magnate family. Its manager was Stanislas Thiele, of whom there was mention above, and its production
was aligned on ornamental decorative objects, such as vases, lamps, jardinieres, tazzas and stove tiles
adorned with coloured figural motifs. One of the modellers employed at Nieborow was Slawomir Celinski,
a sculptor who graduated from the Cracow College of Fine Arts, to whom the Nieborow tondos with
likenesses of kings of Poland are attributed. Nieborow decorators included graduates of Wojciech
Gerson's School of Painting in Warsaw, two women Jadwiga Hyzycka and Celina Zarembianka, and
the most prominent among them, Feliks Szewczyk, painter of romantic landscapes. Nieborow majolica
was inspired primarily by objects brought by Thiele from Nevers in France and also by Italian Renaissance
ceramics. In the easily distinguishable colour scheme of Nieborow wares blues and yellows predominated.
The trade-mark of Nieborow majolica was the letters PMR (Prince Michal Radziwill). As usual, lack
of funds hampered production. Though Nieborow majolica was highly appreciated by contemporaries,
subsequent critics found fault with it, though unjustifiably so.
In the 19th century the Polish artistic glass industry began to decline for several reasons. Firstly,
formerly leading glassworks, in Naliboki and Urzecze for example, passed into foreign hands and generally
deteriorated. Then beginning with the latter half of the 18th century, Poland was flooded with cheap
Czech and Silesian glass. The Czechs in particular specialized in glassware with Polish motifs, likely to
attract Polish custom. Last but not least the period of great Sarmatian banquets, social assemblies and
feasting was over. Czech glassworks were also established on Polish territories. The best known was
the glass and cut glass works opened by Ignacy Hordliczka in 1822 in the village ol Bardz^ca near
Nowomirisk, which in 1835 was transferred to Czechy near Garwolin. Hordliczka produced a great
variety of table glassware either white or coloured, painted, gilt, silvered or spun. It was adorned with various
engraved designs and monograms. He also made glass jars for chemists' shops, industrial glass, and ordinary
household glass. In the first decade of the 19th century many glassworks were also operating in Upper
and Lower Silesia, and the Duchy of Pszczyna. They were working mostly for the Polish market, adapting
their wares to Polish tastes and requirements. A number of them were owned by Poles, or persons of
Polish origin.
Whereas in the first half of the 19th century, clocks, always important decorative items, as well as
being objects of daily utility, were still made by master clockmakers in accordance with the traditional
system of guild organization, in the latter half of that century, industrial methods were introduced with
clocks being assembled from parts produced in factories. Clocks followed the same styles which applied
to the remaining arts and crafts. Clocks were hung on the walls and put on mantelpieces, console-tables,
commodes, side-tables and caskets. Warsaw and Cracow, which had been leading centres of clock- and
watchmaking since the 18th century, maintained their primary position though other provincial towns
became active in this field too. In Warsaw, the most famous watchmakers were the established masters
in this domain, the Gugenmus and Kranz families, joined by Jozef Krukowski and Jozef Piotrowski. Jozef
Kranz, the last of the family, made a beautiful clock of engraved gilt bronze lor the Royal Castle in
Warsaw. In 18 16 the Warsaw clock- and watchmakers' guild was dissolved and replaced by an associa-
tion of craftsmen formed primarily for the purpose of vocational training. In the early 19th century,
the famous master Jan Gotfryd Krosz continued his activity in Cracow. He specialized in long-case
clocks of dark wood with bronze fittings and cartel-type wall clocks. The latter, with their mechanism
of 15 to 20 centimetres in diameter, had white enamelled faces mounted in an architectural case with
floral ornaments and the movement of their short pendulums could be observed through a circular opening.
