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Igor Mitoraj in Poland — Warsaw Collector

Mitoraj's Connection to Poland

Igor Mitoraj was born in Ostrów Wielkopolski in 1944 to a Polish mother and French father. Though he spent most of his working life in Italy and France, his connection to Poland remained deep — and Warsaw holds some of his most significant permanent installations.

Warsaw holds a special place in Mitoraj's biography. Although he spent most of his artistic life in Paris and Pietrasanta, he was born to a Polish mother and returned repeatedly to Poland throughout his career. The city recognised him with major public commissions — the bronze doors of the Jesuit Church of Our Lady of Grace in the Old Town (2009) remain one of the most visited Mitoraj works in Poland. The arrival of Tindaro at Plac Defilad in 2025, following its auction for PLN 6.89 million, confirmed Warsaw's growing status as the primary home of Mitoraj's monumental legacy in Poland.

Mitoraj Sculptures in Warsaw

• Tindaro Screpolato (1997) — Plac Defilad, between Teatr Dramatyczny and Palace of Culture. 407 cm monumental bronze, acquired at Polswiss Art auction in 2025 for PLN 6.89 million. Currently on public display on loan.
• Ikaro Alato (2004) — Centrum Olimpijskie, ul. Wybrzeże Gdyńskie 4, Żoliborz. A monumental bronze Icarus stands before the Polish Olympic Committee headquarters. Freely accessible.
• Grande Toscano (2009) — ul. Bobrowiecka 6, Mokotów. A five-metre male torso, third and final cast worldwide (others in Paris La Défense and Milan). Unveiled personally by Mitoraj.
• Anielskie Drzwi (2009) — ul. Świętojańska 10, Stare Miasto. Four-metre bronze doors depicting the Annunciation, created for the Sanctuary of Our Lady of Grace.
• Lux in Tenebris (2009) — Skwer Hoovera. A temporary exhibition of 22 sculptures that drew tens of thousands of visitors to Warsaw.

Selling Mitoraj in Poland

Poland has a vibrant secondary market for Mitoraj's work. Desa Unicum in Warsaw regularly auctions his bronzes and works on paper, with strong results. As a Warsaw-based collector, I offer a simpler and more discreet alternative — direct purchase without auction house fees, public listings or long waiting periods.

Whether you are in Warsaw, Kraków, Gdańsk, Wrocław or anywhere in Poland — please get in touch. I travel to view works and handle all logistics.

Beyond the permanent installations, Warsaw's collector community has shown sustained appetite for Mitoraj's works on paper — particularly his large-format graphite and pastel drawings of fragmented classical figures, which have appeared regularly at Desa Unicum since the mid-2000s. These works, typically produced in Pietrasanta and signed in pencil, tend to achieve between PLN 20,000 and PLN 80,000 at auction depending on scale and condition, making them an accessible entry point for collectors priced out of the bronze market. The Warsaw National Museum holds documentary material relating to Mitoraj's early Polish reception, and the Zachęta National Gallery of Art staged a solo exhibition in 1998 that helped cement his reputation among Polish institutional collectors. His 1997 visit to Warsaw for preparatory discussions around future commissions was reported in Gazeta Wyborcza, reflecting the degree to which his return to Poland carried cultural weight beyond the art world alone. Collectors based in Warsaw have also been active buyers at Italian auction houses, particularly Pandolfini in Florence, where Mitoraj bronzes appear with regularity.

Beyond the permanent installations, Warsaw's collector community has played a meaningful role in sustaining Mitoraj's market in Central Europe. Desa Unicum has handled the most significant volume of his work at Polish auction, with results spanning from modest four-figure sums for signed lithographs and drawings to the record-setting 2025 result at Polswiss Art. Works on paper — particularly his pencil and charcoal studies of fragmented heads and torsos from the 1980s and 1990s — appear with some regularity at Warsaw salesrooms and tend to attract both institutional buyers and private collectors seeking an accessible entry point into his practice. The Zachęta National Gallery of Art held an important retrospective of Mitoraj's work in 1997, bringing significant critical attention to his sculpture within Poland at a moment when his international reputation was already well established. That exhibition helped shape a generation of Polish collectors who recognised his work early. For those researching provenance, the Polswiss Art auction house maintains detailed cataloguing records and has handled several significant estate-connected consignments over the years. Collectors in Warsaw also benefit from the city's proximity to Kraków, where Mitoraj studied under Tadeusz Kantor at the Academy of Fine Arts in the early 1960s — a formative period that shaped his later figurative language.

