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1

Międzynarodowy Warsztat Konserwacji Tkanin

100%

Krzyżanowski L.

Ochrona Zabytków

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1988

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issue 4

295-296

2

Konserwacja tkanin w Centralnym Muzeum Włókiennictwa w Łodzi

100%

Weigt E.

Ochrona Zabytków

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1988

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issue 1

58

EN

The atelier of the Central Textile Museum in Łodź carries out — on a regular basis — the preservation of objects that are the property of the Museum. They include tapestries, gobelins, carpets, embroided silk fabrics, kontush sashes, flags, robes, fans and today’s artistic fabrics. n each individual case the most suitable technique is applied. Because of a big variety of items it is difficult to find a proper way of procedure. The biggest difficulties are encountered in case of modern fabrics made with different techniques and usually from materials of poor quality.

3

Konserwacja jedwabnych szpalerów z pałacu w Pawłowicach

80%

Królewski J., Weigt E.

Ochrona Zabytków

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1988

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issue 1

46

EN

From 1984 tapestries from the palace of the Mielzynskis at Pawłowice have been undergoing conservation in the Central Textile Museum in Łodź. They were most probably made in France in the 1st half of the 19th century. These hangings are 24 gores of the material sewn together and 4 over-door hangings. They are made from silk satin with embroided grotesque and figurai scenes. After making a series of chemical studies, the textiles were cleaned on special frames in short water baths containing some detergent, at 23°C because of instability of colouring. At present work is being done on doubling the tapestries on a new base by means of a traditional protecting net. Once it has been completed, all the work will be presented in more detail.

4

Konserwacja kobierców w Pracowni Konserwacji Tkanin Zamku Królewskiego

80%

Załuska-Dąbrowska E.

Ochrona Zabytków

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1988

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issue 1

56-58

EN

According to the author, a technique of faithful reconstruction of warp, wefts and knots, widely employed in the conservation of carpets, is not devoid of flaws such as distending and damaging of wefts and knots caused by a deep piercing of a needle, not always recommended use of cloth for doubling et.c. The Atelier of Textile Conservation in the Royal Castle has worked out a method of protective conservation with partial reconstruction with the use of chiffon, natural silk or bolting cloth as a doubling fabric. After preliminary routine treatment, carpets are protected with a shallowly introduced warp and a technique of the laid thread instead of wefts; knots are reconstructed by tieing them through a doubling fabric. This technique interferes with the historic substance to a small degree only; it reinforces the object and thanks to the doubling fabric, reconstructed places are more clearly marked on the reverse, which protects them against mistakes in case of studies of the object made by art historians.

5

Konserwacja gruntowna a zabezpieczająca : na przykładzie dwóch kompletów ubiorów liturgicznych z XVI w.

80%

Faust J.

Ochrona Zabytków

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1988

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issue 1

44-45

EN

Basing on the example of two suits of liturgical robes the author discusses two different kinds of conservation procedure applied in the Atelier of Textile Conservation in the National Museum in Cracow. The first suit is made of a chasuble and two dalmatics from Italian lampas (ca 1600) with a Nałęcz coat of arms of Piotr Gębicki, a Cracow bishop. In that case all objects were taken to pieces and cleaned, while damaged parts of the fabric got protected on a cotton base. In all silk parts a net was made with the thread laid vertically every 5 mm and supported every 4—5 mm, while the threads from a metal weft were protected with diagonally set 2-mm stitches (in 2 threads). The stitches imitated an original mode of tieing metal threads through a warp. As a result of this treatment, protecting stitches in damaged parts gave the impression of an authentic structure. The second suit is a chasuble and two dalmatics from the end of the 16th century with a Rola coat of arms of Jan Tarnowski, a Poznań bishop. It was made from silk velvet brocade. In that case conservation treatment was carried out without disassembling the object. It consisted in cleaning, putting pieces of cotton under damaged parts and fastening loose silver and silk threads to them. The author emphasized the value of the first, more labour- consuming, technique which allows to restore to the fabric technical performance and aesthetic appearance. She also points out usefulness of the second technique making possible a display of the object but giving the protection for a short time only.

