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1

Nauczanie konserwacji zabytków dawniej i dziś

100%

Ślesiński W.

Ochrona Zabytków

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1971

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issue 2

96-100

EN

The author endeavours to point out to the tight in te rconnection existing between the state and level of practice and theory of conservation on the one hand and the forms and curricula for training of conservators on the other. According to him this interconnection is noticeable in the en tire course of history of monument conservation. It may be understood from the au th o r’s considerations th a t in periods in which the main aim of monument conservation was confined to renovation alone no clearly defined p rofession could be isolated and no specific training in the a rt of conservation conducted. In the course of the 18th and 19th centuries, although some attempts were made in this respect, the training of conservators could not keep up with the needs of theory and pra c tice. The basic form lin efforts to acquire the professional education was the widely spread self-instruction. Only the 19th century has seen the creation and speedy development of th e state-supported and planned system of training in the field of conservation.

2

O nieznanym wkładzie Karola Soczyńskiego do nauki o konserwacji malowideł i grafiki

100%

Ślesiński W.

Ochrona Zabytków

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1973

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issue 3

176-180

EN

Our knowledge in the field of history of conservation is being permanently extended and with every passing year grows more and more deep. So, for ex ample, for a further step on the way to its enriching we are greatly indebted to I. Bobrowska, Chief Conservator, National Museum, Cracow who during the German occupation of Poland from among the cultural property and works of art robbed by the Nazis managed to pick up and to safeguard a valuable manuscript. The manuscript in question coming from the year 1840 and bearing a somewhat lengthy title „The Art of Restoration of Paintings, of Engravings and Woodcuts nevertheless of Their Cleaning, Stretching and That of Preparing Varnishes etc. etc., According to Various Italian, French and German Authors translated into Polish Language and furnished with Remarks and Supplements” is a work of Karol Soczyński. In his present article the author made an attempt to point to importance of the above manuscript and to give a portrait of its author. Karol Soczyński (died 1862), Med. Dr., a Professor at the Yaghiellonian University, a Senator of the Free Republic of Cracow and a member of the Cracow Scientific Society belonged to a group of the outstanding art connoisseurs in Poland of his time. He possessed quite large, in proportion to those in the first half of the nineteenth century, library and was a freelancing contributor to the then widely read periodical „PIAST or the Technological Thesaurus” where he had published more than one thousand contributions. However, the most interesting for the technological ex perts and conservators of works of art items forming his extremely abundant oeuvre were never printed and thus considered as those lost for ever. According to Soczyński himself it seemed that they have been swallowed up by the great fire of Cracow in 1850. It may, therefore, be said that the recovered manuscript „The Art of Restoration...” was until recently not known from the subject literature and it does, no doubt, constitute a new and remarkable contribution to the history of conservation of paintings and graphic art. This exceptionally high historical importance of Soczyński’s manuscript consists at least in two basic factors, namely that it constitutes one of the rare in the mid-nineteenth-century Europe (and at the same time the first among the Polish) so comprehensive manuals in the area of conservation and, in addition, that it is not simply a compilation made of materials found in one or two works dating from the same time. While briefly reviewing the general situation in conservation of paintings within the period of 1800—40 the author supplies a number of warrants for his claims that are in turn followed by a confrontation of fragments quoted from the nineteenth-century conservation manuals with the text of manuscript by Soczyński. As a result the conclusion can be drawn that for a manual with such comprehensive contents an analogy may be found only in a few most comprehensive works published within the span between 1800 and 1840 as, for instance, those by Lucanus or Pranger. A more detailed analysis of problems discussed by Soczyński in his „Art of Restoration...” on the background of other books and the practice of conservation will be presented by the author in his next article.

3

"Moderne Kunst - Handbuch der Konservierung", Heinz Althöfer,Düsseldorg 1980 : [recenzja]

100%

Ślesiński W.

Ochrona Zabytków

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1981

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issue 3-4

232-233

4

Marian Słonecki (1886-1969)

100%

Ślesiński W.

Ochrona Zabytków

|

1970

|

issue 1

66-67

5

"Rokokofassung und Materialillusion. Untersuchungen zur Polychromie sakraler Bildwerke im suddeutschen Rokoko", Ulrich Schiessl, Mittelwald 1979 : [recenzja]

100%

Ślesiński W.

