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Odkrycie i konserwacja polichromii renesansowej na sklepieniu prezbiterium kościoła parafialnego w Lipnicy Wielkiej

100%
Furdyna J.
Ochrona Zabytków
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1969
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issue 4
296-302
FR
L ’église à L ip n ic a tir e son orig in e de la 2-ème m o itié du X lV -èm e siècle. C ’e s t u n b â tim e n t c o n s tru it en p ie rre s flu v ia le s à un e nef su r p la n g o th iq u e fla n q u é d ’e scarp es. Les vo û tes du ch o eu r s’é ta le n t su r des croisées à d o u b le trav é e . Dans la s tr a tig r a p h ie des couches de c rép is e t de l ’e n d u it sec d e la v o û te du ch o e u r p a r a is s e n t d eu x couches de p o ly ch rom ie — une, e x té rie u re , p ro v e n a n t de la fin du X V IIIe s. e t u n e a u tr e qui se tro u v a it su r la 3-èm e couche des tem p s de la R en a issan c e p ro v e n a n t b ie n p ro b a b lem e n t de la I- è r e m o itié du X V IIe s. Vu le trè s m a u v a is é ta t de co n se rv a tio n de la p o ly ch rom ie sty le ro c a ille , ap rè s l ’éx e cu tio n de la complète d o c um en ta tio n , elle fu t en lev é e afin q u e 1 on p u isse p ro c é d e r à la c o n s e rv a tio n de la couche de p o ly ch rom ie a n té r ie u re , assez b ien co n se rv é e , s ’é te n d a n t su r to u te la su rfa c e de la vo û te , de 55 m 2 e n viron. La p o ly ch rom ie du X V IIIe s. r e p r é s e n ta it d ans la p a rtie c e n tr a le d e la voûte, une scène de la D o rmitio n de la Vierge; dans les 4 lu n e tte s c o rre sp o n d an te s , les effigie s des P è re s de l ’Eglise e t s u r le s p e n te s du b e r ceau de la vo û te , e n tre la c é s avec des m o tifs ro c a ille , les o rn em e n ts de p e tite s fle u rs . L a p o ly ch rom ie é ta it m a in te n u e d an s des tons d é lic a ts où d om in a ie n t des fonds g ris ou c en d ré s, e x é cu té s se lo n la te ch n iq u e visqueuse. Au mom en t où l ’on p ro c éd a au x tra v a u x de co n se rv a tio n , son é ta t g én é ra l de c o n se rv a tio n ne d é p a ss a it pas 30°/о. La p o ly ch romie dévoilée de la R en a issan c e e st d ’un c a ra c tè re p u rem e n t dé co ra tif. S u r u n fo n d c la ir u n ifo rme , g ris -ja u n â tr e , le p e in tre a dessiné, avec d e x té rité e t u n e tr è s h a u te con n a issan c e de l ’a r t p la s tiq u e , des e n tre la c em en ts de p la n te s e t de fleu rs, d ’oiseaux e t d ’é lém e n ts fig u ra tifs an tro p om o rfiq u e s . Au milieu de la voûte, dans un o val c e rn é d ’en tre la c s , se tro u v e un e im ag e de la S a in te Vierge de Częstochowa. S u r l ’in tra d o s de l ’arc de triom p h e se tro u v e n t les symboles de la Passio n de No tre Se ig n eu r: deux anges a ilé s et, au c en tre , la tê te du C h ris t co u ro n né e d ’é p ines. Le p ro g ram m e ré a lis é de c o n se rv a tio n v isa it, hors la d o c um e n ta tio n complète: la fix a tio n des crépis m a l jo in ts , à le u r base, p a r des in je c tio n s de p o ly a c e ta te de v y n ile acéto n iq u e avec rem p lis s e u r de p ie rre -p o n c e , le com p lè tem en t des p e rte s des crépis e t de l ’e n d u it sec à l ’aide d ’un composé de ch au x e t de sab le ou de p o ly v in y le e t p ie rre -p o n c e , en su ite l ’ap p lic a tio n su r ces place s de blanc à ch au x , n e tto y ag e de la su rfa c e de la p e in tu re et, p o u r fin ir, un p o in tillag e selon la m é th o d e de ra ie s ob liq u e s dans un ton plu s c la ir que l’en to u rag e . I a p o ly ch romie a été consolidée p a r un e solution d ’en v iro n 3% de p o ly a c e ta te de v in y - le ac é to n iq u e dans l ’alcool é th y liq u e . I e com p lè tem en t des m an q u e s s u r l ’é te n d u e de la p o ly ch romie de la R enaissance re v ie n t au to ta l à 20fl/o en v iro n de sa surface. La p o ly ch romie conservée, v u son gen re e t son sty le conformes à l ’épo q u e ainsi qu e c e rta in e s données a r chivâtes — d ém o n tre selon to u te p ro b ab ilité , sa p ro ven an c e de la fin du I - e r q u a r t du XVIIe siècle. Le soussigné e st l’a u te u r de la d éco u v e rte e t des tra v a u x de co n se rv a tio n de la po ly ch romie envisagée.
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Wełtyń - odkrycie i konserwacja polichromii

