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1

Portrety Mikołaja Kopernika z katedry w Strasburgu i z Muzeum Okręgowego w Toruniu

100%

Flik J.

Ochrona Zabytków

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1974

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issue 1

66-72

EN

To the number of the most ancient images of Nicolaus Coipernieuis are to be counted a portrait painted oil on a pine wood pained by Tobias Stimmer in 1571—74, forming a part of the astronomical clock of the Strassbourg Cathedral and that at present preserved in the Museum in Toruń, coming from the end of the 16th century which, according to the author’s investigations, was executed by a Dutch artist named Marcus Geeraets on the basis of a portrait drawing once preserved in Frombork. Marcus Geeraets was for many years supplying his drawings to Theodore de Bry, an engraver, who at the end of the 16th century have executed the well-known copper plate representing the portrait of that great astronomer. Both the above-named artists can therefore be listed as the first inspirers and publishers of Copernicus images in the Netherlands, Germany and England. By means of X-raying it became possible to reveal in the Toruń portrait an underpainting which was e x ecuted much more artistically than the final version itself. As to its details this underpainting is identical with the copper plate engraving by de Bry which means that the engraver must have seen the portrait during the first stage of its execution and made use of the accurate drawing prepared by the Dutch painter. In the further course of investigations of that portrait it proved that in the 17th century it was shortened in height and that the sitter wais originally shown with his both fists visible, holding in one hand a istem of lily of the valley. As a consequence of the same X-ray investigations it was possible to etablish that the Strassbourg portrait was overpainted in 1835 basing on a copy from 1735 that was made for the Paris Astronomical Observatory from a sixteenth-century drawing then preserved in Toruń. From the attached rentgenograms it may easily be seen that in the authentic version the astronomer is portrayed with a quite different hair-do; his long hairs are straightly and freely hanging over the shoulders. Also the garment, having quite different shape of its folds, is bordered with a big, seemingly fur collar. So then, the most ancient image from Strassbourg that was, according to every probability, executed by Tobias Stimmer and the portrait from Toruń are two entirely different images differing one from another not only artistically but also technically and it must be said that that kept in the Regional Museum, Toruń As to be considered as one of considerably better quality.

2

Badania konserwatorskie potwierdzeniem hipotezy historyka sztuki

100%

Flik J.

Ochrona Zabytków

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1964

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issue 3

49-52

FR

En 1957 l’atelier de conservation du Musée de Toruń entreprit la conservation d ’uin tableau représentant la ville de Toruń vue du Nord. Ce tableau fut considéré comme la peinture de chevalet la plus ancienne représentant cette ville, car sur la banderole il y avait l’inscription Thorn von Norden et la date 1670. Pourtant le docteur Zygmunt Kruszelnicki a trouvé cette date douteuse et a fait part de son opinion dans son ouvrage sur les anciennes vues de Toruń, publié en 1957. En se basant sur les modifications réalisées dans de nombreux bâtiments, reconstruits à la suite des dégâts causés par le siège Suédois de 1703, l’auteur de cet ouvrage trouve que ce tableau date tout au plus de la moitié du XVIIIe siècle. Le Musée de Toruń possède aussi un dessin par un artiste inconnu, représentant la même vue de la ville, mais provenant de la seconde moitié du XVIIIe siècle, ce qui est démontré par l’apparition de l’église protestante qui fut construite en 1753—56. Cette église n’apparait point sur le susdit tableau, donc cela semblerait prouver que la peinture avait été exécutée plus tôt que le dessin, probablement vers la moitié du XVIIIe siècle. Cependant au cours de la conservation, après avoir enlevé les parties repeintes, on a constaté que la banderole authentique ne portait point la date 1670 et l’on a découvert la façade de l’église protestante recouverte par des adjoinctions ultérieures. C’est ce fait, ainsi que la représentation de l’église de Notre Dame avec un double toit (à deux inclinaisons) qui a remplacé l’ancien toit triple seulement en 1798, nous obligent à fixer la date du tableau en question à la fin du XVIIIe siècle ou même au début du XIXe. Ainsi les études des conservateurs ont confirmé l’hypothèse de l’historien d’art en permettant d’établir que le tableau présentant le panorama de la ville de Toruń a été peint au plus tôt vers la fin du XVIIIe siècle.

3

Leonard Torwirt (1912-1967)

100%

Flik J.