Ochrona Zabytków

|

1981

|

issue 1-2

117-118

6

Warsztat artysty-malarza z pierwszej połowy XIX wieku

100%

Ślesiński W.

Ochrona Zabytków

|

1969

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issue 4

257-262

FR

L ’a u te u r , c o n tin u a n t ses re ch e rch e s su r la technologie et les te ch n iq u e s p ic tu ra le s des d éb u ts du X IX e siècle, s ’occupe à p ré s e n t du lien e x is ta n t en tre la p o sitio n sociale de l ’a rtis te e t son a te lie r. Il ex am in e en su ite les ch an g em en ts q u i s ’o p è re n t dans l ’é q u ip em e n t de l ’a te lie r, des outils, te ls qu e le ch ev a le t, la c an n e de p e in tre , la p a le tte , les p in c e au x , les p laq u e s e t les p ilons p o u r la tr itu r a tio n des co u leu rs. L ’a rtic le se te rm in e p a r des in fo rm a tio n s su r les a ccessoires e t ré c ip ien ts p o u r co n se rv e r les couleurs.

7

Z PIŚMIENNICTWA TECHNOLOGICZNO-KONSERWATORSKIEGO ZA 1959 -1960 R.

100%

Ślesiński W.

Ochrona Zabytków

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1961

|

issue 1-2

143-145

8

O sytuacji w zakresie technologii i technik malarskich w dobie romantyzmu

100%

Ślesiński W.

Ochrona Zabytków

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1966

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issue 3

13-22

FR

Chaque situation présente de bons et de mauvais cotés et il en est de même en ce qui concerne la technologie et les techniques picturales à l’époque du romantisme. Occupons nous d ’abord des mauvaises conjonctures dans le domaine précité. a) L’enseignement de la technologie et des techniques picturales n’entre pas dans le programme de la formation des artistes à l’époque du romantisme, à l’encontre de ce qu’il en était dans la période précédente, où les artistes s’associent aux sein des corporations. b) Un tel manque d’enseignement de la technologie et des techniques picturales dans la I-ère moitié du ΧΙΧ-e siècle entraîne la décadence de la science précitée, révélée par les peintures exécutées de façon précaire, facilement susceptibles à la destruction. La volonté de reconquérir une bonne réputation, quelque peu altérée dans le monde des acheteurs et, d’autre part, la volonté de créer des oeuvres plus durables pouvant être admirées encore par les générations futures, donne u:n nouvel élan à l ’accroissement des connaissances dans le domaine de la technologie et des techniques picturales Parmi les conjonctures favorables dans le domaine de la technologie et des techniques picturales dans la période du romantisme, il faut classer: a) les recherches archivales concernant les anciens traités sur la technologie, leur date, leur commentaire et leur publication, b) les analyses scientifiques sur les matières picturales à base des acquisitions scientifiques de cette époque, des dispositifs chimiques et physiques, c) un progrès très sensible dans l’enseignement sur les couleurs, d) dans la période envisagée — le manque de l’enseignement obligatoire des futurs artistes en ce qui concerne la technologie et les techniques picturales, a été effectivement compensé par l’élan qui s’est manifesté sur le plan de la diffusion des livres et des articles traitant du même sujet. Il a été le résultat de la demande du public, plus exigeant en ce qui concerne ce genre de publications et se trouvant sous l’empire d’une nouvelle mode des amateurs de l’art et des collectionneurs. Donc, tenant compte des bons et mauvais aspects de la technologie et des techniques picturales, il nous faut constater qu’à l’epoque du romantisme, les artistes et les amateurs des arts se font une notion de la nécessité d ’acquérir des connaissances nouvelles dans la discipline précitée. Il faut également constater que malgré qu’elle n’entre pas dans le programme de l’Académie des Beaux-Arts à titre d ’enseignement obligatoire, un grand pas a 'été fait dans la voie du progrès scientifique envisagé, grâce aux recherches archivales entreprises, aux expériences réalisées et à la publication des résultats obtenus dans ce domaine.

9

Problemy konserwatorskie Krakowa w pierwszej połowie XIX wieku

100%

Ślesiński W.