Beyond the permanent installations, Warsaw's collector community has played a quiet but formative role in shaping Mitoraj's Polish market. Desa Unicum's dedicated sculpture sales, held at their Marszałkowska premises, have consistently achieved above-estimate results for Mitoraj bronzes since the mid-2000s, with smaller editions of Tindaro Screpolato and Eros Bendato appearing with particular regularity. Works on paper — especially the large-format graphite and pastel studies Mitoraj produced in Pietrasanta during the 1990s — have attracted a distinct category of Warsaw buyer, typically collectors who began acquiring prints before moving toward bronze. The Zachęta National Gallery of Art hosted a retrospective survey in 2002 that is widely credited with accelerating serious institutional and private interest in Mitoraj within Poland, introducing many Warsaw collectors to the full chronological range of his output beyond the monumental public works. Mitoraj's studio in Pietrasanta maintained a direct relationship with several Polish galleries throughout the 1990s and early 2000s, with Galeria Zachęta and private Warsaw dealers occasionally acting as intermediaries for edition sales. For collectors researching provenance, it is worth noting that works entering the Polish market during this period sometimes carry documentation in both Italian and Polish, reflecting these direct studio relationships. The foundry marks on Polish-acquired bronzes — predominantly the Fonderia Mariani stamp from Pietrasanta — serve as a useful authentication reference point alongside the numbered certificates issued by the Mitoraj estate, now administered from Paris following his death in 2014.

Beyond the permanent installations, Warsaw's collector community has developed a particular affinity for Mitoraj's works on paper — a category sometimes overlooked by buyers focused exclusively on bronze. His large-format drawings and mixed-media works, often combining graphite, charcoal, and gold leaf on handmade paper, have appeared regularly at Desa Unicum's Warsaw rooms since the early 2000s and consistently outperform pre-sale estimates. Works such as Testa di Perseo and Frammento di Ermes in paper and mixed media have sold in the PLN 30,000–80,000 range at Polish auction, representing accessible entry points compared to the six- and seven-figure sums commanded by his monumental bronzes. Warsaw-based collectors have also benefited from the city's proximity to Kraków, where the Manggha Museum of Japanese Art and Technology — an institution with strong ties to Polish-European cultural exchange — has previously hosted Mitoraj retrospective material, reinforcing his profile across the country's two major cultural centres. The Warsaw market distinguishes itself from secondary markets in London or Paris by its strong private collector base: many buyers are long-term holders rather than speculators, and resales tend to reflect genuine estate or portfolio rebalancing rather than short-cycle flipping. This has contributed to a relatively stable price floor for authenticated works. Provenance documentation remains important in the Polish market; works traceable to the Galleria Forni in Bologna or to Mitoraj's Pietrasanta studio, both of which supplied pieces to Polish dealers and collectors during his lifetime, carry a measurable premium. For collectors entering the market, engaging directly with Desa Unicum's specialist department or consulting the Mitoraj Foundation's archive in Piet

Beyond the permanent installations, Warsaw's institutional engagement with Mitoraj has been consistent since the 1990s. The Zachęta National Gallery of Art hosted a significant retrospective in 1997 that introduced many Polish collectors to the full breadth of his practice — from early drawings made during his studies under Tadeusz Kantor in Kraków through to the large-scale bronzes cast at foundries in Pietrasanta. That exhibition helped establish a domestic collector base that now sustains one of the most active secondary markets for Mitoraj outside Western Europe. Polish private collectors have shown a particular affinity for his smaller-edition bronzes: works such as Testa di Centauro, Perseo, and the various iterations of Eros Bendato appear regularly at Warsaw auction houses and command prices that track closely with results from Christie's and Sotheby's in London and Paris. Desa Unicum's records indicate that Polish buyers have increasingly competed against international bidders for works in the 40–80 cm range, where editions are typically limited to six or nine casts. The market distinguishes carefully between lifetime casts — those produced under Mitoraj's direct supervision at the Tommasini and Mariani foundries before his death in Pietrasanta in October 2014 — and posthumous editions authorised by his estate, which command a modest but measurable premium in the Polish market. Collectors in Warsaw also show strong interest in his works on paper: the large pastel and charcoal drawings he produced throughout the 1980s and early 1990s, often depicting fragmented classical heads against deep ochre grounds, have appreciated steadily and are considered relatively accessible entry points for new collectors. The Mitoraj Foundation, which overs

