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1

Seminarium „Podstawy współczesnej restauracji witraży” Nysa, 17 listopada 2011 r.

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Laskowski A.

Ochrona Zabytków

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2010

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issue 1-4

301-304

EN

The Research and Education Centre for the Conservation of Monuments in Nysa organised a seminar on the restoration of stained-glass on 17 November 2011. The Centre functions within the structures of the local State Vocational College under the supervision of Paweł Karaszkiewicz, PhD – a wellknown conservator from Kraków and a lecturer at the Academy of Fine Arts there. After an introduction regarding the legal basis (Krzysztof Spychała) and the collection of stained-glass windows in Poland (Danuta Czapczyńska-Kleszczyńska), an extensive lecture was delivered on the modern methods of stained-glass restoration, based on the speaker’s (Paweł Karaszkiewicz) many years’ experience and his international connections, among others, as a participant in the works of the Corpus Vitrearum Medii Aevi (CVMA) Polish National Committee. This detailed lecture was complemented by speeches delivered by several participants, mainly conservators of works of art, who presented their activities in the field of the conservation of artistic glass from various epochs, in particular stained-glass, or regarding the arrangement of new glazing in historic interiors.

2

Konserwacja witraży dominikańskich w Krakowie

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Pieńkowska H.

Ochrona Zabytków

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1949

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issue 3

182-189, 216

FR

On a entrepris à Cracovie, la conservation des v it raux polonais des Dominicains, qui remontent au XIV-e et au XV-e s. A ce propos, l ’auteur établit les principes g én é rau x et détaillés de la conservation des vitraux, en se b a s an t sur la littérature qui est à sa portée et sur ses propres observations. Après avoir analysé les causes de la détér ioration de ces monuments historiques, l ’au te u r parle des moyens d ’action à l’égard des divers composants du vitrail ,à savoir les la melles de plomb, le verre et le contour. Avant d ’entreprendre les t r a v a u x de conservation, il fau t d ’abord se documenter avec précision sur l’état de conservation du monument historique à l ’aide dos photographies, des planches et des descriptions. Le second pos tulat est de conserver très strictement l ’authenticité du monument. Un journal ten an t un compte détaillé des t r av au x opérés peut ici rendre de grands services. Lorsqu’elle en vient a u x détails, l’auteur souligne la nécessité de laisser les vitraux, une fois renforcés comme il se doit, à la place qui leur é ta i t primitivement désignée. En effet, un vitrail dans un musée pe rd toute fin artistique. Pour assurer le vitrail, il faut renforcer les vieilles lamelles de plomb; en outre, il est absolument n é cessaire de se servir des moyens génér a u x de conservation. L’auteur est contraire à l’emploi d ’un grillage ex té r ieur en fer; elle note la supér iori té de la plaque de verre qui met le vitrail à l’abr i des intempéries tout en ga rd an t le même éclairage de l ’intérieur. Lors de la co n servation du verre, le principe est de compléter le moins possible. Au cas où il fa u d r a i t compléter, les parties nouvelles doivent être marquées comme no n -au thentiques. Qu an t à la conservation du coloris du verre, il est préférable de ne s’en tenir q u ’à un minutieux nettoyage.

3

„WITRAŻE SECESYJNE. TENDENCJE I MOTYWY” Konferencja naukowa, Łódź, 13-15 maja 2009 r.

100%

Laskowski A.

Ochrona Zabytków

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2008

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issue 2

11-13

EN

An international scientific conference on ”Art Nouveau Stained Glass. Tendencies and Motifs” was held on 13-15 May 2009 by the Association of Lovers of Stained Glass ”Ars Vitrea Polona” and the Historical Museum of Łódź. The event gathered experts and lovers of stained glass from many parts of Poland, representing assorted institutions, as well as Ukrainian researchers. The majority of the papers dealt with stained glass found or executed in leading centres of the Polish Art Nouveau, including Kraków, Lviv, Łódź and Silesia. A presentation of factographic findings was accompanied by essential reflections about conservation. The programme of the meeting was enhanced by a tour along the trails of Łódź stained glass and a suitable exhibition featured at the Historical Museum of Łódź. A publication of the post-conference material would be an important summary of the achievements of these remarkable debates.

4

Dlaczego giną świeckie witraże w Krakowie?

100%

Czapczyńska D.