Ochrona Zabytków

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1963

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issue 1

3-16

FR

L’article présent est l’extrait d’un ouvrage plus vaste. La forme abrégée des considérations avait obligée l ’auteur à se borner à deux problèmes: au style et à la méthode de restauration qui sont en quelque sorte le fondement des problèmes de la conservation de Cracovie dans les années 1800—1863. Les tendances vers le style classique et vers le style romantique qui paraissent dans cette période ont été illustrées par l’histoire de la conservation des monuments de l ’architecture à Cracovie. Les effets de l ’incendie de 1850, tragiques pour les monuments de Cracovie, ont provoqué non seulement l’animation du mouvement de conservation relatif à l’architecture; la commission nommée par la Section de l ’Archéologie et des Beaux-Arts de la Société Scientifique de Cracovie s ’est occupée aussi des mobiliers d’art. Dans la deuxième partie de l ’article l ’auteur s ’occupe des évolutions difficiles à découvrir, survenues dans la méthode technique de conservation. Il remarque certaines modifications de la technique de conservation des monuments dans cette époque dans „Skazówka mogąca posłużyć w poszukiwaniach archeologicznych” (’’Indication pouvant être utile dans les recherches archéologiques”), publiée par la Société Scientifique de Cracovie. L’auteur s’occupe également de l ’acquisition de l ’art de conservation. Ensuite il énumère plusieurs noms de conservateurs, peintres, sculpteurs, architectes, presque inconnus jusqu’à présent dans la litté rature professionnelle.

10

Szkolnictwo konserwatorskie w Polsce : dorobek, stan obecny, kierunki rozwoju

100%

Ślesiński W.

Ochrona Zabytków

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1982

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issue 3-4

163-169

EN

At the beginning the author states that it is a mistake to treat and discuss the training of conservators of movable and immovable historic monuments as a whole. Therefore, the present paper deals only with the training of conservators of movable historic monuments. One of the greatest achievements of Polish conservation discipline after the World War II is the organization of the training of conservators of movable monuments in higher schools, including the Academy of Fine Arts in Cracow and in Warsaw and in the Copernicus University in Toruń. The author describes in detail their present structure. He states that nothing has been done to improve housing conditions of monuments conservation workshops and presents requirements for qualified specialists in 1976— 1990. The author is in favour of various solutions concerning the location of this kind of schools, both those attached to universities and to academies of fine arts. This would create better possibilities for a selection of students. The author goes on to discuss the organization of the studies which last 5 years (the 5th year is final). Worth emphasizing is the fact that this discipline attracts many foreign students. A specific form of distinction for graduates is a participation and awards in annual contests organized by the Ministry of Culture and Arts in cooperation with the Board of Museums and Monuments Protection for the best scientific and research works as well as for design and popularization studies concerning the protection and conservation of monuments and museology. Cracow and Warsaw have 32 teachers each, while Toruń can boast 54. Torun’s Institute of Museology and Conservation has the right to grant academic degrees of doctor of arts, while Cracow’s Conservation Department has an exclusive right in Poland to run 1st and 2nd degree post-graduate studies qualifying for the post of tutor and assistant profesor of conservation. The most important field in higher conservation training — except for didactics — is scientific and research work which has given birth to a number of interesting scientific publications. The author holds a negative view of the plan to establish the central institute because of great costs that would be involved in its creation and equipment. In 1981, on the basis of an agreement, there came to life the Intercollegiate Scientific and Didactic Centre for Arts Conservation, attached to the Academy of Fine Arts in Warsaw. Its main task is to carry out the following activities: (1) methodological and programmed work comprising problems of the form and methods of training the personnel, (2) didactic work, i.e. coordination, teaching and improving the knowledge of the personnel, (3) research work, i.e. initiation, coordination and carrying out of works, (4) popularization. An important and inseparable problem is the improvement of staff’s qualifications. In the final part of his consideration on conservation teaching, the author takes up the subject of training assistant workers, i.e. technicians and laboratory operators. Still, there is no clear definition of the scope and rights for the above group of workers who would be cooperating with conservators of works of art, which in turn results in unprecise aims and programmes for their teaching. In conclusion it is stated that the improving of housing conditions and setting-up of a programme for secondary education is one of the most important problems of conservation training in Poland.

11

Kilka uwag o wkładzie pierwszej połowy XIX wieku do technik malarskich

100%

Ślesiński W.