Ochrona Zabytków

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1968

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issue 1

58-61

4

Pracownia Konserwatorska Muzeum Okręgowego w Toruniu

100%

Flik J.

Ochrona Zabytków

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1972

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issue 3

213-215

EN

Th e C o n se rv a tio n Division ex istin g w ith in th e Reg io n al Museum, T o ru ń is e n tru s te d w ith co n se rv a tio n an d re s e a rc h w o rk s m a in ly in th e fie ld of p a in tin g s a n d th e polychromed wood scu lp tu re . E stab lish ed in 1957 it has a lre a d y fo r a p e rio d of six y e a rs its own chemical la b o ra to ry w h e re th e p hysical and chemical an a ly s e s a re being c a rrie d o u t serving, above th e all, fo r th e p re p a r a tio n of te ch n ic a l re p o rts and d o cumen ta tio n s of co nservation. To h a v e th e p a in te r ’s m a te ria l, th e m a n n e r in which it h a s b e en used, th e g ra d e of its d e te rio ra tio n , etc. p ro p e rly d e te rm in e d it is in d isp en sab le to eq u ip th e la b o r a to ry w ith th e X -r a y ap p a ra tu s , a set of m icroscopes, v a rio u s k in d s of lig h tin g an d e x p o su re lam p s an d in ad d itio n w ith a wide ran g e of o th e r facilities. And, n amely with such high class a p p a ra tu s is equ ip p ed th e C o n se rv a tio n Division of Regional Museum, Toruń. In his re p o r t th e a u th o r deals also with th e a c tiv itie s of co n se rv a to rs w ith in th e ir n o rm a l w o rk in Museum w h e re th e y a re resp o n sib le, too, for th e su itab le a ir conditioning both in ex h ib itio n rooms and stores. While p lan n in g th e m ic ro -c lim a tic conditions p rev a ilin g in th e Regional Museum, T oruń it m u st also be bo rn e in mind th e mo n um en ta l c h a ra c te r of its in te rio rs as th e Museum is being housed in th e b u ild in g of th e a n c ie n t Town Hall.

5

Aparaty własnej konstrukcji

100%

Flik J.

Ochrona Zabytków

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1964

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issue 3

52-54

FR

Etant convaincu de ce que des rationalisations très simples peuvent faciliter énormément le travail du conservateur, l’auteur décrit quelques appareils construits à l’atelier de conservation du Musée de Toruń. Ces appareils sont les suivants: les cautères, un petit réservoir doté d’un petit piston pour des masses employées en haute température et un réservoir produisant la vapeur. On a construit deux types de cautères; l’un a la forme d’un tout petit fer à repasser avec un radiateur en dedans; l’autre ayant des bouts différents en cuivre interchangeables, facilitant la formation de la cire. Les deux cautères ont des radiateurs de 80 W et ils fonctionnent à un voltage de 220 V. Ils ne pèsent que 190 g ce qui est très commode lorsqu’on a à faire des traitements hors du musée. Le petit réservoir doté d’un piston possède un radiateur placé dans sa partie inférieure e t pour enlever la cire il est muni d’un tube étroit terminé par un bout taraudé. Ce réservoir sert à remplir les parties endommagées qui sont difficilement accessibles dans des objets en bois. Il fonctionne à un voltage de 220 V. Son poids n’est que de 350 g et il peut être employé pour introduire non seulement la cire mais toutes les matières appliquables à haute température. Le réservoir servant à former la vapeur est construit comme un appareil qui peut être utile lorsqu’il est impossible d’avoir l’installation coûteuse et difficile à obtenir qui contrôle l’humidité dans les salles des musées. Le réservoir de 5 1 de capacité est muni de petits orifices dans sa partie supérieure et d ’une installation de chauffage dans sa partie inférieure; après avoir été rempli une fois il peut fonctionner pendant 12 heures. Ce réservoir produit une quantité de vapeur suffisante pour hausser l ’humidité relative de 45°/o dans une salle ayant 60 m2 de surface — de 25°/o en 5 heures.

6

Analiza technologiczna portretów królewskich z Muzeum Okręgowego w Toruniu

100%

Flik J.

