Tag Archives: Boleslawiec

Texas Hill Country Wineries Reviews – Blue Lotus Winery

Texas Hill Country Wineries Reviews (part 1)

Blue Lotus Winery


Hill Country Wineries Reviews - Blue Lotus Winery

Hill Country Wineries Reviews                                   Blue Lotus Winery, Seguin, Texas 

Nestled in the Hill Country, off the beaten path, rests Blue Lotus Winery.  This gorgeous winery lies just beyond the outskirts of Seguin on FM 20. If you’re looking to escape for a day, walking the beautiful vineyards filled with grape vines, roses, and lavender plants while sipping exquisite wine, is a wonderful way to spend an afternoon.





                                                                                    Wine & Mead, A Family Business

Hill Country Wineries Reviews

Blue Lotus Winery offers a great selection of house-brewed wines and meads.

Blue Lotus Winery is owned and operated by Michael and Melissa Poole (and unofficially run by their two little daughters).  Michael began brewing beers when he got out of the Navy which turned into a deep love and passion for wine and mead.  Though the Pooles offer a variety of wines at Blue Lotus Winery, they grow and craft most of the wines offered here themselves onsite.  The tasting room is open Thursday – Sunday from 12 pm – 5 pm (a perfect ending to a morning spent at Polmedia Polish Pottery and Stoneware.  In addition to a wonderful afternoon spent in the Hill Country, Blue Lotus Winery offers a Wine Club and monthly events including dinners and festivals.  Details can be found on their website.

Weddings, Parties, & Special Events

The Gallery at Blue Lotus Winery

Melissa getting the Gallery ready for a 5-course dinner to be hosted that evening.

Blue Lotus Winery offers event hosting in their gorgeous Gallery, Tasting Room, & Vineyard.  Tucked between rows of stunning grape vines is a gazebo that would make a gorgeous place to say I do.  Inside the winery is the Tasting Room, offering seating for 50, this gorgeous room is filled with floor to ceiling windows looking out into the beautiful gardens.  The Gallery is a beautiful surprise, it has elegant seating available for 80 around banquet style tables, but the really fascinating aspect to this room is the artwork adorning the walls.  Michael’s grandfather painted these stunning works of art.  They are absolutely incredible and painted with exceptional skill.  He actually painted with Norman Rockwell (yes you read that right, the Norman Rockwell).  There aren’t any pictures of the paintings in this post, to see those beauties you are going to have to make the trip for yourself.


More Images from Blue Lotus Winery

Hill country Wineries

Beautiful Roses at Blue Lotus Winery


Gorgeous Grapevines

Hill Country Winery Reviews

More Grapevines

Grapevines at Blue Lotus Winery

Wonderful rows of grapevines in the vineyard.

Texas Hill Country Wineries Reviews - Blue Lotus Winery

The beautiful vineyard at Blue Lotus Winery

Blue Lotus Winery

Pergola in the Vineyard

Hill Country wineries

Say I do.

Tasting room at blue lotus winery

The Tasting Room

Hill country Winery

Wines made on site.

Blue Lotus Winery

Housemade Meads

Hill country wineries reviews

Wine and Meads at Blue Lotus Winery

Large Selection

Large Selection

Wine :)

Wine 🙂

Wine, wine, everywhere

Wine, wine, everywhere




More information about Hill Country Wineries Reviews and the history of Texas Wines can be found here.


COLLECTOR’S CORNER: Insider Tips for Collectors of Polish Pottery


Dorothy Rosa (Durkee) -– Blog Contribution –  June 2013

As much as we’d all love to have vast and varied collections of Polish Pottery, there are practical limits to our collecting –- limits of space to display or store our treasures, of funds with which to purchase them, and of time to manage it all.  So the questions naturally arise, What to buy? When to buy? And where to buy?

This month, we’ll offer some suggestions about What to buy; next month, When to buy; and in July, Where to buy. After that, we’ll cover a variety of topics of interest to Polish Pottery collectors, including Creative Tablescaping, Mixing and Matching Patterns, All You Need to Know about Shopping for Polish Pottery – in Boleslawiec and Beyond, and How I Found The Courage to Take My Polish Pottery out of the Cabinet and Actually USE It.

What To Buy?