6

Zespół obiciowych aksamitów wzorzystych z pałacu w Wilanowie - problemy konserwatorskie

80%

Żukowska M.

Ochrona Zabytków

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1988

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issue 1

52-55

EN

A set of patterned velvets covering the walls in 5 rooms of the oldest part of the Palace in Wilanow is one of the most valuable examples of representative decoration of baroque interiors. Textiles of this kind were made in Genoa, Venice, Florence. Milan, Ferrara, Rome and Naples. The provenance of Wlanow fabrics has not as yet been established. They were installed in the thirties of the 18th century by Mary Sophie Denhof, (later Czartoryska), daughter of Elisabeth Sieniawska, the first owner of Wilanow after the Sobieskis. Since their installation in 1955, the fabrics were never taken off the walls. A natural result of many-years use and effect of unfavourable conditions was their serious damage at the time when the Palace was taken over by the state. In 195562 the velvets were subjected to thorough conservation by a Warsaw branch office of the Ateliers for Monuments’ Conservation. Conservation work consisted in the following procedure: taking the velvets off the walls together with stretchers, cleaning with distilled water, disinfection with thymol and making of two kinds of a protective net: — in most damaged places a thick net was woven with a needle and thread, put on the face of the cloth and fastened to the original only on borders of a damaged part, — in less damaged places both wefts and warps were intercepted with 3 mm stitches in order to consolidate impaired parts. Even today the conservation work carried out evokes admiration of both professionals and visitors. Unfortunately, due to an intensive use of the Palace in the following 24 years, enormous number of visiting people, less effectively operating air-conditioning equipment, the condition of the fabrics worsened markedly. At present the surface of the fabrics is much dusted and new damages can be seen. During numerous consultations all specialists — conservators have unanimously recognized the need for cleaning and further conservation. The conservation of all upholstery would be an enormous and long undertaking. In the face of noticeable shortage of conservators of fabrics this is a serious problem which has to be solved without any further delay.

7

Konserwacja tapiserii w świetle włoskiej teorii konserwacji

70%

Prokopowicz A.

Ochrona Zabytków

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1988

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issue 1

47-49

EN

Italy has two big centres of the conservation of monuments, i.e. Istituto Centrale Del Restauro in Rome and Opficio Delle Pietre Dure E Laboratori Del Restauro in Florence. In the seventies the Atelier for the Conservation of Tapestries was attached to Florence's Opficio. Teachers in the Atelier are the persons trained in this profession by former workers of the biggest conservation workshop, owned by Salvadori Giuseppe, existing from 1923 and employing several dozen workers. In 1983 the Atelier undertook the preservation of 9 arrases from Palazzo Veccio in Florence from the series depicting the story of Joseph, ordered by Cosimo de Medici in 1546. The authors of the cartoons were Agnola di Cosimo Torri (16 cartoons), Jacopo Carruci (3). Francesco de Rossi (1). It was done by Flemish workers. The series consists of 20 pieces. Their total area is 420 sq. m. 10 of them are at present in Palazzo del Quirinale in Rome, the remaining ones are in Palazzo Vecchio in Florence. The latter ones were hanging incessantly for 111 years until their removal in 1983. Special safe techniques of taking arrases from walls, their transportation and storage in the building of Opificio were worked out. To wash the arrases a special folding bath-tub was designed with a perforated steel plate on its bottom. A rolled-up arras on the roller was gradually unfolded, soaked, tamponed and reeled on the second roller placed at the other end of the bath-tub. A solution of soap- -wort in determinalized water was used for washing. Larger missing parts are made up on tables with movable tops. New threads of the weft are laid vertically, contrary to the way used on a loom. This is not a typical method, originating from the 19th-century traditions of Florentine conservators. Only very small missing parts are done on a loom. The Florentine workshop advocates a technique of through conservation (metodo integrativo) assuming that reconstruction of 2 basic elements: the warp and the weft is the best method of integrating the fabric. After taking from the loom arrases are lined with a linen cloth fastened with vertical stitches placed parallelly on the entire surface. Work on the conservation of the entire discussed series will be continued still for years. Following the progress of conservation work Polish convervators might take some advantage of Florentine experience.