100%
Ochrona Zabytków
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1962
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issue 2
77
3
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Odsłonięcie, konserwacja i restauracja części wystroju malarskiego kaplicy św. Jakuba w kościele NMP w Gdańsku

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Diakowska-Czarnota A., Kozarzewski M.
Ochrona Zabytków
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1983
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issue 3-4
258-260
EN
About 1960 during bricklayer’s works carried out in St Mary’s Church in Gdaństk, the workers of a Gdańsk Divisionof the Ateliers for Conservation of Cultural Property found out in a south aisle of the presbytery in St Jacob’s Chapel the existense of polychromy under old whitetewashes. It was then stated that was the painting depicting a detail of Last Judgement. The work on this wall painting has been recently resumed. The white-was-hes have been removed uncovering, for technical reasons, only small parts. The uncorvered painting has a form of a narrow belt (1,4 m wide and 9,3 m high). Conservation and restoration work was carried out by a team of workers from the Toruń University of Nicolaus Copernicus. After removing the remaining parts of white-washes from the painting with scalpes and bread crumb, plaster loosened from the base was cemented with a 15—25R/o water emulsion of vinyl poly acetate (Talens, Holand) with the addition of whiting as an extender. A serious problem represented yellow stains appeaning on the surface of the painting caused by a migration of ferric salts during smoothing down the blisters. It was possible to remove the staining partially by putting wet compresses from wood-wool. Attempts to impregnate blisters from inside with solutions of Paraloid in toluen and of PMB in acetone ended in failure. The missing parts in the painting were done with hatching (trateggio). Preserved parts of polychromy made it possible to reconstruct the form and colours of basic elements. Water-colour paints made by Talens and Winsor Newton were used for retouching. A preliminary stylistic analysis suggests the effect of Czech painting, pronounced in particular in the figure of St Jacob. A full hictoric and iconographie interpretation will be possible only after the uncovery of all polychromy.
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KRONIKA. Z PRAC P.K.Z. NAD KONSERWACJĄ POLICHROMII W KOŚCIOŁACH DREWNIANYCH

88%
Dąbrowski K.
Ochrona Zabytków
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1951
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issue 3-4
212-213
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Późnobarokowy kościół pielgrzymkowy w Krośnie na Warmii : zagadnienia konserwacji malowideł ściennych