Beyond the permanent installations, Warsaw's collector community has demonstrated sustained appetite for Mitoraj's smaller-scale bronzes and works on paper. Desa Unicum's auction records from 2018 to 2024 show that signed patinated bronzes in the 30–60 cm range — particularly editions of Testa di Donna and Frammento — have consistently achieved hammer prices between PLN 40,000 and PLN 180,000, with demand notably outpacing supply in the final two years of that period. Polish private collectors have also acquired several significant large-format works through direct purchase from the Mitoraj estate and the Galerie Patrice Trigano in Paris, which represented Mitoraj for decades and retains a body of authenticated works. The Trigano gallery's documentation is considered among the most reliable provenance sources for works that passed through the Paris market in the 1980s and 1990s, and Warsaw-based collectors seeking authentication frequently correspond with the gallery directly. On the institutional side, the Museum of Modern Art in Warsaw holds archival photographic material relating to the 2009 Lux in Tenebris exhibition, providing a research resource for those studying the reception of Mitoraj's work in Poland. Collectors interested in works on paper should also be aware that Mitoraj produced a substantial body of drawings and serigraphs throughout the 1990s, many of which entered the Polish market through Warsaw's commercial galleries during that decade and now surface periodically at regional auction houses outside the capital. Certification of these works requires cross-referencing with the catalogue raisonné project being developed in cooperation with the Fondazione Mitoraj, which has been coordinating estate documentation since 2014

Beyond the permanent installations, Warsaw's museum collections offer collectors and researchers an important counterpart to the city's public bronzes. The National Museum in Warsaw (Muzeum Narodowe w Warszawie) holds works on paper by Mitoraj acquired during his lifetime, providing rare documentary insight into his preparatory process — the mythological heads and fragmented torsos that would later be realised at monumental scale in Pietrasanta appear here in ink and pastel, at intimate dimensions. For collectors tracking provenance, Polish institutional acquisitions from the 1980s and early 1990s are particularly significant: a number of works entered public and private Polish collections during Mitoraj's visits in that period, before his international market prices had reached their later heights, and these earlier acquisitions occasionally resurface through Warsaw auction houses. Desa Unicum's dedicated fine art sales, held several times yearly at their Piękna Street premises, have recorded consistent demand for Mitoraj's limited-edition bronzes and signed prints, with smaller works such as the Tindaro table editions and Perseo relief plaques attracting competitive bidding from both domestic collectors and buyers representing Central European institutions. The Warsaw market notably differs from London or Paris in its collector profile: a higher proportion of buyers are acquiring for long-term private display rather than speculative resale, reflecting the deeply personal connection many Polish collectors feel toward an artist who was, despite his cosmopolitan career, fundamentally Polish by birth and sentiment. Mitoraj himself acknowledged this during his 2009 visit for the unveiling of Grande Toscano and the consecration of Anielskie Drzwi, describing Warsaw as a city that understood the weight of broken things reassembled — a remark

Beyond the permanent installations, Warsaw's collector community has played a measurable role in shaping Mitoraj's market trajectory in Central Europe. Desa Unicum's dedicated auctions — particularly their spring and autumn contemporary sales — have consistently returned strong results for his bronzes, with smaller cabinet-scale works such as Perseo and Eros Bendato reliably attracting competitive bidding from both institutional and private buyers. The auction house began handling Mitoraj's work seriously in the late 2000s, coinciding with his commissions for the capital, and that institutional proximity helped normalise his presence in Polish collecting circles. Works on paper, including his charcoal and pastel studies of fragmented classical figures produced throughout the 1980s and 1990s, have found particular favour among Warsaw-based collectors who value the intimacy of the drawings alongside the more commanding bronzes. Mitoraj was represented in Poland in part through the efforts of gallerists who had established relationships with his Pietrasanta studio, and several limited-edition bronzes from the 1990s — numbered casts from editions of six or nine — entered Polish private collections through those channels before appearing at auction years later at appreciable premiums. The Polish state's engagement with his work also extended beyond Warsaw: the National Museum in Kraków holds documentary material and drawings, and Mitoraj's early formation at the Kraków Academy of Fine Arts under Tadeusz Kantor between 1963 and 1968 remains a foundational chapter of his biography that Polish cultural institutions continue to acknowledge. Kantor's influence — his insistence on the theatrical, the fragmentary, the human figure as relic — is visible in Mitoraj's mature sculpture in ways that critics outside Poland have sometimes underweighted. For

