DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.23631#0095
preserved but the type and style of wares produced was changed radically. Adam Kirchmayer took
over management of the works and entrusted the majolica section to the sculptor Jan Szczepkowski,
a member of the Polish Applied Art Society. Jan Slawihski was placed in charge of the chemical side
of production, and the modelling department was assigned to his brother Tadeusz. The factory established
cooperation with such artists as Konstanty Laszczka, Karol Brudzcwski and Stefan Matcjko. Laszczka
designed pottery and ornamental architectural blocks, but his principal work were animal figures covered
with colourless glazing. Jan Szczepkowski was noted for the originality of his concepts; for example he
designed an Art Nouveau vase entwined by nude dancing figures with two figures serving as handles.
The Debniki factory was influenced by the fashionable folk style, for example highland or Kurpie motifs
on breakfast sets. Wares produced at the Debniki works were erroneously called majolica; in fact it
was fine cream-coloured faience made from clay imported from Bohemia. By way of experiment Slawihski
succeeded in obtaining glazing in many colours: flamboyant, sapphire blue, turquoise and raspberry red.
The Debniki factory played an avant-garde role in the history of modern Polish pottery. Unfortunately,
however, like many other similar establishments, it was hit by financial difficulties, as a result of which
Kirchmayer had to close down the artistic pottery department in 1910.
Stanislaw Jagmin, precursor of modern Polish pottery, graduated from the Academy of Fine Arts in
Cracow. Subsequently he moved to Warsaw where he took up work in the modelling department of
Joseph Fraget's factory of silver-plated wares. In 1903 he rented the buildings of the former majolica
factory in Nieborow, where he opened an atelier of sculpture and a pottery shop. In 1905 he studied at
the Julien Academy in Paris and worked in the earthenware and porcelain factory of the Moquin brothers.
On his return to Poland, Jagmin began experimenting with multicoloured glazings, known as the flambe
method, which consisted of pouring glazing of different colours one after the other and allowing them
to mix freely as they flowed down. He also applied reducing baking by which he obtained various unexpect-
ed colour effects and metallic sheen. His favourite colour schemes were green with black, dark blue with
dark grey, red with blue, and also various shades of green, used on vases shaped in the Art Nouveau style.
Jagmin signed his Nieborow work 'Zdobnictwo', meaning decorative art. In 1907 he moved back to
Warsaw where with the architect Czeslaw Przybylski he introduced ceramic ornaments in architecture.
These were sculptures, bas-reliefs and tile facings, all in glazed majolica baked in a temperature of
approximately iooo°C. In 1911, Jagmin opened ceramic works in Wisniewo near Warsaw, where
he started serial production, always of a high quality. In addition to decorative and utility
ceramics, Jagmin also made ceramic sculptures.
As regards ceramic works functioning in Eastern Little Poland, special mention must be made of the
faience factory opened in 191 2 in Pacykow near Stanislawow by Aleksander Lewicki who ran a porcelain
and faience shop in Lvov. At the Lvov Eastern Fair Lewicki had his own pavilion, modelled, somewhat
exaggeratedly, on the Temple of Sibyl in Pulawy. The manager of the Pacykow factory was the sculptor
Stanislaw Czapek, graduate of the Vienna Academy of Fine Arts, who designed various genre scenes
and historical figures. Another associate of Pacykow was the sculptor Antoni Popiel. Pacykow also
produced paraffin-oil lamps and vases in white glazing with splashes of colour. The clay used was pure,
baked in high temperatures, technically almost perfect. Later the artistic standard of Pacykow wares
deteriorated, mainly because of the excessively broad variety of objects produced.
During this period one of the most spectacular branches of craftsmanship was artistic metal work, objects
of wrought iron, copper and brass. Art Nouveau buildings were given various architectural details adapted
to requirements of that style: gates, grates and staircase balustrades usually featured plant motifs, such
as sunflowers, horse-chestnuts, oak and maple leaves, as well as motifs copied from Lowicz paper cut-outs.
Many examples of such details have been preserved in Cracow, the majority originating from the
Grzegorzki metal-work establishment of Jozef Gorecki who often enlisted the services of well-known
artists. Artistic objects in metal were also made by the sculptors Alfred Daun, Edward Wittig and
Jan Szczepkowski who all designed original candlesticks, candelabra, oil-lamps and various kinds of
table-ware, including flower vases and sauceboats. Courses of shaping copper and brass vessels
by cold-hammering were conducted by Kazimierz Mlodzianowski and Kazimierz Witkiewicz in workshops
attached to the Cracow Museum of Industry.