8

Konserwacja sukni dworskiej z początku XVII w.

70%

Faust J.

Ochrona Zabytków

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1977

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issue 3-4

145-151

EN

The dress, made after the Spanish fashion, is adorned with metal thread bobbin lace laid in stripes : on the sleeves and at the lower edge of the skirt — horizontally, and on the bodice and upper part o f the skirt — vertically. The lace is additionally decorated with sequins. The inner sleeves and the lining of the upper ones, have an ornament of flat string embroidery and seuqins. The dress is made of fabrics of various kinds : satin of two colours, golden — the cover o f the dress, and vermillion-rose — the lining of the upper sleeves and the inner sleeves ; vermillion-rose taffeta. The taffeta and satin were both woven of natural silk thread and coloured with natural dyes. Linen cloth o f natural colour was also used (as lining of the bodice and inner sleeves) ; and so was the impregnated linen cloth, the metal thread lace and plaitwork border. The dress was dirty, especially on the shoulders, sleeves, upper part of the skirt and lower edge of the lining. The satin was damaged and frayed in many spots. Similar damages were to be seen on the pink satin of the inner sleeves and on the lining of the outer ones. The lining of the skirt (pink taffeta) was very dirty and, at its lower edge, torn, frayed and ragged, with some fragments missing. There were to be seen there traces of the action of moisture and a number of damp patches. Similar damp patches were to be found on the back of the satin o f the skirt. Some o f the damaged parts had previously been mended ded — probably in the 19th century — with a thick cotton thread. Those repairs were incorrect and caused additional damage to the original fabric. The lace and sequins were very dirty as well, blackened, oxidized and, in many spots, ripped away from the satin. The threads fastening the sequins were frayed or broken as a result of which the latter got detached. Prior to the proper conservation proceedings photographs were taken of the whol« dress and its details so as to depict its condition and damages. In the course o f conservation further documentary photographs and slides were taken, illustrating the more interesting fragments of the proceedings involved. Moreover, the dress as such was subject to detailed measurements and described. Patterns of its respective parts were duly made. Throughout conservation the respective stages of the work done were daily recorded in greater detail. A searching analysis of all the possibilities of cleaning and preservation of the fabric and metal thread lace was carried out and the method chosen, most appropriate for the given kind of fabric and yarn. Next, some parts of the dress were detached, in the spots where that was necessary for a correct execution of cleaning and preservation. Nevertheless, a number o f original seams remained intact. This applies to those o f the bodice, the seams of upper sleeves (unsewn but over the length o f 8 cm), the seams o f inner sleeves and five seams of the skirt. The respective parts of the dress were cleaned with distilled water with an addition o f a decoction o f soap-root (radix saponariae), due attention being paid to all the descriptions and measurements made previously. The metal lace was cleaned as well and so were the sequins adorning the lace and the metal thread border. The fabric properly dried and steamed, the operation of its doubling was taken up, however, only with regard to the destroyed, frayed or worn parts o f the gown. Cotton batiste of linen weave was used as underiayer. A thin silk thread was used in doubling and the cotton and flax ones in stiching the parts of the dress together. Direct dyes were used for dyeing the conservation materials. Apart from doubling the satin and taffeta the proceedings discussed also embraced repairing and conservation o f the damaged lace and sequins.

9

Problemy konserwacji ubiorów

61%

Taszycka M.