Experienced collectors know what they like. Some collect just one pattern, others a primary pattern with accent pieces in another (or two, or ten). There are those who collect by color (blue and white, for example) or theme (butterflies, birds, flashy florals). Still others choose to “mix and match,” meticulously blending diverse colors and themes in elegant tablescapes. I favor an eclectic mix, offering up to my guests combinations of patterns more or less willy-nilly, something the forgiving nature of Polish Pottery designs readily permits.

Cherished for its artistry, utility, and durability, Polish Pottery from Boleslawiec is also valued for its ability to “play well with others.” Shown here: three different patterns from two manufacturers playing very nicely indeed (top to bottom: WR #AW1, Polmedia P1847A ;WR #EZ3, Polmedia #P3936A; and the hard-to-find “Klara” pattern from Vena.All three are Traditional patterns.)


Faced with choosing from nearly 5000 patterns, new collectors can simplify the selection process by trying out different patterns and “looks” by buying a small piece -– a luncheon plate, for example — in each of the patterns they like. When beginning collectors ask, I suggest, “Buy the one that moves you, but be open to change.” Properly nourished, our vision expands.

The question of whether to buy “Unikat” (unique, hand-signed and hand-decorated, with brushes and sponges, always by a highly accomplished, individual artist) pieces or non-Unikat (hand-decorated, but by various artists, and unsigned) pieces may be answered by your budget or personal preference. Unikat pieces will always cost more than non-Unikat pieces, so it’s up to you to decide whether you want: one exceptional piece, for example, or two or three (or more) lovely but less exceptional pieces. I have both: Unikat for display and for very special occasions, non-Unikat for everyday use. I do keep a 12-ounce bubble mug in a favorite (and admittedly pricey) high-end Unikat pattern (U1123 Ceramika Artystyczna, Polmedia P1990A) for my morning coffee.

Polish Pottery was made to be used. And that means – for the brave ones among us — Unikat on the deck for morning coffee.

What to buy or not buy is obviously a matter of personal preference. Choices abound, especially when it comes to novelty or special-interest patterns.

There are cat patterns…

Ceramika Artystyczna  1771X, Polmedia P6131A


Ceramika Artystyczna 1771 , Polmedia  P6226A


…camel patterns…

Zaklady 842AK, Polmedia P5055A


…horse patterns…

Ceramika Artystyczna 1143X, Polmedia P3994A


…and, of course a long, long list of animal and character figurines.


As time passes we’ll cover these topics in greater detail. But for now, I’ll offer three suggestions for building a successful collection:


1. Learn all you can. As always, an informed consumer is a happy one. Browse the internet thoroughly, bookmarking sites to which you’ll want to return when you’re ready to buy. Keep notes. I maintain two separate digital files, one for tracking details of purchases (with copies to our insurance company) and the other for recording what I want to remember about artists, factories, vendors, and the business/hobby in general.)


2. If you love it, buy it. Don’t worry about whether or not a piece will “match” the rest of your collection. Chances are it will: Polish Pottery was made for “mix and match.” It plays well with others. If a piece doesn’t seem to fit, no matter: Display it solo or tuck it away to enjoy some rainy afternoon when it’s just you and your odd little item and a warm pot of tea.


3. Find a friend (or friends) to share the fun. On line or off, everything’s better with friends.


Next month: When To Buy

Dorothy Rosa Durkee is an independent writer, retired magazine editor, and former military wife with a passion for collecting Polish Pottery. When not dusting or rearranging her collection, she spends her time volunteering in local schools and working in animal rescue.

Handmade from Poland: The Technique Behind Beautiful Polish Stoneware

The process of creating one piece of Polish pottery involves several artisans and many hours of skilled work.  In fact, the manufacture of this stoneware is held in such high regard, there is a school in Boleslawiec, Poland dedicated to passing on the tradition and unique quality of this trade through apprenticeships and training.  Purveyors of high quality Polish pottery appreciate the effort, skill, and creativity put to use in every piece.


Polish pottery begins with a master form-maker designing a shape (platter, mug, for example) out of wax, then filling a box around it with a hardening compound.  After several hours, when the compound has set, the form-maker will be able to cut the form case into two pieces, drilling a hole so that he may fill it with liquid clay in the future.  The wax form is removed and any deformities in the form are smoothed and corrected.  The form-maker may take several turns at this, as samples are made from the form and the shape is perfected.


