In 1613, the Silesian regionalist and historian Mikołaj Henel from Prudnik mentioned the town in his work on the geography of Silesia entitled Silesiographia giving its Latin name: Boleslavia.

The name of the city as Bolesław was mentioned by the Silesian writer Józef Lompa in the book "A short sketch of the jeography of Silesia for initial science" published in Głogówek in 1847.

In 1974, on the high terrace of the Bóbr River in Bobrowice near Szprotawa, flint tools from this period were found (a Lyngby type leaf with two fragments of splinters).

At the same time, in Golnice near Bolesławiec, also on the terrace of a tributary of the Bóbr River, similar wares were discovered (an asymmetrical thylakus with a retouched base and two large scale fragments of splinters).

The finds discovered are encampments ranging in size from 2-3 acres to 1 ha (in this case it would have been several small functional sites at the time), where few flint wares were found.

The largest concentrations of settlements occurred in the Głogowska-Barycka Proglacial Valley, the Silesian Lowlands and the Raciborsk Basin, in places with the most fertile soils and somewhat depleted forests.

It states that the northern boundaries of the Prague bishopric are marked by the Trebouane (Trzebowians), Pobrane (Bobrzanians) and Dedosize (Dziadoszanians) tribes, which border the Miliczanians through the forest.

A stronghold on the left bank in the area of Bolesławice, dated before the middle of the 10th century, was located by German archaeologists in the pre-war period as part of surface research.

The poorly attested settlement in this area in the early medieval period was initially due to the existence of a so-called zonal boundary running through a strip of forest between the Lusatian Neisse and the Beaver.

Archaeological research in 2009 proved that there was a fortified settlement in the northern part of present-day Bolesławiec, on Topolowa Street, as early as the end of the 9th century[2], which suggests that there is a grain of truth in the legend of the three inns.

According to another legend, it was supposed to be built thanks to the foundation of a merchant from Wrocław, who was saved from a quagmire in the vicinity of Bolesławiec, and the founding of the church was for him the fulfilment of a vow he had made to God in a moment of danger.

Bolesławiec was the birthplace of the German poet of the Baroque period, Martin Opitz, whose small monument has recently been located in Komuny Paryskiej Street.

[citation needed] After the Potsdam Conference, its German inhabitants were expelled from the city and replaced by displaced persons from the Eastern Borderlands and repatriates from Yugoslavia and France.

Typically, utilitarian Bunzlauer pottery was turned on a kick wheel, dried leather-hard, dipped in a slip glaze and then burnt in a rectangular, cross-draft kiln.

The majority of a potshop's production would have been intended for farm and kitchen use: kraut containers, cheese sieves, pickling and preserve jars, baking forms, food molds, storage vessels, and so forth.

The first examples of a distinctive Bunzlauer style are ball-shaped jugs and screw-lidded jars, often decorated with applied cartouches filled with intricate floral design.

A notable example of Bunzlauer pottery from this period is the hexagonal travel bottle with applied pewter mounts, originally belonging to Pastor Merge and dating to 1640–45.

After leaving the potshop, many of these melon jugs received pewter lids made by a tinsmith before being shipped off by wagon or on the back of peddlers to customers in Prussia, Bohemia, and Poland, even as far away as Russia.

The simple blue-on-white spongeware and swirlware productions of the 1880s and 1890s with their clear feldspathic glazes were successful initially, but something still more colorful and forceful was needed if modern customers were to be attracted.

During the first decades of the 20th century, pot shops throughout Silesia and neighboring Lusatia began to decorate their wares with imaginative organic motifs derived from the contemporary Jugendstil aesthetic and applied by brush or, more often, with the aid of cut sponges.

By the beginning of the second decade of the new century, many of the potteries throughout the region had evolved into sophisticated ceramic studios, generally continuing to turn out the old utilitarian brown-slip production but giving ever-increasing attention to their new line of colorful ware.

Although new designs, many based upon the orientalizing forms popular at the time, were introduced, traditional shapes for coffee pots, bowls, and pitchers were retained but with their surfaces now brightened with a wide variety of Jugendstil patterns, particularly, that of the Pfauenauge.

[10] So popular did the new Bunzlauer style become that several of the firms, using the technical advice offered by the Bunzlau Keramische Fachschule, transformed their pot shops into large-scale, slip-casting ceramic factories.

While most of the potteries in Bunzlau and in the surrounding communities continued to utilize the forms by now traditional to Bunzlauer ware, these three "high style" firms experimented with Jugendstil aesthetics and such decorative additions as gold gilding.

[11] All of these commercializing developments encouraged a flourishing export trade which brought shipments of Bunzluer pottery not only to all parts of Europe but into the United States as well, where it competed with similar but recognizably distinct wares produced in neighboring Saxony and Lusatia by such potters as Paul Schreier of Bischofswerda.

In the United States, Bunzlauer ware was often marketed under the labels of "Blue Mountain Pottery" or "Erphila", the acronym of the Philadelphia retailer Eberling & Reuss.

The defeat of Germany in World War II and the transfer of the bulk of Lower Silesia to Poland, with the subsequent expulsion of the German population, threatened to end the Bunzlauer ceramic tradition, but it managed to survive in the shops established by displaced potters in the ceramic centers of West Germany, where Bunzlauer style pottery continued to be produced, long celebrated for their native earthenwares or salt-glazed and cobalt-decorated stonewares.

The shapes and patterns found in the ceramic showrooms of Bolesławiec today and which are offered for sale, worldwide, at a number of outlet stores and internet sites, are staggering in variety: coffee pots, tea pots, cups, mugs, pitchers, platters, breakfast and dinner services, sets of bowls, candle holders, butter dishes cast in the shape of full-skirted peasant women, Christmas tree ornaments, all painted or sponge decorated in cheerful and colorful, folkloric patterns.

The Bolesławiec pottery that is most recognizable today is the white or cream colored ceramic with dark blue, green, brown, and sometimes red or purple motifs.

"Vom Kunsthandwerk zur Kunst – Bunzlauer Keramik aus dem Haus Reinhold" was also exhibited in Germany at the Schlesisches Museum in Görlitz.