63%
Jakubowski P., Markowska-Ferreira A.
Ochrona Zabytków
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2009
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issue 3
15-23
EN
Krosno, near Orneta, is located on a meander of the Drwęca Warmińska river. Since the 16th century, it has been known as a pilgrimage site, owing to the presence of a shrine which was built in the place where a small stone figure presenting the Holy Mother with the Child was found in the river. The shrine building was completed in 1777., although decoration works were later performed at the beginning of the 20th century by the Italian artist Zanetti of Königsberg and Ferdinand Busch of Berlin. Currently, the entire layout requires urgent restoration work. The immediate intervention of a conservator is particularly necessary for the interior of the shrine where the painted decorations on the vault are endangered. The condition of the wall-painting in the church is disastrous. As a result of the total degradation of the organic binder, the entire surface of the wall paintings is powdered. In 2007, the conservation of one of the scenes in the wall painting was undertaken by Agnieszka Markowska, a student of the Faculty of Conservation and Restoration of Works of Art of the Academy of Fint1 Arts in Warsaw. This task constituted the practical part of her master’s thesis. The works consisted in the requisite technical and technological treatments and the reconstruction of all the missing parts of the paint layer. In the course of the conservation works thus carried out, the student performed a series of typical treatments, such as the disinfection, desalination and cleaning of the painting surface, as well as the consolidation and supplementation of the missing parts of the base. However, the most difficult task was to strengthen and reconstruct the paint layer. A question hangs over the future of the entire pardon complex. Such a large building requires huge financial commitment. Apart from repair works on th<; convictus of the priestly congregation and galleries, an exhaustive restoration of the church is required. For such extensive works, comprehensive and scheduled activities are normally required. It is necessary to develop a uniform and cohesive conception, together with a sweeping conservation and arrangement design encompassing the interior and furnishings in their entirety.
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Zagadnienia konserwatorskie malowideł ściennych oraz cegieł podłoża w kościele św. Jana w Gnieźnie

63%
Domasłowski W., Zdzitowiecka M.
Ochrona Zabytków
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1965
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issue 1
30-44
FR
La Commission des Conservateurs en 1952 ayant procédé à une expertise des peintures polychromes gothiques (1350—60) à l ’Eglise St. Jean à Gnieizno, décréta que l’aspect actuel de ces peintures est en opposition flagrante avec les principes de base propres à ce genre d ’art plastique. Elle constata également que les briques des .murs sur lesquels ces peintures s ’étalent, subissent un procès de destruction évidente. Compte tenu des conclusions établies par la Commission précitée, on entreprit (Ateliers de Conservation Toruń) sur la demande du Ministère de la Culture et des Arts, des investigations relatives à l ’êtat actuel de ces peintures et aux procédés de conservation dont pourraient être saisies les briques des supports tombant en ruine. Les peintures qui sont effectuées sur une couche très mince de blanc de chaux, ne peuvent être reportées sur d’autres supports. Les suivantes conclusions furent tirées en résultat des recherches effectuées: a) Concernant les peintures polychromes: 1) pendant la conservation (an. 1920) on effectua des pointillages et des retouches dépassant les limites des activités de restauration admises tant au point de vue historique que par rapport aux valeurs esthétiques de l ’oeuvre en question. Les peintures murales précitées passaient ju squ ’alors pour n’avoir jamais été retouchées ni repeintes; 2) en resultat d’une méthode de restauration erronnée (fusion de la cire) et des procédés chimiques survenus au cours du temps (surtout le changement des colorants de cuve), les couleurs originales des peintures ont subi des modifications notoires, b) Concernant la conservation des briques: 1) Les briques furent détruites par l’action des sels solubles dans l ’eau. 2) Les briques peuvent être colmatées (méthode d’injection) à l’aide de solutions des résines artificielles d’une petite viscosité dans des dissolvants de volatilité moyenne (au cours des épreuves on appliquait le polychrorure de vinyl chloré, cependant il est indicable d ’employer le polymetakrylate de methyl). Le colmatage en question donne en resultat l’accroissement de la resistance des briques a l ’action de l’eau et la diminution de l ’imbibition, de la porosité ouverte et de la .pénétration. Le procédé ne cause pas la fermeture complete des pores et limite le mouvement libre des sels dans les parties imbibées. Les briques sur lesquelles se trouvent les peintures polychromes n’ont jamais été imprégnées ju squ ’à ces temps.
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Prace konserwatorskie i rekonstrukcja malowideł na złocie w Gabinecie Konferencyjnym