Next, a clay-worker fills the form with liquid clay, waits several hours for it to set, carefully removes the form, and skillfully cuts away any excess clay from the formed piece.  This artisan is trained to also smooth the surface with a damp sponge so that no imperfections or bumps exist and the piece sits correctly or is flush with a table top or wall, for instance.  The clay is then left to dry to room temperature before firing.  After the piece is baked once at a constant 850 degrees in a firing kiln, it hardens to stone and previously dull clay brightens to a white “bisque.”

Plain white bisque is then filled with color by classically trained artists who, with extreme precision and flair, transfer their original designs to this medium.  Each piece sits upon a turntable in front of the artist, while the artist stamps or paints a design in repeating fashion, slowly spinning the piece in a circular motion.  This method helps the artist maintain uniformity from one piece to the next, but the artist’s own hand is ultimately responsible for the beauty of each piece as he or she follows and replicates an original pattern.  This process can take several hours, depending on the size of the piece.  Whether hand-stamping or painting, the painter uses unbelievable skill in keeping the design clean — using multiple colors, sponges, and brushes — and avoiding smudges and pattern imperfections.


Next, painted pieces of Polish pottery are hand-dipped in a clear glaze and placed on a rack for firing a second time in higher temperature of 1250 degrees.  After the piece is fired, the paint colors become vibrant and the design is more prominent.  When the pieces have cooled after some time, they are quality checked to single out those pieces with glaze irregularities or that need to be corrected and sent back through the last two steps.

Quality checking, the final step, is actually something that the artisans do throughout the entire process as they’re working, and again a couple times at the end.  Because each piece is handmade, small variations will occur making each piece unique; however, every step of the process is geared toward creating a quality, standardized product and replicating the same beautiful nature of each piece is the artisans highest priority.  Each final product is given a specific quality label, and most retail stores will only sell Quality 1, the highest quality.  Quality 2 and below stoneware can be found in several manufacturer’s retail outlets.

Did you have any idea so many hands were involved in making your one piece of Polish pottery?  Have you ever compared Quality 1 to Quality 2 Polish stoneware, and could you tell the difference?

What is Unikat Polish Pottery?

In Polish, the word for unique is Unikat

Polish Pottery Stoneware PLATE

Often, our customers will navigate through the website and then find a piece that is marked as Unikat, which is located on the bottom of the Polish pottery piece. This is where the manufacturer will normally stamp their logo. The manufacturer logo stamp will indicate that the pottery piece is hand made in Poland. The Unikat pattern may or may not have the artist signature on the bottom, but a Unikat piece will always be stamped with “UNIKAT” on the Polish pottery.

Polish Pottery Stoneware PIE DISH FLUTED

Distinctively designed, Unikat pottery has sophisticated details that define the pattern’s own uniqueness. This distinguishes each Polish pottery piece as an individual to its counterparts. No piece of Polish pottery will ever be exactly the same.

Polish Pottery Stoneware BUBBLE MUG

Our Polish pottery is hand-made and hand-painted. Therefore, all pieces are personalized by an artist and are all very special and unique in their own pattern design. However, a Unikat piece is hand-made and hand-painted by an exceptionally skilled artist.
Unikat artists immerse themselves in intense training and have spent years practicing their own techniques to individualize the definitive Unikat patterns.

Polish Pottery Stoneware PLATE

A Unikat Polish pottery piece is remarkably breathtaking, considering the time and effort that an artist takes to make the piece. Using a variety of six to eight paint colors and including fine details, each one is unique.
Popular with collectors of Polish pottery, Unikat pieces are normally purchased as display items. However, as the popularity of these unique designs is slowly expanding, more than just collectors are now purchasing the pieces.


Artists of Ceramika Artystyczna

Bronislaw Wolanin – Artistic Director

Born in 1937 in Bełżec. Studied at the Academy of Fine Arts in Wrocław (class of Professor Julia Kotarbińska).

Artistic director and designer-in-residence at the Co-operative of Art Ceramics “Ceramika Artystyczna”

in Bolesławiec.