Ochrona Zabytków

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1988

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issue 2

132-136

EN

Stained-glass windows represent an essential element o f the decoration of staircases in a number of burgher's te n e ment houses, hotels, restaurants, banks and seats of v a rious institutions erected in Cracow in the end of the 19th century and in the first forty years of the 20th century. They were executed by local workshops. In the end of the 19th century there operated in Cracow a workshop run by Władysław Ekielski and Antoni Tuch. In 1906 it was rebuilt and developed by Stanisław Gabriel Żeleński and since 1915 it was run by Iza Żeleńska. The inter-war period g a ve rise to some smaller workshops run by Jan Kusiak and Romańczyk brothers, Roman Ryniewicz, Paczek brothers. The manufacture of stained-glass windows was also undertaken by the „In d u s tria ” Glass Industry Factory, Mirrors’ Plan and „V itra ” Polishing Shop belonging to Leon Liebenskind. The workshops of Ryniewicz and Paczek as well as the former Cracow Stained-Glass Plant (nationalized in 1952), Artistic Glazing Plant and the S. G. Żeleński Factory of Glass Mosaics operate until today. Stained-glass windows in tenement houses, made on in dividual orders of buildings’ owners, are not today subject to anyone’s care. Therefore, many of them are destroyed to a great extent. As a rule, they are damaged mechanically. In the recent years, a great threat to glass and its painters’ execution is posed by increasing pollution of the environment. An ever worse condition of stained-glass windows in Cracow tenement houses and buildings of the pub lic u tility show at the need for undertaking immediate conservation and protection. The problem is important if we take into consideration the fact th a t some hundred objects have still survived. The workshop for the conservation of stained-glass windows was opened in Cracow only in 1987. It got transformed from a small unit operating since 1984 within a framework of the work-shop of conservation of organs and metal. Just like the oldest post of that type in Poland — a workshop in Toruń — also this one was organized in the State Enterprise of the Ateliers fo r Monuments’ Conservation. Still, this workshop has limited possibilities of action. Thus, it can be supposed that the process of conservation of stained-glass windows preserved in Cracow buildings will take much time. Therefore, it is important to register them and protect on the spot with a metal net against vandalism or with transparent glass, which in fact protects the stained glass windows against atmospheric effects and p o llution but it does not offer sufficient protection against mechanical damages.

5

DZIEDZICTWO SZTUKI WITRAŻOWEJ W POLSCE STAN BADAŃ, STAN ZABYTKÓW, KONSERWACJA, NOWE WITRAŻE W ZABYTKOWYCH BUDOWLACH

63%

Pawłowska K.

Ochrona Zabytków

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2005

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issue 1

41-54

EN

The interesting question of the stained glass heritage in Poland remains little known. Neither the state of the registration of the monuments nor pertinent knowledge correspond to the actual dimension and value of the resources, with scarce examples of mediaeval stained glass being the best examined. Consecutive generations have been studied only in several centres which, on the one hand, concentrate numerous valuable works and, on the other hand, involve researchers particularly interested in stained glass (Cracow, Wrocław, Toruń, Łodź, Poznań). The sole institution conducting more systematic work on the subject is the ARS VITREA POLONA Association of Lovers of Stained Glass. The article considers briefly consecutive generations of monuments of this category of art: rare and precious mediaeval relics, modern study stained glass, the historicising and eclectic stained glass of the nineteenth century, windows maintained in the Art Nouveau spirit, and the particularly relevant – and stylistically distinct – Young Poland monuments. Finally, the author focused on the protection and conservation of stained glass, indicating the errors frequently committed due to an insufficient appreciation of the technical-artistic uniqueness of this domain of the arts, and expressing her opinion about the sense of embarking upon stained glass projects according to historical cartoons never before executed in glass. The article ends with a discussion of new stained glass in historical objects.

6

Conservation in Archaeology and the Applied Arts : konserwacja w archeologii i sztuce stosowanej

63%

Jędrzejewska H.

Ochrona Zabytków

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1976

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issue 2

146-149

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Seminarium „Podstawy współczesnej restauracji witraży” Nysa, 17 listopada 2011 r.

Konserwacja witraży dominikańskich w Krakowie

„WITRAŻE SECESYJNE. TENDENCJE I MOTYWY” Konferencja naukowa, Łódź, 13-15 maja 2009 r.

Dlaczego giną świeckie witraże w Krakowie?

DZIEDZICTWO SZTUKI WITRAŻOWEJ W POLSCE STAN BADAŃ, STAN ZABYTKÓW, KONSERWACJA, NOWE WITRAŻE W ZABYTKOWYCH BUDOWLACH

Conservation in Archaeology and the Applied Arts : konserwacja w archeologii i sztuce stosowanej