Ochrona Zabytków

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1970

|

issue 4

279-284

EN

The present article represents a further consequent sequel in considerations which have been published by the same author in „Ochrona Zabytków” their subject being the situation in the field of painter’s technologies and techniques, the questions of the means with which and on which it has been painted and also of those of the artist’s workshop in the first half of the 19th century. The main objective of the present article consisted in presenting the contribution made by the first half of the 19th century to the painter’s techniques and ipso facto in reminding of an epoch which to a great extent has made its contribution to the actual state of knowledge and practical abilities in the field under discussion. Basing on such assumptions the author fo cusses his attention on listing of all features invented or developed within the period in question and applied in the painter’s techniques.

12

Z PIŚMIENNICTWA TECHNOLOGICZNO-KONSERWATORSKIEGO ZA ROK 1960

100%

Ślesiński W.

Ochrona Zabytków

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1961

|

issue 3-4

129-130

13

Konserwacja Ołtarza Mariackiego w XIX wieku w świetle znalezionego rękopisu

100%

Ślesiński W.

Ochrona Zabytków

|

1967

|

issue 2

3-11

FR

Un m a n u s c rit in co n n u ju s q u ’alors, d é co u v e rt p a r l ’a u te u r de l ’a rtic le p ré s en t, ré v è le to u te un e sé rie de rem a rq u e s c ritiq u e s (aussi b ien su r le p lan é th iq u e q u ’au p o in t de v u e pro fessio n n el). Ces rem a rq u e s v is a ie n t la d ire c tio n des tr a v a u x de r e s ta u ra tio n du re ta b le de N o tre Dame de Cracovie, e ffe c tu é s au cours des an n é e s 1866—71. Ce m a n u s c rit a é té le su je t d ’une longue é tu d e . Il s’ag is sa it n o tam m e n t de v é rifie r le b ien fondé ou le m a n q u e de fo n d em en t des c ritiq u e s su sd ites. L ’a u te u r procède à c e tte an a ly se à base d ’é tu d e s a rch iv a le s. L a c o n fro n ta tio n des d o cuments de sources sû re s avec le co n ten u de ce m a n u s c rit p e rm it de p é n é tr e r p lu s à fond d an s l’a tm o sp h è re e t d ans les coulisses de l’une des p lu s g ran d e s e n tre p ris e s de co n se rv a tio n ré a lisé e su r le te r r ito ir e de la Pologne au cours de la d eu x ièm e moitié du X IXe siècle. Grâce à quoi fu r e n t p ré s e n té s avec p lu s de détails les moyens e t les mé th o d e s ap p liq u é s lo rs de la re s ta u ra tio n du re ta b le de Wit Stwosz. Les p e rso n n a lité s des ré a lisa te u rs e t de c eu x q u i en a ssum a ien t la d ire c tio n ont é té ég a lem en t mis en lum iè re . L ’on p e u t d ire de façon g én é ra le , q u ’à l ’issu e des é tudes p récitées, il nous e st donné un ap e rç u m ieu x fo u rn i quoique d iffé re n t de l ’ancien, des tr a v a u x de co n se rv a tio n réalisé s. Le p r é se n t a rtic le co n stitu e le fra gm e n t d ’un e é tu d e plu s la rg e que l ’a u te u r e s t en tr a in d ’é la b o re r. L ’étu d e p o rte ra su r l’h is to ire de la co n se rv a tio n des m o n u m en ts h is to riq u e s au X IX e s.

14

Na czym i czym malowano w dobie romantyzmu w Krakowie

100%

Ślesiński W.

Ochrona Zabytków

|

1969

|

issue 2

117-130

FR

Le présent article constitue une continuation des é tu des menées par l ’auteur sur la technologie et les techniques picturales à l ’époque du romantisme {à с о т р . W. Ślesiński: De la technologie et des techniques picturales à l’époque du romantisme, „Ochrona Zabytków”, XIX, 1966, No. 3). Elles ont pour but la restitution de la technologie et des techniques picturales propres à la 1ère moitié du XIXe siècle non seulement pour approfondir notre science historique mais aussi pour des raisons pratiques, afin de préciser la date de la création et d’identifier l ’oeuvre d’art. Pour ces raisons chaque fait, même infime, peut avoir une ré e lle importance. Dans l ’article présent l ’auteur s ’occupe du problème des supports, des liants, des préparations, des colorants et des couleurs employées entre 1830 et 1860, surtout par les artistes peintres travaillant alors à Cracovie. Comme matériel de source sont utilisés pour ces é tu des les livres et les articles de la 1ère moitié du X IX e siècle, connus dans ce temps là à Cracovie, ainsi que les recherches effectuées par l ’auteur lui-même sur 23 tableaux de cette époque.