His works have been presented at 16 individual exhibitions and numerous group exhibitions in Poland and abroad. He has participated in workshops and symposia in Boleslawiec, La Borne, Duchcov, Karlove Vary, Wałbrzych and Vilnius, winning prizes at many national and International competitions:

* International Ceramic Triennale, Sopot,

1970 – Honourable Mention,

1991 – Grand Prix,

* National Ceramic Biennale, Walbrzych:

Honourable Mention 1979,

2nd Prize 1983,

3rd Prize 1985,

1st Prize 1987

* Contemporary Polish Ceramics, Industrial Design Institute, Warsaw: 1st Prize  1990

* Award of Lower Silesian Press 1984

* “Design-of-the-Year” Award of the Minister of Industry and Trade 1996

* Ambiente International Fair, Frankfurt, 1st Prize for a wedding table arrangement 1999.

* Honourable at the 3-rd International Biennal Exhibition of the Contemporare Mosaic – Contemporary Ceramic Museum, Buenos Aires, Argentina 2007

His works are in the National Museums in Warsaw, Wroclaw, Szczecin, Poznań, Gdansk and Bielsko-Biala, Ceramics Museum in Boleslawiec, Museum of Upper Silesia in Bytom, Museum in Gliwice, District Museum in Jelenia Gora, Museum of Copper in Legnica, Everson Museum in Syracuse (USA).


Mariusz Ochocki – Designer of Forms

Born in 1962 in Bolesławiec. Graduated from Academy of Arts in Wrocław in prof. Feliks Kocianowski’s studio. He has been connected with the Artistic handicraft Cooperative “Artistic Ceramics and Pottery” since 1991.

“I have been always accompanied by ceramic. Since my father used to work as ceramic technician and he had worked at the ceramic for 33 years I got in touch with ceramic products when I was a child. I have had many opportunities to watch how different assortments are made from being formed till being burnt. I was mostly impressed by annual Sculpture Ceramic Meetings. They were the source of inspiration possibility to meet many artists and the way to get to know different plastic technics. It made me sure to study at the Academy of Arts in Wrocław. After graduating I returned to Bolesławiec and I took a job at Ceramika Artystyczna as a designer of forms. The necessity to wide patterns made me search for new shapes and their usefulness. I’m trying to give my patterns individual character and to make them recognizable through common features. My desire is constant enrichment and giving variety to patterns of the Cooperative, therefore I have been satisfied with all my results so far.”


Anna Pasierbiewicz

“My first attempts at creating decorative patterns involved color deposit glazings. Then I started making stamped patterns cut from a sponge. In 1988 I obtained a diploma of “Handicrafter Artist” awarded by the Commission of Artistic Opinions (Komisja Ocen Artystycznych) in Warsaw. The poor market offer and ideas hidden in me made me initiate in 1992 an auteur workshop of unique items. I was inspired not only by the need to create new patterns but also enrich the pattern-designing with stamp and painting combinations. Owing to this enterprise the Cooperative has recruited a number of lovers of unique decorations.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1970. Since 1992 she has been a pattern designer.


Barbara Fidelus

“ I am receptive to the beauty of forms, scents and colors. I receive the richness of the world by means of senses, and transfer it to my patterns. I like everything that breaks the monotony of existence. I try to live in agreement with nature and this is why it often inspires me. There is a kind of softness in nature, which is not alien to me. l am a supporter of combining floral motives with geometric ones.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1988. Since 1994 she has been a pattern designer.


Jacek Chyła

“There are plenty of possibilities. They are practically unlimited – they are within us and beyond us.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1986. Since 1994 he has been a pattern designer.




Maria Ciszewska

“ Two elements have become inspiration for me: a circle and a dot. These are the oldest symbols in human’s culture. It is the invention of the wheel that caused such a rapid drive to improve human life. On the other hand, a dot is not only a single mark or its thickness; it is the greatness in the wholeness and the wholeness in the greatness. The combination of two elements: the circle and the dot, gives plenty possibilities when creating different patterns. Dots which permeate one another from the smallest to the largest – or dots of the same size make an interesting decorative element. On the other hand, circles of the same size framed with a narrow or wide cobalt strip allow it to underline the clearness and beauty of the form. I have not used up this arrangement yet. Artistic possibilities incessantly inspire me to show new relations and combinations.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1981. Since 1994 she has been a pattern designer.