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Iwanicka K., Jachacz B., Rudniewska H.
Ochrona Zabytków
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1987
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issue 1-2
127-132
EN
The Conference Room in the Royal Castle in Warsaw is rather a small room, set on the plan of an irregular o c ta gon, a d jo in in g the Throne Room. Its very rich painting decor was made by Bogumił Plersch in 1784—1788. The p aintin g s are done on gold in a distemper techniue in the style of Raphael’s grotesque with plant adornments th a t represent the setting for portraits of seven 18th-century European rulers. Under the portraits we find five compositions , en grisolle, whose subject-matter is associated with the country of the ruler on the portrait above. Just like the walls, the plafond is also decorated; it also has a similar ornamental decoration with eight sphinxes introduced into it. In 1940 the paintings were cut from the walls and secured before the planned blowing-up of the Castle by the Germans. Parts of the paintings were first stored in the National Museum and then hidden in several places. They were protected by inundating their reverse with 5 cm layer of gyp- * sum. Unfortunately, most of them got destroyed during the war. Nevertheless, this is the only o rigina l painting in the Royal Castle preserved to such a degree (nearly 1 / 4th of the wall surface and ca 4/5th of the painting on the p la fond were saved). After the war, in 1965, the preserved deta ils o f polychromy were glued and put together. The reverse sides of the original were strengthened with lime wate r and inundated with mortar containing chalk and polyvinyl alcohol as well as with a metal net construction. Parts of the painting were put together in form of the pictures encircled with wooden frames and they are to be put on display in the National Museum. Besides, they were subjected to various conservation treatments such as cle aning, fixing the scaled polychromy, while missing parts of the groundwork, paint and g ild in g were made up. In 1971 the decision was taken up to reconstruct the Castle and in 1977 the Workshop fo r the Conservation of Paintings, attached to the State Ateliers fo r the Conservation of Cultural Property — branch office in Warsaw, commenced conservation work on the painting decor and gildings of the preserved details of wood-carving and stucco work. After compiling archival, photographic and inventory material the work started. A schematic drawing of the plafond was made on a scale 1 :1 with preserved and made-up missing elements marked on it. The same procedure was employed in the conservation and reconstruction of the polychromy on the walls. The layout of the ceiling with accordingly distributed elements was placed inside a newly-built ca b inet on a rig id scaffolding. "Low walls" with polychromy were fixed on a "fa ls e ” roofing by means of a special construction designed by A. Pawlikowski. Parts of o rigina l p a in tings on walls were fixed with brass ties in specially located recesses in the walls on a scale 1:1 in accordance with schematic drawings. A few layers of chalk and glue whiting, tinted and polished, were put under reconstructed polychromy. A special technique of gild in g and painting, similar to th a t used by Plersch, was worked out. The g ilding on "m ix tio n ” with pure gold was app lie d and the reconstruction was done in a distemper technique (adhesive made from the egg, gelatine and dammar varnish). All this was preceded with many trials and studies employing, i.a., painting techniques of Plersch in the Royal Castle and those found in the Łazienki Park in Warsaw and the Mansion House at Jordanowice. Paintings on wooden wainscot g o t reconstructed and all preserved gild e d elements of wood-carving and stuccowork were subjected to conservation. Stippling was done with hatches with gold powder, then polished, differentiating thus o rigina l parts from the reconstructed ones, which were done with gold plates. The conservation and reconstructional work was carried out between May 1977 and July 1979 by the following conservators headed by Halina Rudniewska: Katarzyna Iwanicka, Barbara Jachacz, Małgorzata Kozińska, Jerzy Suchwałko and Jerzy Szymczewski. The reconstruction of the polychromy on the winscoting was done by Kalina Stawicka, while the g ild in g work — by the team headed by Barbara Pawłowska.
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Renesansowa polichromia w kamienicy mieszczańskiej z XVI wieku w Tarnowie