15

Z dziejów nauczania technologii i technik malarskich

100%

Ślesiński W.

Ochrona Zabytków

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1965

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issue 3

35-38

FR

L’auteur traite son article en qualité de compterendu sur l’histoire de la technologie et de la technique de peinture avant qu’elle ne soit élaborée en détails. Il aborde cette matière d’autant plus volontiers que son intention principale est d’attirer l'attention sur quelques faiits peiu ou pas du tout connus, qui sont: 1) L’adepte suivant ses études en peinture rencontrait autrefois de plus grandes difficultés et peines à terminer la technologie et la technique de peinture qu’à présent, et, en plus, cette discipline durait bien plus longtemps. 2) La crainte de ne pas être forcé de donne” aux beaux arts et au métier la même importance a eu, selon l’avis de l’auteur, un reflet défavorable sur la technologie et la technique de peinture. Cela s ’esit manifesté avant tout par l’abandonnement presque total des étude® en technologie dans les Académies des Beaux Arts de cette époque. 3) Les cours et les séminaires systématiques et isolés de la technologie et de la technique de peinture furent introduits seulement à la fin du XIX-ème siècle. 4) Du moment où l’éducation systématique de la technologie et de la technique fut introduite, une diversité manifeste s’est laissée apercevoir dans la manière de préparer les cours et le séminaires par des lecteurs de profession chimique ou des peintres enseignant ce sujet. 5) L’auteur de cet article a accordé le plus d’attention à l’histoire des études de la technolog'e et de la technique de peinture à l’Académie des Beaux Arts à Cracovie (depuis le moment de l’introduction de cours permanents jusqu’à l’année 1939).

16

Z rozważań nad miejscem konserwacji zabytków wśród innych dyscyplin

100%

Ślesiński W.

Ochrona Zabytków

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1970

|

issue 3

161-166

EN

The question as to the place the modern knowledge of cultural property conservation occupies among the other knowledges cannot be simply answered by m e ans o f knowledge classification prepared by UNESCO nor by that of National Sciences Foundation, USA or classification used by the USSR Central Statistics Office. Through the highlighting of evolution the concept of cultural property conservation itse lf has underwent in course of time, the motives and incentives tending the people to undertake conservation, the tasks and demands, methods and means applied as well as the professional and ethical requirements and those connected with the conservator’s training level the author makes an attempt to define specific features of the conservation itself. He comes to conclusion that it cannot be considered as an entirely humanistic field of knowledge though it deals with products of the man’s mind and culture neither as art, 'though some creative elements are apparently present in it, nor as a typica lly technical discipline even at the cost of its considerable shares of experience, observation and so on. From the author’s considerations a final conclusion could be drawn that conservation of cultural property in its actual state represents one o f practical knowledges c losely related to several other disciplines but under no condition aligning with them.

17

W związku z pierwszym numerem dwudziestego piątego rocznika "Ochrony Zabytków"

100%

Ślesiński W.

Ochrona Zabytków

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1972

|

issue 1

3-4

EN

An opportunity provided by the beginning of editorial work on the twenty-fifth volume of th e „Monument Protection” has been exploited by the author to present briefly the programmatic outlines of this quarterly. His review has, however, not been confined to presentation of the afore-mentioned outlines but also covered the analysis of its contents, proportions between the different parts of material published and the number of contributors, the level of their education and geographical regions in which they develop their activities.

18

Konserwacja witraży

100%

Ślesiński W.

Ochrona Zabytków

|

1993

|

issue 4

328-337

EN

The article presents a number of factors destructive for stained glass windows: water, air pollution, mechanical and microbiological elements as well as inappropriate conservation in the past, symptoms of corrosion and changes in the chemical composition of the top layer. The second part of the article describes prophylactic operations whose intention is to protect (isolate) the windows from the above mentioned detrimental factors. Finally, the author deals with conservation: cleaning, mechanical stabilization by gluing cracks, duplications and strengthening as well as the replenishment of missing glass and paint, repairs of the lead strips and the covering of the stained glass with protective coatings. Already a superficial comparison of the state of preservation of windows which have remained in their original location (and not in museums) with earlier documentation shows rapid deterioration in recent decades. The symptoms of this process are particularly visible on medieval stained glass which is less resilient to corrosion due to its higher alkalis content and a relatively low presence of bioxide of silicon. The glass shows limited resistance to mechanical factors but none at all to chemical factors. The degradation of stained glass constitutes a corrosion during which certain components are diluted and partially change into non-transparent products of disintegration.