Teresa Liana

“I start the process of decoration with drawing and cutting fine stamps. Decorating with stamps combined with applying a wide range of paints allows it to create extremely interesting ornaments and give ordinary vessels decorative qualities. Most willingly I reach for plant motives that can be arranged in colorful decorations again and again. Baking, which is a many-hour process, is impatient waiting for the final result, but also it is time for reviewing the current achievements.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1983. A pattern designer since 1992.


Ewa Tubaj

“In my designs I reach for current trends in decorating interiors. My aim is to create decoration that is simple, but I do not refrain from using quite complicated patterns. My work is largely based on a paradox: on the one hand I try not to forget about the old tradition of Bolesławiec pottery, but on the other hand I do not abstain from innovative ideas. In my patterns I use plant and floral motives, and I use my imagination to create unique elements that blend into a uniform composition. Creating new decorations makes me feel great joy; I love playing with stamps and patterns, and looking at my decoration when it is finished. I feel even more happy when my customers are satisfied and buy products decorated by me.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1990. Since 1995 she has been a pattern designer.


Maria Iwicka

“I was raised in the love of Polish literature and history of art. In such an atmosphere there develops the sensitivity to beauty and curiosity about the world. Dear to me are both Impressionism with its ephemerality of feelings and Art Nouveau with its anxiety and asymmetry. I think that designing and searching for new, universal decorations for different works of pottery is a commercial form of taking from the heritage of Young Poland, a trend in the Polish literature of the turn of the 20th century in which the border between art and craft was obliterated. What I find inspiring is the ability to operate with the color and the richness of decoration techniques to give daily-use pottery vessels beautiful and unique motives that refer to the tradition and original designing ideas.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1981. A pattern designer since 1993.


Jolanta Okraska

“My patterns are inspired by plant and Christmas motives, framed with squares, zigzags, circles and dots.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” slice 1983. Since 1995 she has been a pattern designer.




Zofia Spychalska           

When designing new ornaments I use elements from my everyday life and passions. I am a mother of small children and am fascinated by their wonderfully naive and fabulous world. I also feel great in such a setting, so I am inspired by children’s literature as well as drawings and situations observed when we play together or go for a walk. Traveling also gives me a number of stimuli for being creative. When I travel I admire the architecture and watch different residential interiors, knowing that vessels decorated by me will eventually land in them.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1989. Since 1997 she has been a pattern designer.


Weronika Buldańczyk

In my work as a pattern designer I find most inspiration in the incessant combination of the tradition and the novelty. After all stoneware is a material of strictly defined decoration canons. However, what I find interesting is enriching traditional patterns with modern motives for this may result in a truly original and unique decoration.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1993, whereas since 1997 she has been a pat-tern designer.


Ewa Karbownik

Artistic inspirations originate from the imagination. It is an enormous force that people have hidden in them. Owing to imagination people can develop their sensitivity and ability to see beauty in the world. Ali you need to do is yield and the artistic process be-gins automatically. Another key moment is transferring your imagined world to a given material. Skills and experience are indispensable then. Both the imagination and the technique require incessant self-development.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1980, whereas since 1994 she has been a pat-tern designer.


Janina Pałka

The most beautiful season is spring that wakens all plants back to life and dresses nature in colors. It is the source of my inspiration.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1989, whereas since 1994 she has been a pattern designer.




Krystyna Deptuła

My ideas are often born outside my work, i.e. in different places where normal life is going on. Very helpful are my manual skills, sense of humor and the neverending desire to learn something new. At times I watch nature on a beautiful day, add some imagination, and my mind triggers combining a flower with a flower, a bud or a leaf. This is the beginning. Then the idea has to be transferred to pottery and stamps must be added to complete the picture this is how a pattern is born. And while working on a pattern, I already see what I can add or take away in the next one. I like designing patterns for individual people, and the fact that I know my works appeal to people in the world lends wings to me.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1991. Since 1997 she has been a pattern designer.


Irena Mączka

I have authored a number of unique and traditional decorations. Nevertheless, my work is an incessant exploration for new, increasingly better and more innovative patterns. I master old ideas as well. Decorative motives are usually composed of elements prompted by my surrounding. Thus, they are geometrical figures, fanciful arrangements or invented ornaments. Obviously, the main motive is stylized flowers arranged in different types of garlands. The work gives me a lot of pleasure and satisfaction, and slice I am aware of the fact that products manufactured in Bolesławiec are sold all over the world I am even more willing to struggle with the craft of pottery and ceramics.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1990, whereas since 1997 she has been a pattern designer.


