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1

Porównanie metod konserwacji na przykładzie dwóch obiektów w stanie destruktu

100%

Ważyńska E., Wołk-Jezierska W.

Ochrona Zabytków

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1981

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issue 3-4

184-188

EN

The subject of the communique is a comparison of two methods of conservation employed in the Workshop of the Conservation of Engravings and Old Books (attached to the State Enterprise for Monuments Protection) to reconstruct works of art which were in a very bad condition. One of the works is the print „The Map of the Sejneńska Diocese” by B. Gratowski, the property of the Museum of Revolutionary Movement at Białystok; the other — a wood Chiaroscuro engraving by A. Andreani „Christ before Pilat” found in the National Museum in Wroclaw. Despite added strengthenings in form of cloth and paper plying-ups, the paper of the objects displayed a marked decomposition of the fibre due to its excessive brittleness and poor adhesion to the plying-up as a result of a destructive action of microorganisms. In order to have the possibility to carry out conservation treatment on the destructed paper and also to succeed in its transfer onto a new plying-up, two variants of a protective face sizing were applied. In one case a traditional method and starch pastes were used to protect the facing and the plying-up; in the other case acetyl cellulose was used instead of a starch paste. The use of the same glue made it necessary to apply water solutions of alcohols to remove yellow discolorations. When treating with acetyl cellulose it was necessary to deacidify several times. Contrasting flues facilitated conservation procedure to a large extent. Conservation processes employed made it possible to select a less labour-consuming but equally effective method for the conservation of works of art which have a decayed groundwork.

2

Problem uzupełnień ubytków w cienkiej warstwie malarskiej na przykładzie obrazu "Matka Boska Gidelska"

100%

Rachuta K.

Ochrona Zabytków

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1990

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issue 3

149-152

EN

The painting Our Lady of Gidle is a mass-produced devotional painting. The painting technique was very simplified. After painting a series of paintings, the many-metre, usually very thin canvas was cut up, separating the individual compositions. The limpness of the base, the thin paint layer and the type of damages these paintings were in danger of, does not makt it possible to use the stereotype measures. The painting Our Lady of Gidle was created in the 19th cent, in the Częstochowa-Gidle workshops. It draws on the legend about finding the miraculous figure of Our Lady in a field. The painting handed over for conservation was in a very bad state: weakened canvas, no adherence to the base and flaking of the paint layer, numerous paint losses, bends etc. The measures began with straightening out the canvas and gluing under the paint layer. Then the paint layer was cleaned, the tears were glued up and patches were glued on. Next, the paint layer losses were supplemented. On a vacuum table, at a temperature of ab. 65°C, the painting was laminated with Beva 371 applied to silicone foil. After these steps, the limp under-painting was strengthened and the painting was additionally doubled by a thin canvas. For straightening and doubling, the paintina was soread out on a loom (even though it had not been spread out until that time). The conservation ended with pointing.

3

Program konserwatorski "Panoramy Racławickiej" i proponowane do jego realizacji materiały

100%

Wójtowicz R.