Artists associated in the Polish Applied Art Society were aware of the necessity of reviving every
branch of national art and of a comprehensive approach to art and creativity as a whole. They perceived
the need of 'upgrading' despised objects of daily utility and of 'downgrading' impervious real arts to the
over management of the works and entrusted the majolica section to the sculptor Jan Szczepkowski,
a member of the Polish Applied Art Society. Jan Slawihski was placed in charge of the chemical side
of production, and the modelling department was assigned to his brother Tadeusz. The factory established
cooperation with such artists as Konstanty Laszczka, Karol Brudzcwski and Stefan Matcjko. Laszczka
designed pottery and ornamental architectural blocks, but his principal work were animal figures covered
with colourless glazing. Jan Szczepkowski was noted for the originality of his concepts; for example he
designed an Art Nouveau vase entwined by nude dancing figures with two figures serving as handles.
The Debniki factory was influenced by the fashionable folk style, for example highland or Kurpie motifs
on breakfast sets. Wares produced at the Debniki works were erroneously called majolica; in fact it
was fine cream-coloured faience made from clay imported from Bohemia. By way of experiment Slawihski
succeeded in obtaining glazing in many colours: flamboyant, sapphire blue, turquoise and raspberry red.
The Debniki factory played an avant-garde role in the history of modern Polish pottery. Unfortunately,
however, like many other similar establishments, it was hit by financial difficulties, as a result of which
Kirchmayer had to close down the artistic pottery department in 1910.
Stanislaw Jagmin, precursor of modern Polish pottery, graduated from the Academy of Fine Arts in
Cracow. Subsequently he moved to Warsaw where he took up work in the modelling department of
Joseph Fraget's factory of silver-plated wares. In 1903 he rented the buildings of the former majolica
factory in Nieborow, where he opened an atelier of sculpture and a pottery shop. In 1905 he studied at
the Julien Academy in Paris and worked in the earthenware and porcelain factory of the Moquin brothers.
On his return to Poland, Jagmin began experimenting with multicoloured glazings, known as the flambe
method, which consisted of pouring glazing of different colours one after the other and allowing them
to mix freely as they flowed down. He also applied reducing baking by which he obtained various unexpect-
ed colour effects and metallic sheen. His favourite colour schemes were green with black, dark blue with
dark grey, red with blue, and also various shades of green, used on vases shaped in the Art Nouveau style.
Jagmin signed his Nieborow work 'Zdobnictwo', meaning decorative art. In 1907 he moved back to
Warsaw where with the architect Czeslaw Przybylski he introduced ceramic ornaments in architecture.
These were sculptures, bas-reliefs and tile facings, all in glazed majolica baked in a temperature of
approximately iooo°C. In 1911, Jagmin opened ceramic works in Wisniewo near Warsaw, where
he started serial production, always of a high quality. In addition to decorative and utility
ceramics, Jagmin also made ceramic sculptures.
As regards ceramic works functioning in Eastern Little Poland, special mention must be made of the
faience factory opened in 191 2 in Pacykow near Stanislawow by Aleksander Lewicki who ran a porcelain
and faience shop in Lvov. At the Lvov Eastern Fair Lewicki had his own pavilion, modelled, somewhat
exaggeratedly, on the Temple of Sibyl in Pulawy. The manager of the Pacykow factory was the sculptor
Stanislaw Czapek, graduate of the Vienna Academy of Fine Arts, who designed various genre scenes
and historical figures. Another associate of Pacykow was the sculptor Antoni Popiel. Pacykow also
produced paraffin-oil lamps and vases in white glazing with splashes of colour. The clay used was pure,
baked in high temperatures, technically almost perfect. Later the artistic standard of Pacykow wares
deteriorated, mainly because of the excessively broad variety of objects produced.
During this period one of the most spectacular branches of craftsmanship was artistic metal work, objects
of wrought iron, copper and brass. Art Nouveau buildings were given various architectural details adapted
to requirements of that style: gates, grates and staircase balustrades usually featured plant motifs, such
as sunflowers, horse-chestnuts, oak and maple leaves, as well as motifs copied from Lowicz paper cut-outs.
Many examples of such details have been preserved in Cracow, the majority originating from the
Grzegorzki metal-work establishment of Jozef Gorecki who often enlisted the services of well-known
artists. Artistic objects in metal were also made by the sculptors Alfred Daun, Edward Wittig and
Jan Szczepkowski who all designed original candlesticks, candelabra, oil-lamps and various kinds of
table-ware, including flower vases and sauceboats. Courses of shaping copper and brass vessels
by cold-hammering were conducted by Kazimierz Mlodzianowski and Kazimierz Witkiewicz in workshops
attached to the Cracow Museum of Industry.
Artists associated in the Polish Applied Art Society were aware of the necessity of reviving every
branch of national art and of a comprehensive approach to art and creativity as a whole. They perceived
the need of 'upgrading' despised objects of daily utility and of 'downgrading' impervious real arts to the