19

Rekonstrukcja jako metoda w konserwacji zabytków ruchomych

100%

Ślesiński W.

Ochrona Zabytków

|

1993

|

issue 3

223-225

EN

It must be said at the outset that today reconstruction remains a sad necessity which can be applied only in certain cases, but not as a permanent element of conservation. The simplest differentiation of the supplementation of gaps is to describe lesser tasks as partial restoration and larger ones as reconstruction. The intention of conservation supplementation should be primarily to make the given object more legible, and not to restore its original appearance (a task which it is impossible to achieve anyway). Supplementation should mask gaps sufficiently to create the illusion of a uniform work, and to make it feasible to decipher its artistic merits. The opponents of such operations claim that supplementation must not be applied since a work of art should, as a document, remain in the state in which it has survived. The limits and manner of reconstruction, and even the purposefulness of supplementation, are controversial. The principles of conduct are to a considerable measure defined by the type of artwork, its value, the nature of the devastation, the legibility of the gaps, and the function of the object itself. It is necessary, therefore, to treat each work of art on an individual basis. Rigorous and strict rules cannot be observed in reconstruction owing to the unique and individual nature of every object. This means that the supplementation of gaps and reconstruction are not chosen without complete justification. They also cannot be performed according to the individual creative conceptions cherished by the conservator. General principles, applicable to all mobile monuments, recommend the treatment of the artwork as a document, and its reconstruction only in highly justified situations, without falsification of the original, and as reversibly as possible, without inflicting harm upon the monument.

20

Fałszerstwa wyrobów z porcelany i ich identyfikacja

100%

Ślesiński W.

Ochrona Zabytków

|

1993

|

issue 1

51-56

EN

The article deals with the history, technology and ways of recognizing forgeries. Similarly to all domains of art, high prices for porcelain led to imitations and forgeries. Counterfeit porcelain appeared rather early in China, the country of its origin, and by the beginning of the twentieth century, forgery assumed the features of an almost industrial production. The article discusses the history of the phenomenon and a number of ways to produce counterfeit objects such as the addition or supplementation of decoration, the replacement of less valuable ornaments by more valuable ones, the decoration of unembellished objects. The copying and altering of trademarks or artificial ageing. The author examines the qualitative and quantitative determination of porcelain, paint, glazes, styles, quality of artistic and technical execution and trademarks. Forgery can at times play a positive role such as the promotion of items regarded as worthy of purchasing and collecting.

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Nauczanie konserwacji zabytków dawniej i dziś

O nieznanym wkładzie Karola Soczyńskiego do nauki o konserwacji malowideł i grafiki

"Moderne Kunst - Handbuch der Konservierung", Heinz Althöfer,Düsseldorg 1980 : [recenzja]

Marian Słonecki (1886-1969)

"Rokokofassung und Materialillusion. Untersuchungen zur Polychromie sakraler Bildwerke im suddeutschen Rokoko", Ulrich Schiessl, Mittelwald 1979 : [recenzja]

Warsztat artysty-malarza z pierwszej połowy XIX wieku

Z PIŚMIENNICTWA TECHNOLOGICZNO-KONSERWATORSKIEGO ZA 1959 -1960 R.

O sytuacji w zakresie technologii i technik malarskich w dobie romantyzmu

Problemy konserwatorskie Krakowa w pierwszej połowie XIX wieku

Szkolnictwo konserwatorskie w Polsce : dorobek, stan obecny, kierunki rozwoju

Kilka uwag o wkładzie pierwszej połowy XIX wieku do technik malarskich

Z PIŚMIENNICTWA TECHNOLOGICZNO-KONSERWATORSKIEGO ZA ROK 1960

Konserwacja Ołtarza Mariackiego w XIX wieku w świetle znalezionego rękopisu

Na czym i czym malowano w dobie romantyzmu w Krakowie

Z dziejów nauczania technologii i technik malarskich

Z rozważań nad miejscem konserwacji zabytków wśród innych dyscyplin

W związku z pierwszym numerem dwudziestego piątego rocznika "Ochrony Zabytków"

Konserwacja witraży

Rekonstrukcja jako metoda w konserwacji zabytków ruchomych

Fałszerstwa wyrobów z porcelany i ich identyfikacja