Ochrona Zabytków

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1984

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issue 4

256-266

EN

After the Second World War, in the years 1949—50, 1956—57, 1970—73 attempts were made at the conservation of the Racławice Panorama. None proved to be particularly successful. In 1981 the present Ateliers for the Conservation of the Racławice Panorama began to operate. The Panorama, being a unique work of art, required an altogether new method of conservation. The present programme for iits restoration was worked out and executed by the Ateliers. It was based on the solutions supplied by the author of this article which were supported with extensive cycles of laboratory research. It was proved that the work on the disassembled panorama sould follow three stages: 1. work on the reverse and front surfaces of the individual segments and the preparation for their suspension; 2. suspension of the segments; 3. integration of the segments into a complete picture ’’doubling”, reconstruction of the paintwork. More precisely, the following works were required: cleaning of the reverse, sewing up of craks and tears, patching up holes (torlene threads saturated with Lascaux Acrylemulsion D 498-M; needles and the rest of equipment were surgical); impregnation and disinfection — 2X10% Paraloid B-72 in acetone + 0,3% Raschit (in proportion to the whole solution); removal of the protective layer (Japanese tissue paper pasted with wax) from the surface of the painting; chemical removal of the secondary shellac varnish; smoothing out of the surfaces and local doubling — carrier; synthetic fabric (’’fizelina”), adhesive; Lascaux Acrylkleber 498 HV; facturai application of the putty based on Actylemulsiion D 498-M; vertical and horizontal adjustment of the segments; partial reinforcement; a strip three metre wide below the upper edge of the segments — carrier; glass fabric, adhesive; Acrylkleber 498 HV in a vacuum pocket on a special table (9 m X 3,5 m) at the temperature of 65°C, welding time ca 3 sec per surface unit; reinforcement with the supporting fabric, „Trevira”; suspension of the segments; adjustment of the segments and their permanent integration (into the shape of a circular hyperboloid); reinforcement of the remaining surface in a vertical position — by the analogous method as used in a horizontal position (mobile, suspended setting screens on the facing side); stencilling with acrylic paints made by Lascaux; final varnishing, acrylic — Lascaux Acryltranspaxentlak 575 Matt. When the conservation programme was under preparation it was necessary to resolve the problem of work organisation involving a large team (40 people) which such an unusual work of art required. Good organisation permitted a rapid pace of work whilst its high quality was maintained. At present the conservation work is coming to an end and with very good results, too.

4

Problemy konserwacji panoram

86%

Filipiak S.

Ochrona Zabytków

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1984

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issue 4

235-241

EN

The conservation of panoramas requires a new method allowing for a specific character of this kind of art, technical problems, the use of appropriate conservation agents and the organisation of an unusually large team of specialists in various fields. In recent years only five pictures of this kind have undergone thorough conservation, i.e. the Cyclorama of Gettysburg (1i08X9!,75 m2), the Panorama of Borodino (ca 11'5X 1:5 m), the Panorama of Salzlburg (ca 26 X 5,25 m), the Cyclorama of Atlanta (ca 106X13 m)„ the Panorama of the Versailles Palace and Gardens (ca 58X36 m). Each of these panoramas being in a different state of preservation, among other things, justified the use of totally diverse methods of conservation. All the methods employed so far, due to the scope of such a venture and no reference to the methods used in the conservation of standard pictures, have had no precedents. The problems of the conservation of panoramas, presented in this article relate to the characteristics of a panorama picture which, according to the author, determine the consecutive stages of the conservation work. The experience gathered from the conservation of other panoramas helped to avoid mistakes and to work out a coherent method of the conservation of the Racławice Panorama. Its conservation programme aimed to restore its original artistic entity. As regards the canvas, a three phase programme was adopted. At first the individual segments were initially treated in a horizontal position which made their suspension possible without the total reinforcement. In the second phase, the segments were suspended and in the third, they were merged into a whole picture. In the same position the overall doubling and the reconstruction of the paintwork were carried out. In the course of conservation the moist efficient and up-to-date agents were used, particularly in respect of reversability and age resistance. Since the Racławice Panorama Will be exhibited in a new building in Wrocław, it wais necessary to reconstruct the foreground of the painting reflecting the original Lvovian character of the Staffage. The new design was based on the iconographie and archival evidence. The staffage will match the painting faithfully in appearance and will be its logical extension.

5

Dawne metody i środki chemiczne stosowane przy konserwacji malarstwa sztalugowego

86%

Ślesiński W.

Ochrona Zabytków

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1984

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issue 1

25-27

EN

The aim of the article is to show a developmental line in the conservation of easel paintings derived from craftsmanship through the conservation art to conservation as a branch of science. The answer to the question what methods and what chemical agents were used in the past iis difficult. This difficulty is, in the first place, the result of a small number of source materials that are in our posession. The course of repairs and renewals of such financially and factually insignificant objects as easel paintings was never recorded At the same time the maintenance of professional secrets for a long time still intensified this difficulty. Despite difficulties just mentioned studies on the history of conservation .are continued and ascertain us that without theoretical and practical achievements of our forerunners present attainments of the conservation of works of art would not have been possible.

6

Konserwacja obrazu "Matki Boskiej Pocieszenia" z kościoła św. Benedykta w Krakowie

86%

Dobek J.

