[PACYKÓW] Aleksander Lewicki’s Faience and Terracotta Factory in Pacyków—1912–1939—“Testimonium” Owl Figurine, Terracotta (Wisdom, Athena, Knowledge, Library)

Dimensions: Height - Approximately 36 cm
Terracotta painted with engobe and glaze, signed with the monogram “P.” inside a triangle and model number 949 / 4.
Terracotta owl figurine “Testimonium”
Pacyków, 1920s–1930s
This sculpture depicts an owl perched on an open book, resting on a pedestal shaped like a stylized column, with an additional scroll bearing the inscription “Testimonium.” Realistically modeled, with softly rendered feathers and a calm, focused expression, the figure fits perfectly into the tradition of Symbolism and Art Nouveau craftsmanship developed in the workshops of Aleksander Lewicki in Pacyków —one of the most important artistic workshops of the Second Polish Republic.
The owl, identified with the goddess Athena since ancient times, is a universal symbol of wisdom, knowledge, vigilance, and reflection. When paired with an open book—a metaphor for learning and knowledge—it becomes an allegory of erudition and contemplation, as well as a guardian of knowledge accumulated over the centuries.
The inscription “Testimonium” (Latin for “testimony,” “evidence,” or “attestation”) on the scroll expands the symbolic meaning of the composition: it suggests a connection to learning, a testimony to truth, or education. In the context of interwar iconography, this sculpture can be interpreted as a metaphor for intellectual virtue and spiritual heritage, as well as a symbolic emblem of educational or legal institutions.
Aleksander Lewicki’s Faience and Terracotta Factory in Pacyków—a factory operating from 1912 (or 1908) to 1939 in Pacyków near Stanisławów, founded by Aleksander Rogala-Lewicki, a colonel in the Polish Army. Founded as the Erste Galizische Terrakota und Fayence Fabrik, it quickly changed its name to the First Galician Factory of Artistic Faience and Terracotta in Pacyków. The factory’s products quickly gained recognition: as early as 1913, they made their debut at exhibitions in Kyiv and Leipzig, and the following year at an exhibition in Lviv. From 1912 to 1914, Stanisław Czapek served as the factory’s technical and artistic director — a sculptor and graduate of the Vienna Academy of Fine Arts and the School of Applied Arts in Lviv, which ensured the high artistic quality of the projects undertaken. The factory was devastated during World War I—after a brief hiatus, it was rebuilt and modernized. In addition to artists of the highest caliber—designs for Pacyków were created by, among others, Luna Drexler, Antoni Popiel, and Władysław Gruberski—the factory was renowned for using the finest, specially refined ceramic clays and for the meticulous finishing of its figurines (achieved through triple firing and a complex process of painting and glazing). Until 1939, Pacyków’s products were also highly regarded beyond the borders of the Second Polish Republic, representing Poland at numerous European and international fairs and exhibitions (such as the 1939 World’s Fair in New York). Although the factory ceased operations with the outbreak of World War II, its products remain highly valued and sought after by collectors to this day.
Condition as shown in the photos.