Maria Starzyk

My first patterns were often random combinations of geometric and floral motives. In time, however, and as I became more experienced, they have become elaborately stylized. The chief and recurring motive in my works is a floral border. Colors are prompted by my imagination, and the rest is inspired by the beauty of nature.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1995, whereas since 1997 she has been a pattern designer.


Barbara Makieła

I’ve lived surrounded by woods, gardens, meadows and fields since my childhood. I watch the nature awaking back to life in summer, its blooming in spring, its picturesque colorfulness in fall, and its characteristic white dress in winter. I’ve always liked watching and picking flowers as well as other nature-made decorative objects to use them for bouquets and colorful compositions. Nature enchants me with its beauty and diversity, whereas the richness of its forms and hues inspires me to create patterns with plant motives.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1989. A pattern designer since 2002.


Lucyna Lenkiewicz

It is my desire that the entire process of creating decorations should be an incessant joy of self-development, i.e. self-expression in designing patterns, motives and seal arrangements. I love experiments that lead me to new experiences every now and again. What I do is watching the world around me and trying to immortalize its fragments on pottery surfaces.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1998. Since 2002 she has been a pattern designer.


Danuta Knapik

For me the art of decorating pottery vessels is a chance for moving to the land of my childhood spent in the truly wonderful Polish countryside. This experience has influenced my whole life. I have become receptive to the beauty of nature, and the close communion with nature has provoked me to deal with art.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1997, whereas since 2003 she has been a pattern designer.


Krystyna Dacyszyn

I create decorations with great passion and involvement. Some of my patterns reflect rural countryside, meadows, flowers, and landscapes mat are extremely dear to me. However, I do not try to imitate the reality verbatim; in-stead I take care to make every detail of my painted decorations filter through myself. Only then I can obtain a result which I find completely satisfactory.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1990. A pattern designer since 2002.



Zofia Supernak

Patterns I design flow from the nature teeming with life that surrounds me, its beauty and unaffectedness. But the greatest impulse for creating new auteur ideas comes from my grandchildren. Their play in the garden in summer, walking with them in the forest in fall, fairytales I read to them in the long winter evenings all this can inspire me in a very special way to work art and create fanciful compositions.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1990, whereas since 2004 she has been a pattern designer


Honorata Kędzierska

Pottery from Bolesławiec refers to the long-term local tradition of hand-stamped patterns in the form of peacock’s eyes. While watching old decorations I came to the conclusion that they should be enriched. My patterns result from my interests in nature and the fact that I commune with it. When creating decorations I can fully use my skills and interests and feel full satisfaction from my artistic work.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1987, whereas since 2002 she has been a pattern designer.


Teresa Andrukiewicz

My artistic inspiration stems mainly from watching nature, whereas my imagination allows me to arrange green twigs and colorful flowers in various forms. Ali projects are born suddenly and unexpectedly. They can be stimulated by practically everything from a decorative plant to a beautiful landscape. Artistic activity requires freedom, but pottery, as the material, has certain limits. A good designer is able to realize their free vision in a clear, specific and concrete manner. This is the ideal I am striving to attain.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1996. Since 2001 she has been a pattern designer.


Kinga Niziałek

One picture or symbol means more than a thousand words. This is why my patterns are transparent and simple, based on the rule of reflecting reality. Since I serve meals in pottery myself, I hate when a dish becomes pale and weak in an overly painted vessel. The food and the vessel should be complementary. So, it is my surrounding that I use as inspiration for creating new patterns: a leaf on the street, sunflowers in the field, or a cloud drifting through the skies. In a pottery dish or a bowl I attempt to preserve a passing moment or impressions. Nature is an inexhaustible source of inspiration and memorable feelings. Swans floating in water or two lovers in a park are a perfect reference to the works of the largest ceramics and pottery manufacturers. Yet not everybody likes rich patterns or floral motives. So, in order to satisfy those who prefer simplicity, I use geometrical patterns in my works too.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 2001. Since 2003 she has been a pattern designer.