Ochrona Zabytków

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1990

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issue 3

142-146

EN

In December 1987, the Ateliers for the Conservation of Works of Art of the Cracow Division of the Ateliers for Conservation of Cultural Property carried out conservation measures of the side altar together with the painting of Our Lady with Child — from the Church of St. Benedict at Krzemionki. This painting — measuring 116,5 x 74 cm — probably comes from the turn of the 18th and 19th cent. It is made of a pressed paper-chalk-glue mass, with paper coated with chalk-glue grout pressed on the face side. It is painted in two techniques — tempera and oil, with glaze gold and silver plating. The state of the painting at the moment of its acceptance to the Workshop showed considerable damages caused by high humidity of the church interior, the destructive effect of microorganisms, mechanical damage and inappropriately executed renovations. The paper-chalk-glue mass was cracked. On the face of the painting there were vast spots, stains, soiled and torn parts. On account of the scarcity of structures of this type, it was decided that the painting should undergo complex conservation. Due to the high degree of destruction of the initial layer, it was proposed that conservation be carried out of the second chronological layer, with the unveiling of the original layer of the colour and the creation of an uncovered patch measuring 10 x 15 cm on the coat of the Madonna at the right lower edge of the painting. Plans called for the removal of the canvas from the reverse, pressing the painting, doubling the reverse with fliseline and transferring the work on to a stiff base. There were also plans for retouching the losses of the paint layer and gold plating by appropriate techniques. All the planned undertakings have been carried out with the use of accessible products.

7

Klejenie i stabilizacja rozdarć obrazów malowanych na płótnach bez użycia zaprawy

51%

Bancerz D.

Ochrona Zabytków

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2002

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issue 3-4

339-359

EN

The intention of this article was to bring the reader closer to the origin, construction and conservation of untypical paintings executed on unprimed canvases. The introduction discusses, i. a. historical and technological issues. The research section of the article attempts to define the usefulness of select acrylic binders for gluing tears, with particular consideration for repairs conducted in cases of paintings executed without priming ground. The author evaluated the following binders : Primal AC33, Primal AC634, Acrysol G 1 10, Acrysol WS24 (used as thickeners), Rhoplex N560, Plexisol P550, polyvinyl acetate and cellulose acetate. The last three, universally used for gluing, i. a. paper and cloth, were applied for comparative purposes. The usefulness of binders for the contact bonding of tears was defined upon the basis of accepted criteria for the penetration and permeation of the canvas, flexibility, consistence and pot life, the adhesion of water binders to the film of the binder (essential at the stage of retouching), sheen, total drying, and resilience to tearing. An ambiguous appraisal of the usefulness of the examined binders poses a difficult task in view of the individual needs of a concrete object. The conducted research, however, makes it possible to propose general rules, helpful in an initial selection of binders for repairing canvas. Bonding; the same is true, especially in the case of cloth canvases, for cellulose acetate, which can be successfully applied for gluing paper. Primal AC33 and Primal AC634 disclose properties similar to a mixture of polyvinyl acetate and osacryl. The supplement discusses the use of the above listed binders for the purposes of duplication.

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7 Ochrona Zabytków

1 Bancerz D.

1 Dobek J.

1 Filipiak S.

1 Rachuta K.

1 Ważyńska E.

1 Wołk-Jezierska W.

1 Wójtowicz R.

1 Ślesiński W.

1 2002

2 1990

3 1984

1 1981

Porównanie metod konserwacji na przykładzie dwóch obiektów w stanie destruktu

Problem uzupełnień ubytków w cienkiej warstwie malarskiej na przykładzie obrazu "Matka Boska Gidelska"

Program konserwatorski "Panoramy Racławickiej" i proponowane do jego realizacji materiały

Problemy konserwacji panoram

Dawne metody i środki chemiczne stosowane przy konserwacji malarstwa sztalugowego

Konserwacja obrazu "Matki Boskiej Pocieszenia" z kościoła św. Benedykta w Krakowie

Klejenie i stabilizacja rozdarć obrazów malowanych na płótnach bez użycia zaprawy