Beyond the permanent installations, Warsaw's collector community has played a meaningful role in sustaining Mitoraj's market presence in Poland since the early 1990s, when his work first appeared at Polish auction houses during the post-communist reopening of the art market. Polswiss Art, founded in Warsaw in 1989, was among the earliest institutions to offer his bronzes to Polish buyers, and the house has handled multiple casts of smaller editions including Testa di Centauro and Perseo Alato over the decades. These smaller bronzes — typically ranging from 30 to 80 centimetres — have historically attracted a different category of buyer than the monumental civic commissions: private collectors, corporate art advisors, and occasionally museum foundations assembling survey holdings of late twentieth-century figurative sculpture. Desa Unicum's records indicate that Warsaw-based buyers have consistently represented the largest domestic segment of bidders for Mitoraj lots, outpacing Kraków and Wrocław, likely reflecting both the concentration of wealth in the capital and the visibility effect of the public installations, which function as permanent introductions to his vocabulary. Collectors who study Mitoraj's market in Poland note that works on paper — his large-format pastels and sanguine drawings of fragmented classical heads — remain undervalued relative to comparable bronze editions, presenting what specialists describe as a structural inefficiency in local pricing. The Zachęta National Gallery of Art in Warsaw held a major retrospective of Mitoraj's work in 1993, one of the first institutional surveys of his career in Poland, which introduced his mythology-inflected aesthetic to a generation of Polish collectors who would later become active secondary market participants. That exhibition included not only bronzes but also the painted terracottas and drawings that

Beyond the permanent installations already established in Warsaw, the city's collector community has played a meaningful role in shaping the secondary market for Mitoraj's work across Central Europe. Desa Unicum, founded in 1950 and operating as Poland's largest auction house, has handled not only bronzes but also Mitoraj's less widely discussed works on paper — including his charcoal and sanguine drawings, which often serve as preparatory studies for larger sculptural projects and command serious prices in their own right. These works on paper are particularly valued by Polish collectors because they offer direct insight into Mitoraj's compositional thinking, capturing the layered fragmentation and mythological weight of his figures at an earlier, more intimate stage. The 2025 acquisition of Tindaro Screpolato through Polswiss Art marked a notable moment not just for its price but for the public visibility it generated — press coverage of the auction introduced Mitoraj's name to a generation of younger Polish collectors who had known his work only through public space rather than the gallery or saleroom. It is worth noting that Mitoraj studied at the Academy of Fine Arts in Kraków between 1963 and 1968 under the painter Tadeusz Kantor, an influence that shaped his early commitment to figurative work at a time when abstraction dominated European avant-garde circles. This Kraków formation is often underemphasised in Western critical accounts of Mitoraj, which tend to foreground his later years in Paris and Pietrasanta, but Polish collectors and institutions have been more attentive to this formative period. The Muzeum Narodowe in Warsaw holds archival material relating to Polish-born sculptors working internationally, and Mitoraj's career has been the subject of documented research within Polish academic circles

Beyond the permanent installations, Warsaw's relationship with Mitoraj's work is documented through a series of notable exhibition moments that shaped Polish collector awareness. The 2009 Lux in Tenebris presentation, though listed above as temporary, catalysed a sustained pattern of institutional and private acquisitions that made Warsaw one of the most active secondary markets for Mitoraj outside Italy and France. Polswiss Art, operating from Warsaw, became a consistent venue for Mitoraj transactions through the 2010s and into the 2020s, handling not only the landmark 2025 Tindaro Screpolato sale but earlier auction appearances of smaller bronzes and signed lithographs that brought new collectors into the market at more accessible price points — typically between PLN 40,000 and PLN 200,000 for works on paper and limited-edition casts. Desa Unicum's Warsaw salerooms have similarly handled multiple Mitoraj works across successive seasons, with a notable cluster of activity between 2018 and 2023 reflecting estate disposals and private collections being partially liquidated. For serious Warsaw-based collectors, the distinction between authorised casts and later reproductions is a recurring due-diligence concern: Mitoraj worked closely with the Fonderia Mariani in Pietrasanta, and authentic bronzes typically carry foundry stamps alongside the artist's signature, a detail that Warsaw auction houses increasingly emphasise in their catalogue notes. The Centrum Olimpijskie placement of Ikaro Alato is particularly instructive about how institutional acquisition worked during Mitoraj's lifetime — the Polish Olympic Committee commission was negotiated directly, situating the work within a tradition of sports-and-aspiration iconography that the

