Friday, 22 June 2012

The Empire Style, Poland

Having lost their independence at the end of the 18th century to Russia, Prussia and Austria, the Poles entertained high hopes of deliverance by Napoleon and followed him loyally even after the disaster of 1812, their leader Prince Poniatwoski losing his life in covering the retreat from Leipzig. The partition being confirmed by the Congress of Vienna, only a small area - the 'Congress Kingdon' with the Russian Tsar as king - emerged with a national identity in 1815. Here, and in the Grand Duchy of Warsaw, the distinctive furnishing style known as 'Simmler' evolved, taking its name from a leading family of makers of whom Andreas Simmler had been the first to come to Poland from Germany. The Simmler style combines Neoclassical designs of handmade furniture drawn from various sources - German, French and English. Many of the chairs and settees have an elegance which suggest familiarity with the designs of Thomas Sheraton, while others are nearer to those of the Jacob family in Paris. Andreas Simmler having originally worked for Roentgen at Neuwied, this influence was also handed down to the next generation.

After the Simmlers, the best-known makers in the Congress Kingdom were Friedrich and Johann Daniel Heurlich, whose style was nearer to the Austrian Biedermeier school but rather more decorative, carving of a slightly old fashioned king being extensively employed.


Although Cracow was a free city republic, Austrian influence was dominant, and here the Biedermeier style was to develop in a way quite close to that of Vienna. A tradition continued there uninterruptedly until the early years of this century, however, which manages to ignore political upheavals and foreign influences. This was the making of bridal chests, painted by specialists some of whom are known by name. Even the poorest families tries to provide such a chest to hold their daughter's dowry, and these basic, ritualistic yet cheerful articles express better than any souvenir of Napoleonic grandeur the pride of place that a piece of fitted or non fitted furniture can occupy in the affections, as well the home, of its owners.

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