Ochrona Zabytków

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1966

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issue 4

51-57

FR

Le Musée Régional de Toruń possède l’une des plus anciennes suite des rois de Pologne composée de 23 portraits, peints à l’huile sur toile. Pour la première fois, ces portraits furent soumis à l’étude des conservateurs. En 1964, transportés à l’atelier de Conservation du Musée, ils ont subi des traitements substantiels en même temps que des investigations technologiques. Le but visé, en premier lieu, par ces recherches était d’établir la date de la création des portraits et d’indiquer l’atelier dont ils sont sortis en procédant à l’analyse de la matière picturale basée sur des expériences physico-chimiques. Des recherches concernant la facture du parement ont permis d’établir le nombre des artistes qui ont participé à la création de cette série. C’est surtout de la matière picturale que l’on s’est occupé en procédant à l’analyse de la composition technique (métier, toile, couche de préparation, couches adjacentes, vernis). Elle a démontré que les plus anciens de ces portraits datent des années 1645—1648 donc du régne de Ladislas IV. Notamment au groupe susdit appartiennent les portraits de: Waclaw le Tchèque, Louis l’Hongrois, Ladislas Jagellon, Ladislas de Varna, Casimir Jagellon, Jean Albert, Alexandre, Sigismond le Vieux, Sigismond Auguste, Henri de Valois, Etienne Batory, Sigismond III et Ladislas IV. Les plus intéressants documents furent révélés par l’enlèvement des trois couches superposées des repeints. Des inscriptions authentiques de grand intérêt, ont été mises à jour. Elles corroborent les résultats des investigations précédentes. Les portraits de Jean-Casimir, Jean Sobieski et Michel Wiśniowiecki ont été peints dans la seconde moitié du XVIIe s. du vivant de ces rois. Les derniers de la série, ceux d’Auguste II et d ’Auguste III ont été faits au début du XVIIIe siècle. Les analyses de la facture du parement ont révélé aussi que trois artistes ont dû travaillé à la réalisation des plus anciens de ces portraits. Les suivants, très différents les uns des autres, ne marquent aucune analogie, ce que démontre que chacun d’eux fut l’oeuvre d’un autre artiste. Tous les portraits proviennent probablement de Toruń et constituent l’oeuvre des ateliers de corporations locales.

7

Portrety Jana Heweliusza z Gdańska i Oxfordu - studium warsztatu malarskiego

100%

Flik J.

Ochrona Zabytków

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1995

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issue 2

169-180

EN

Two almost identical portraits of Jan Heweliusz, the celebrated astronomer who was born and died in Gdańsk ( l6 l 1-1687), have been subjected to technological investigations. One of the portraits is featured in the Library of the Polish Academy of Sciences in Gdańsk , and the other is displayed in the Bodleian Library in Oxford where it was sent by Heweliusz himself in 1679 as a gift for the Royal Society of London for the Promotion of Natural Knowledge, whose member he became in 1664. Upon this basis, the origin of the portraits is placed in 1678-1679.Some historians of art believe that the authors are two eminent artists working at that time in Gdańsk: Daniel Schultz (1615-1683) or Andrzej Stech ( 1635-1697). Other experts support the authorship of only the second of the two. Both painters modelled themselves on art from the Low Countries whose influence upon the Gdańsk artistic milieu was considerable. It is difficult to distinguish the works by Daniel Schultz and Andrzej Stech due to a certain thematic and plastic similarity, this task can be completed only upon the basis of historical investigations. Consequently, technological research was needed to explain at least some of the problems connected with the technique applied in case of both of the portraits. The preparation of a copy of the Gdańsk portrait for the Mikołaj Kopernik Museum in Toruń (1994) not only offered an excellent opportunity for writing this article but additionally provided extensive technological experience pertaining to the manner in which the portrait was painted. Research has disclosed that both depictions were executed according to the principles of seventeenth-century Dutch painting: on linen canvas with red ground and grey oil underpainting which determined the actual shape of the composition. The finishing layers were realised in oil with the „alla prima” method and glazing. The surface of the Oxford painting is smoother as a result of thinner canvas and better polished ground. The texture does not show distinct traces of brush strokes. On the other hand, the Gdańsk portrait reveals bolder and wider brush strokes with impasto effects. These features bring the Gdansk painting closer to the works of Daniel Schultz. The Oxford portrait is characterised by a subtle, smooth painting manner, more typical for the compositions of Andrzej Stech. X-ray tests show that the author sought an ultimate painting and drawing form in the course of the creative process. Visible changes testify to the fact that the portrait is neither a copy or a replica but an original portrait of the astronomer realised upon the basis of an authentic drawn sketch which also served as a model for the author of the Oxford portrait. Computer analyses indicate that only the faces in both depictions are relatively identical but the remaining fragments, despite an illusory similarity, differ as regards shape, size and arrangement. In conclusion, it must be said that the Oxford and Gdańsk portraits, albeit similar in colour and partially from the point of view of their draughtsmenship, present a basically different painting technique which demonstrates that they were executed by two artists: Daniel Schultz (the Gdańsk portrait) and Andrzej Stech (the Oxford painting), whose painting temperaments varied but who remained followers of identical plastic patterns.