Another famous Cracow clockmaker was Michal Zebraski who made, for example, the clock in the sacristy
of the Church of Our Lady in Cracow. Two of his clocks are preserved in Cracow's Czartoryski Collection
and in the National Museum in Poznah. The former, dated 1810, is shaped like a monument standing
in neo-classical style. The faience manufacture opened in 1807 in Horodnica by Jozef Czartoryski, had
close ties with Korzec. Horodnica was substantially developed in circa i860, when the number of its
employees increased to 350 who had a special settlement built for them. Horodnica produced mainly
table services, jugs, pitchers and candlesticks. In the latter half of the 19th century, Jewish businessmen
and merchants opened a number of faience manufactories calculated to bring in rapid profit, for example
in Pruszkow near Warsaw, and in Wloclawek. In order to win a large clientele, these produced wares
adorned with sentimental patriotic ornaments in print. The majolica manufacture established by Michal
Radziwill in Nieborow in 1881, was the last venture of this type to be undertaken by a member of
a magnate family. Its manager was Stanislas Thiele, of whom there was mention above, and its production
was aligned on ornamental decorative objects, such as vases, lamps, jardinieres, tazzas and stove tiles
adorned with coloured figural motifs. One of the modellers employed at Nieborow was Slawomir Celinski,
a sculptor who graduated from the Cracow College of Fine Arts, to whom the Nieborow tondos with
likenesses of kings of Poland are attributed. Nieborow decorators included graduates of Wojciech
Gerson's School of Painting in Warsaw, two women Jadwiga Hyzycka and Celina Zarembianka, and
the most prominent among them, Feliks Szewczyk, painter of romantic landscapes. Nieborow majolica
was inspired primarily by objects brought by Thiele from Nevers in France and also by Italian Renaissance
ceramics. In the easily distinguishable colour scheme of Nieborow wares blues and yellows predominated.
The trade-mark of Nieborow majolica was the letters PMR (Prince Michal Radziwill). As usual, lack
of funds hampered production. Though Nieborow majolica was highly appreciated by contemporaries,
subsequent critics found fault with it, though unjustifiably so.
In the 19th century the Polish artistic glass industry began to decline for several reasons. Firstly,
formerly leading glassworks, in Naliboki and Urzecze for example, passed into foreign hands and generally
deteriorated. Then beginning with the latter half of the 18th century, Poland was flooded with cheap
Czech and Silesian glass. The Czechs in particular specialized in glassware with Polish motifs, likely to
attract Polish custom. Last but not least the period of great Sarmatian banquets, social assemblies and
feasting was over. Czech glassworks were also established on Polish territories. The best known was
the glass and cut glass works opened by Ignacy Hordliczka in 1822 in the village ol Bardz^ca near
Nowomirisk, which in 1835 was transferred to Czechy near Garwolin. Hordliczka produced a great
variety of table glassware either white or coloured, painted, gilt, silvered or spun. It was adorned with various
engraved designs and monograms. He also made glass jars for chemists' shops, industrial glass, and ordinary
household glass. In the first decade of the 19th century many glassworks were also operating in Upper
and Lower Silesia, and the Duchy of Pszczyna. They were working mostly for the Polish market, adapting
their wares to Polish tastes and requirements. A number of them were owned by Poles, or persons of
Polish origin.
Whereas in the first half of the 19th century, clocks, always important decorative items, as well as
being objects of daily utility, were still made by master clockmakers in accordance with the traditional
system of guild organization, in the latter half of that century, industrial methods were introduced with
clocks being assembled from parts produced in factories. Clocks followed the same styles which applied
to the remaining arts and crafts. Clocks were hung on the walls and put on mantelpieces, console-tables,
commodes, side-tables and caskets. Warsaw and Cracow, which had been leading centres of clock- and
watchmaking since the 18th century, maintained their primary position though other provincial towns
became active in this field too. In Warsaw, the most famous watchmakers were the established masters
in this domain, the Gugenmus and Kranz families, joined by Jozef Krukowski and Jozef Piotrowski. Jozef
Kranz, the last of the family, made a beautiful clock of engraved gilt bronze lor the Royal Castle in
Warsaw. In 18 16 the Warsaw clock- and watchmakers' guild was dissolved and replaced by an associa-
tion of craftsmen formed primarily for the purpose of vocational training. In the early 19th century,
the famous master Jan Gotfryd Krosz continued his activity in Cracow. He specialized in long-case
clocks of dark wood with bronze fittings and cartel-type wall clocks. The latter, with their mechanism
of 15 to 20 centimetres in diameter, had white enamelled faces mounted in an architectural case with
floral ornaments and the movement of their short pendulums could be observed through a circular opening.
Another famous Cracow clockmaker was Michal Zebraski who made, for example, the clock in the sacristy
of the Church of Our Lady in Cracow. Two of his clocks are preserved in Cracow's Czartoryski Collection
and in the National Museum in Poznah. The former, dated 1810, is shaped like a monument standing