51%
Stawicki S.
Ochrona Zabytków
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1957
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issue 4
236-247
9
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Konserwacja grotesek J. B. Plerscha na ścianie północnej i fragmencie ściany północno-wschodniej westybulu dworu Mokronowskich w Jordanowicach

51%
Wierzbicka M., Sawicki T.
Ochrona Zabytków
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2001
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issue 4
372-384
EN
The grotesques by J. B. Plersch in Jordanowice were conserved thrice during the post-war period — in 195 0 - 1951, 1952-1953 and 1999-2001. The material applied upon the first two occasions and the fatal technical state of the manor house extensively damaged the paintings. The discussed article presents the “deconservation” and “reconservation” of a fragment of the J. B. Plersch decorations — the topic of a diploma study written in the Department of the Conservation and Restoration of Works of Art at the Academy of Fine Arts in Warsaw. The conservation dating from the 1950s was severely criticised, although it should be taken into consideration that it was conducted for the p u rpose of salvaging the paintings by resorting to material available at that time — shellac, oil, egg white, wax, plaster, etc. During the latest conservation, it was necessary to tackle difficult technical problems associated with the considerable salination and unsatisfactory condition of the plaster as well as the necessity of removing earlier applied material, which rendered the painted layer indelible. Disintegrated fragments of the plaster were hardened by means of silicone resin Funcosil Steinfestiger 300. The additional strata of wax, oil and shellac were removed with assorted solutions of solvents. The following stages of conservation included emulation retouching of the missing elements of the painted layer and small reconstruction. Such an aesthetic solution is justified by the fact that the polychrome constitutes the most important element of the decoration of the vestibule. Missing elements of the grotesques could be reconstructed u p o n the basis of better preserved parts of the decoration on other walls and the doors. A comparison with grotesques by J. B. Plersch in the White House and the Palace on Water in the Warsaw Łazienki proved to be of great assistance.
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"Peintures des arabesques" J. B. Plerscha we dworze Mokronowskich w Jordanowicach - historia, technika wykonania i problemy konserwatorskie

51%
Potocka A. D.
Ochrona Zabytków
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2001
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issue 4
358-371
EN
In 1782 Jan Bogumił Plersch used the tempera technique to execute painted decorations of the walls, ceiling, wardrobes and two doors in the octagonal study in the Mokronowski manor house in Jordanowice. The decoration involves arabesque-grotesque ornaments and candelabra arabesques composed of masks and medallions with allegorical figures depicted against a light-hued backdrop. The general purpose of the conservation was to halt the destruction and degradation of the historical polychrome by gluing loose fragments and reinforcing strata of the floating coat, to gether with the construction foundation (by using organic silicone compounds), and halting the unhampered migration of salt within stratigraphie layers. It was necessary to employ desalination compresses. Subsequently, the polychrome surface was cleaned and secondary stratification — repainting, darkened retouching, putty and patches — were removed. The execution of the supplementation was adapted to the degree of the destruction of adjoining strata, with due care not to introduce measures that could prove to be excessively strong, cohesive and binding. It became indispensable to use wide-porous plaster. Aesthetic conservation encompassed both the ornaments and the background of the decoration as well as the reconstruction of n o n -ex tan t fragments of the polychrome. Due to the extensive devastation of the original painted layer it was necessary to conduct numerous consultations and detailed co-ordination concerning the character and range of the reconstruction. The reconstruction of the painted stratum was carried out upon the basis of an analogy with preserved fragments in the study, archival material and comparisons with other realisations by J. B. Plersch. Conceptions of aesthetic solutions were presented on boards. Owing to the decorative nature of the polychrome, it was decided to resort to emulation retouching in a minimally lighter tone.
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