8

Imitacje tkanin brokatowych w śląskim warsztacie malarskim Mistrza lat 1486/1487

63%

Flik J., Olszewska-Świetlik J.

Ochrona Zabytków

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2001

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issue 1

49-55

EN

The article concerns the technology of imitating embossed brocades applied in the painting workshop of the Master from 1486/1487. Paintings executed in this workshop retained numerous examples of imitations of brocade textiles fashionable during the Middle Ages. Material serving the execution of imitations is defined with the assistance of micro–chemical and instrumental investigations such as: spectral emission analysis, energy dispersion X–ray analysis with the application of an electronic micro–probe and gas chromatography. The conducted analyses, supported by the authors’ knowledge about old technologies and techniques, made it possible to define the way of executing imitations of embossed brocades in the workshop of the Master from 1486/1487, similar to the one described in the treatise Liber Illuministarius, kept in a Munich library. The outcome of the research provides valuable information about technologies and techniques employed in paintings by the Master from 1486/1487. Furthermore, they constitute source and comparative material useful for the establishment of the tradition of using imitation textiles by means of the embossed brocade technique in Polish and European painting.

9

Obraz Św. Rodziny z początku XVII wieku z kościoła parafialnego w Osieku koło Brodnicy - kopia obrazu Bartolomea Cavarozziego

63%

Flik J., Waźbiński Z.

Ochrona Zabytków

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1996

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issue 4

365-374

EN

A discussion conducted by professor Jozef Flik, conservator and technologist of painting, professor Zygmunt Waźbiński, historian of art, and Dr. Sergio Benedetti, conservator in the gallery of Italian painting in the National Museum of Dublin, led to a conclusion that the Holy Family in Osiek, near Brodnica (voivodeship of Toruń), was executed in 1620-1622, and is a copy made upon the basis of a painting by B. Cavarozzi, probably displayed in Rome at some time in the past. A copy of the same painting, discovered at an auction held by Sotheby’s on 7 October 1981, and almost identical to the painting from Osiek, testifies to the considerable popularity of Cavarozzi and the Holy Family theme in the seventeenth century. It has been ascertained that both copies, executed in oil on canvas, originate from outside the Cavarozzi workshop, and were made by second-rate artists. Nonetheless, the painting in Osiek is at present the most faithful version of the lost Roman original. Detailed technological research has found that it was executed on linen canvas with a red emulsion priming ground and in an alla prima oil technique, with the application of impasto and a glaze finish. The painting in question is a typical example of Flemish technique from the first half of the seventeenth century, based on a precise depiction of forms with the employment of the effects of the so-called optical greyness of the painting, on a red ground and with illuminating modelling, which was an ideal method for presenting the chiaroscuro in the Baroque. This method was initially imitated in Italy, but in time it was abandoned due to the supposed difficulties produced by lengthy and time-consuming work, which did not correspond to the temperament of artists from the South. At any rate, these facts testify to a mutual exchange of workshop experiences between Northern and Southern Europe.

10

Zbigniew Brochwicz (1924-1992)

50%

Flik J.

Ochrona Zabytków

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1995

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issue 2

243-245

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Portrety Mikołaja Kopernika z katedry w Strasburgu i z Muzeum Okręgowego w Toruniu

Badania konserwatorskie potwierdzeniem hipotezy historyka sztuki

Leonard Torwirt (1912-1967)

Pracownia Konserwatorska Muzeum Okręgowego w Toruniu

Aparaty własnej konstrukcji

Analiza technologiczna portretów królewskich z Muzeum Okręgowego w Toruniu

Portrety Jana Heweliusza z Gdańska i Oxfordu - studium warsztatu malarskiego

Imitacje tkanin brokatowych w śląskim warsztacie malarskim Mistrza lat 1486/1487

Obraz Św. Rodziny z początku XVII wieku z kościoła parafialnego w Osieku koło Brodnicy - kopia obrazu Bartolomea Cavarozziego

Zbigniew Brochwicz (1924-1992)