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KONSERWACJA POLICHROMOWANYCH DESEK Z OSIEKA KOŁO KOŚCIANA

100%

Powidzki K.

Ochrona Zabytków

1999

issue 3

246-249

The author describes the course of the conservation of polychromy boards discovered in 1988 in a manor in Osiek near Kooecian. The boards covered the wooden construction of a division wall and a ceiling in a staircase and the first floor of the building. Made of coniferous wood of various width and length, and 2,5–4 cm. thick, the boards are hand–worked, with traces left by the tools — a chisel and a plane. The clearly visible texture of the wood shows numerous indentations around the knots and a slightly uneven surface. Chalk–glue, white and thin grounding, and a painted layer (thin tempera — glutinous glue and oil varnish) were placed on this basis. The colour of the polychromy is composed of ochre: yellow, red. and brown, whitening, achieved by means of white lead, white elements — chalk with the addition of white lead, and terra di Siena. The polychromy is dated as the 1730s, and its author remains unknown. The original composition configurations were damaged due to the cutting of the boards and their adaptation to a new function, i. e. that of building material. The extant fragments were used for the completion of five compositions intended for museum display. The boards were rendered whole and the painted layer was made permanent by a group of conservators headed by Krzysztof Powidzki. Today, they are displayed in the palace in Trzebiny near Leszno.

KONSERWACJA POLICHROMII I SZTUKATERII W PAŁACU W KONARZEWIE

100%

Powidzki K.

Ochrona Zabytków

1999

issue 4

391-402

In 1991–1996, the author supervised the conservation of polychromy and stucco in five chambers in Konarzewo Palace near Poznań: the hall and alcove on the storey, the music and corner rooms on the ground floor, and the grand dining room; unfortunately, the undertaking remains uncompleted. The polychromy represented assorted states of preservation, and certain parts disclosed more than 50%gaps. The conservation, preceded by photographic documentation, began with the removal of repainting and oil varnish rubbed into the plaster surface. Initial attempts were made to remove the repainting with the aid of organic solvents (mineral spirits, turpentine, toluene, acetone). Satisfactory results were obtained, however, after the application of pastes based on methyl chloride. Remnants were removed with acetone, with simultaneous additional cleaning by means of bristle paint brushes. The complete removal of the oiled painted layers was followed by a cleaning of the surface of the painting with a 5% solution of saponins in distilled water. The elimination of the repainting revealed the presence of rather numerous gypsum putties, especially along the edge of the composition. The putties were removed mechanically. The loosening of the plaster was glued with a 5–10% water solution of polyvinyl acetate. Gaps in the plaster and cracks were filled with a lime–sand mass (3:1), covering moistened areas with a thin layer of lime, tinted with the local colour. Repair of the gaps and rubbed out spots was accomplished by resorting to the “small point” technique, and mineral paints produced by Winsor–Newton, diluted in whitewash. The surface of the painting was rendered protected with a 1% solution of Paraloid B–T2 in toluene. The removal of the repainting of the stucco was conducted mechanically, after the surface was sprinkled with water. The softened additional layers were eliminated with stucco and sculpting tools. The surface was cleaned with stubble paint brushes and small brushes. The performed work made it possible to localise the original colour of the background. After the complete cleaning of the surface of the stucco and the background, the conservators supplemented the decoration (profiled elements), and applied putty in cracks and chips, by using lime–sand mortar. The colour of the ceiling was reconstructed upon the basis of preserved fragments. The painting was performed by using a lime–casein solution, highly diluted and with glazing properties. Covering the surface and achieving the suitable colour called for painting it from two to three times.

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2 Ochrona Zabytków

2 Powidzki K.

2 1999

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KONSERWACJA POLICHROMOWANYCH DESEK Z OSIEKA KOŁO KOŚCIANA

KONSERWACJA POLICHROMII I SZTUKATERII W PAŁACU W KONARZEWIE