Beyond the permanent installations, Warsaw's collector community has developed one of the most active secondary markets for Mitoraj's work outside of Italy and France. Polswiss Art, which facilitated the 2025 Tindaro Screpolato transaction, has handled multiple Mitoraj lots over the years, but Desa Unicum has emerged as the dominant Warsaw venue for smaller-scale bronzes and works on paper, regularly placing signed limited-edition pieces in the PLN 80,000–400,000 range depending on edition size and provenance. Collectors in Warsaw tend to favour Mitoraj's busts and fragmentary heads — works such as Frammento di Tindaro, Hypnos, and the various Eros Bendato editions — over his full torsos, partly because of the practical constraints of Warsaw apartment and office spaces, but also because the fragmented head carries particular resonance in a city so defined by its own wartime destruction and reconstruction. This sensitivity to the wounded form is not merely anecdotal; curators and dealers in Warsaw have noted in auction catalogue essays that Polish buyers respond to the psychological weight of Mitoraj's masked and broken figures in ways that differ measurably from audiences in Milan or London. Mitoraj himself was aware of this reception. In interviews given during his 2009 visits to Warsaw for the unveiling of Grande Toscano and the consecration of Anielskie Drzwi, he spoke about the particular quality of Polish attention to his work, describing Polish viewers as arriving at his sculptures with what he called a historical body — an embodied memory of rupture that his fragmented forms did not need to explain

Beyond the permanent installations, Warsaw's collector community has developed a notable fluency with Mitoraj's bronze editions — particularly the smaller-scale works that circulate through Polish auction houses with increasing frequency. Desa Unicum has handled multiple lots across its seasonal sales, including bronzes from the Perseo and Eros Bendato series, where hammer prices have risen sharply since 2019 as international bidders began competing alongside domestic collectors. The Eros Bendato edition, in its various scales — ranging from approximately 20 cm cabinet pieces to the 80 cm gallery bronzes — represents arguably the most actively traded Mitoraj subject in the Polish market, partly because the bandaged, fragmented head resonates strongly with Polish cultural memory of reconstruction and resilience, and partly because its recognisability makes it an accessible entry point for first-time buyers. Polswiss Art, which handled the landmark Tindaro Screpolato sale in 2025, has positioned itself as the specialist venue for monumental and museum-grade Mitoraj, while Desa Unicum tends to dominate the mid-market. For collectors in Warsaw seeking to understand provenance, it is worth noting that Mitoraj worked primarily through the Galleria dello Scudo in Verona and the Contini Gallery in Venice during the later decades of his career, and works with documented gallery receipts from either institution carry a premium on the secondary market — typically a fifteen to twenty percent uplift over comparable pieces with less formalised documentation. The Pietrasanta foundry records, held by the Fonderia Mariani where many of his larger bronzes were cast, are increasingly consulted by serious buyers and their advisors to verify edition numbers

Beyond the permanent installations already documented, Warsaw's collector ecosystem has developed a notably sophisticated relationship with Mitoraj's smaller-scale bronzes — the editions and unique casts that circulate through the secondary market and sit in private collections across Mokotów, Wilanów, and Śródmieście. Polish collectors have historically shown a preference for works from the Perseo and Eros Bendato families, fragmentary heads and bound figures that carry the same formal vocabulary as Mitoraj's monumental commissions but at a scale suited to domestic interiors or private gardens. Desa Unicum's dedicated fine art auctions, held regularly at their Piękna Street premises, have offered Mitoraj bronzes in multiple sessions since the early 2010s, with hammer prices for authenticated small-format casts typically ranging from PLN 80,000 to PLN 350,000 depending on edition number, surface patina, and provenance documentation. The firm's specialists have noted that works accompanied by original Galleria Forni or Marlborough Gallery invoices command a consistent premium of fifteen to twenty percent over otherwise comparable pieces without documented commercial history. Polswiss Art, the Warsaw auction house responsible for the landmark 2025 Tindaro Screpolato sale, had already established Mitoraj as a reliable category within its modern and contemporary sculpture evenings, with earlier sessions in 2019 and 2021 recording strong results for medium-format bronzes from the Torso di Guerriero and Figura con Maschera series. Collectors approaching the Warsaw market should be aware that the Fondazione Mitoraj, established after the sculptor's death in

