After the amnesty and lifting of the police surveillance, on 6 September 1871 Andriolli left Vyatka for Warsaw.

Unlike Siberian deportees, Andriolli returned to Poland with a large amount of cash earned in Vyatka, so he could embark upon the conquest of Warsaw relatively safely. In Warsaw, he rented a two-room flat in 5 Oboźna street, in the small belvedere on the top floor of the building of outstanding architecture. The house, decorated with sculptures of four angels, belonged to Dr. Wincenty Brodowski (1832-1889), who in addition to a large private apartment, designed a clinic including a balneotherapy establishment. The establishment was later taken over by Andriolli’s friend, Henryk Dobrzycki (1841-1914), one of the most prominent physicians of the then Warsaw, and subsequently Andriolli’s first biographer. After his Vyatka experience, Andriolli knew that in order to achieve success, talent alone is not enough. So he made sure to enter the right social milieu. He renewed relationships with his Vilnius colleagues who had previously settled in Warsaw, established new ones and opened his house and studio to young people, to whom he also gave drawing lessons.

While running an open house, which always hosted many guests, he did not neglect his work. He created drawings on a drawing board by the window, joining in from time to time to converse, or sing without interrupting his work. More and more often his studio was visited by publishers and magazine managers, who would take the finished drawings and publish them in their periodicals. Andriolli’s repute grew, so he did not have to seek commissions from publishers, because it was the editors who solicited for his drawings.

The first drawing he made after his arrival in Warsaw was the Musician’s Dream published in "Kłosy" magazine in 1872. Andriolli worked on it for a long time, because he realised that it would be his showcase work in the new milieu. Unfortunately, the original drawing has not survived, only the print whose final quality depended on the woodcut maker. Andriolli, after a great entrance to the publishing rooms, tried to cooperate with the more talented woodcutter Andrzej Zajkowski (1851-1913).

In February 1873 Warsaw celebrated the jubilee four hundredth anniversary of the birth of Nicolaus Copernicus. The drawing of Nicholas Copernicus sealed Andriolli’s success among readers. After two years Andriolli became the most important illustrator in Warsaw. All illustrated magazines published his drawings, and readers waited for them and discussed them. This significantly increased the number of subscribers, which in turn affected the artist’s fame.

The talented artist also attracted the interest of serious publishing houses, which began to plan to publish masterpieces of Polish literature with his illustrations. In 1874 he concluded a very lucrative contract with Gebethner and Wolff for large templates for the well-known poem Malczewski Marja, whose earlier editions were illustrated by other well-known artists.

The following decade until 1883 is the most prolific period in the life of Andriolli, who illustrated almost all the works of great Polish writers. It was a fulfilment of youthful dreams and at the same time a source of good income, although at the expense of huge effort.