Anna Fryc

The nature and human’s life have been shown on the pottery. Free collocations of colours and shapes of plant and the harmony between them have been helping me to create decorations. The ability of matching the pattern to the sizes and the shapes of the form is of great importance.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1991. Since 1998 she has been a pattern designer.



Agnieszka Damian

“ ‘Art. Is the supplement of nature’ – Novalis The wealth of nature cannot be measured nor copied. Only tiny fragments of it can we try to transfer on ceramic. In my pieces of work I have been trying to expose nature in many different ways – realistically or through schemes. Never am I sure if they are completed.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1996. Since 2002 she has been a pattern designer.


Teresa Nakonieczna

I have been interested in art since I was a child. I used to watch the paintings of old masters and modern paintings and also graphic art and sculpture. I have never expected to be working creating it. Both modern useful art and the old traditional one are a big challenge for the creator because it is more and more difficult to find new interesting patterns. I am fond of flowers and because of this fact I am trying to use plant motives in traditional decorations of Bolesławiec ceramic. I am the most creative while staying in my flower garden, the plants blooming there give me inspiration to create new patterns.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 2004. Since 2005 she has been a pattern designer.


Danuta Skiba

I am fascinated by painting, nature, gentleness and magic in the shapes of plants. Therefore I like using in my decorations floral patterns.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1994. Since 2005 she has been a pattern designer.




Karolina Śliwińska

I am inspired by the world culture, nature. However most of the patterns I have created is just a fantasy of my own.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 2004. Since 2005 she has been a pattern designer.




Wirginia Cebrowska

Production and unique decoration designing is an adventure.
It’s absorb more and more. Sometimes one detail is enough and the view on the plate like pumpkins, birds or ladybirds, appears in my mind.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 2001. Since 2010 she has been a pattern designer.


Paweł Jarczyński

My desire is to create a beautiful and aesthetically appealing decoration using the available palette of colors and my original design stamps.
When I am conceptualizing a new decoration I have one goal in mind; to achieve
a composition that is complementary to both the rustic and modern lifestyle.”

The artist has been connected with the Artistic Handicraft Cooperative “Artistic Ceramics and Pottery” since 1997. Since 2010 he has been a pattern designer.

Polish Pottery Making – a Tradition passed down through the ages

The Boleslawiec region has a long history of pottery making which dates back to the Middle Ages, due to the presence of rich clay deposits in the area.  From this clay, which is naturally high in feldspar & silicon, artisans have long been able to make pottery with a hard, sintered surface that is acid and fire-proof and which burns to a white, or bisque, color.  By overlaying this bisque with incredibly colorful designs that skilled artists have uniquely developed over many decades, this sturdy dinnerware is transformed into the most luxuriously beautiful, high-quality stoneware anywhere.

While early seventeenth century pottery from the Boleslawiec area was much different than today’s modern stoneware, certain similarities have carried through to modern times.  Certain shapes, like beer steins, pickling crocks, and pitchers are as useful today as they were then.  The weight of thsi stoneware separates it from most modern dinnerware today and conveys an “of-the-ages” earthen quality.  While shapes are now made by using forms, thanks to Johann Gottlieb Altmann, and you’ll no longer find grooving from maker’s hands, most shapes have retained a rounded, thick form reminiscent of the days when the pottery was hand-thrown and formed on a potter’s wheel.

When the mostly white clay of the Boleslawiec region became the most popular for use in Polish pottery, pastoral scenes were at first handpainted in classicist style, similar to the style of the finely decorated porcelain of that day.  Stamped-on designs, as are in use today, came into style later on and were first applied using various stamps including cut potatoes, hare’s paws, or scraps of fabric.  Now, artists fashion their own stamp designs from small sponges and apply by hand a variety of colors with detailed stamping and brushstrokes.  Polish pottery is now widely known for these intricately detailed designs that are truly one-of-a-kind.

Polish stoneware is purchased and collected by many today who value its quality craftsmanship — a painstaking detail in design and uniformity of shapes and patterns.  Many large and small producers now compete in Boleslawiec and new designs are always emerging while traditional pieces continue to be loved by Polish pottery consumers.  More than just a folk art, Polish pottery is a product with mass appeal — a product for those with a taste and appreciation for beautiful, high quality products.

Perhaps you’re an enthusiast of Polish stoneware?  If so, what was your first piece of Polish pottery and what do you love most about it?