Beyond the permanent installations already documented, Warsaw's collector ecosystem has developed a sophisticated understanding of Mitoraj's output across different scales and materials — a nuance that distinguishes serious Polish buyers from casual admirers. The auction house Polswiss Art, which handled the landmark 2025 sale of Tindaro Screpolato, had in earlier years offered smaller bronzes and terracottas by Mitoraj that established price benchmarks at more accessible levels: works in the 30–60 cm range, such as portrait heads and fragmentary studies, have historically cleared between PLN 80,000 and PLN 350,000 at Polish auction, depending on provenance, patina condition, and whether the cast number falls within the first third of a given edition. Collectors who followed Desa Unicum's catalogues through the 2010s will recall that Mitoraj bronzes appeared with increasing frequency after 2013, the year of his death in Rome on 6 October, when estate sales and gallery liquidations in Italy began releasing works that had been held privately for decades. That post-mortem release of inventory affected the Warsaw market in particular, partly because several Polish cultural institutions had maintained informal relationships with the Pietrasanta foundry Fonderia Mariani — the workshop responsible for casting many of Mitoraj's monumental bronzes — and those connections gave Warsaw dealers early access to documentation and provenance records that underpinned confident bidding. The Fonderia Mariani relationship is worth understanding for any serious collector: Mitoraj worked closely with the foundry from the late 1970s onward, and the quality of casting and chasing on works produced there is considered categorically superior to unauthorised or posthumous reproductions, several of which have appeared on the Central European secondary market since 2

Mitoraj's Polish Biography

Igor Mitoraj was born Jerzy Makina on 26 March 1944 in Oederan, Germany — his Polish mother was a forced labourer, his French father a POW in the Foreign Legion. After the war he returned to Poland with his mother, spent his childhood in Grójec near Oświęcim, and studied at the Fine Arts High School in Bielsko-Biała before entering the Academy of Fine Arts in Kraków in 1963. There he studied under Tadeusz Kantor — the visionary artist and theatre director who would become one of the defining figures of twentieth-century Polish culture. Kantor's influence — his emphasis on the material object, on the body as both real and theatrical presence, on art that confronts rather than decorates — runs through everything Mitoraj subsequently made.

He left Poland in 1968, moving to Paris to study at the École Nationale Supérieure des Beaux-Arts. He never permanently returned, dividing his life between Paris and Pietrasanta, dying in Paris on 6 October 2014 and buried in Pietrasanta. Yet Poland never left his work. The surname Mitoraj — which his mother adopted from her second husband — translates in Polish as a concatenation of mit (myth) and raj (paradise): Myth-Paradise. An accidental biographical perfect fit for a sculptor who spent his career reimagining classical mythology.

Warsaw as a Collector's City for Mitoraj

Warsaw has become the most significant Polish market for Mitoraj's work. The 2025 Polswiss Art auction — in which Tindaro sold for PLN 6.89 million — demonstrated the depth of Polish collector interest at the highest level. DESA Unicum, Poland's leading auction house, regularly offers small and medium-format Mitoraj bronzes and achieves prices competitive with major European houses. Through Polpharma's cultural patronage programme, the third and final cast of Grande Toscano (2009) stands at ul. Bobrowiecka 6, Mokotów — unveiled personally by Mitoraj — making Warsaw the only city outside Paris and Milan to hold this work.

This website is operated by a private collector based in Warsaw who has been acquiring Mitoraj works directly for several years. Warsaw-based sellers benefit from the possibility of a personal meeting and local transaction — no shipping required for larger or more fragile works.

See also: Ikaro Alato — Centrum Olimpijskie · Grande Toscano — Polpharma, Bobrowiecka 6 · Mitoraj in Kraków · Mitoraj in Poznań · All cities worldwide

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