Ochrona Zabytków

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1977

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issue 3-4

141-144

EN

The paper deals with the main problems involved in the conservation o f historical costumes. It is in this connection that the question is discussed o f preparation of a costume for washing, i.e. its partial or complete undoing. The modes of washing and drying are described and also those o f doubling the worn fabric of the dress and, finally, o f removing the traces of earlier conservation and remakings. The author’s attention is focussed on the methods tested at the workshop at the Rijskantikvarieämbetet (Office for National Historical Monuments), Stockholm, and its branch workshops applying the method of needle conservation. Proceding with her deliberations, the author describes the route on which the plan has been established o f the work on conservation of a Spanish court dress, dating from the early 17th century. The method discussed was worked at the National Museum, Cracow. The tradition is that the dress belonged to the Saxon Princess Magdalene Sybil. It is preserved at the National Art Collection (Historisches Museum) in Dresden. A direct model o f the conservation discussed was that o f a 15th century man’s suit, carried out at the worshop o f the Historical Museum in Bern.

10

Konserwacja wschodniego namiotu z XVII w. ze Zbiorów Czartoryskich w Muzeum Narodowym w Krakowie

61%

Biedrońska-Słotowa B., Faust J.

Ochrona Zabytków

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1988

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issue 1

59-61

EN

The conservation of the tent was done in the Atelier for the Conservation of Textiles in the National Museum in Cracow. It comes from the collection of Czartoryskis princes and according to the tradition it was brought to Poland by King John III Sobieski after the siege of Vienna in 1683. The inside layer of the tent was made of thin woolen cloth and the outside one — of thick impregnated cotton. Originally the tent consisted of a flat roof, 4 walls and 2 flounces: top and bottom. It was all adorned with a technique of applique work contured with gold and silk threades. The ornament of this part of the tent reveals its Indian provenance. Most probably in the 17th century 4 wings were added which extended side walls as well as 2 quoins changing the shape of the roof from flat to pent one. Subsequent parts of the tent were most probably made in Turkey and decorated in an inlay technique Places of splicing all parts were covered with silk string. When making a conservation programme a classical method was followed, universally used in Cracow’s Atelier. It consisted in an exclusive use of a needle and natural raw materials, use of protective conservation only, observance of the rule reversibility and exclusion of reconstruction treatment. After disassembling all parts of the tent and cleaning in water bath with soap-wort cotton bases were put under the whole fabric and protected on looms. The missing applique work was not reconstructed. Missing parts were replaced with pieces of cotton dyed needed colours for retouching purposes. The biggest problem was the crumbling out of silk thread contouring elements of decoration. The thread played a double role: it formed an internal outline of the ornament and fastened the applique work to the base. A technical role of the thread decided of its complete reconstruction, in spite of the principles observed. In places where the threads were partially preserved, a new thread was laid on the original one in order to protect it. Due to the lack of time one hoarding was secured provisionally. The whole of the tent was spliced, authentic stitches were reconstructed and then it was earmarked for display.

11

Konferencja IIC w Delft poświęcona konserwacji tkanin

61%

Czerwiński A.

Ochrona Zabytków

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1965

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issue 1

55-58

12

Kolekcja tapiserii z katedry La Seo w Saragossie - stan zachowania i problemy konserwatorskie

51%

Hryszko H.

Ochrona Zabytków

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1988

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issue 1

49-51

EN

The collection of tapestries is the property of the Metropolitan Chapter in Saragossa. It consists of 63 objects, 16 of which are displayed in 2 rooms „Museo de Tapices" attached to the cathedral since 1928. The remainig ones are stored in store-rooms of the cathedral. The collection comprises 10 15-th century tapestries from workshops in Arras in Tournai and 53 were made in Flemish workshops, coming from early 16th century to mid-17th century. The collection was initiated in 1454 and its base were gifts presented by the archibishops: Don Dalmacio de Mur, Don Alonso de Aragon, Don Andres Santos and purchases made by the Chapter. In 1984 upon the commission of the Chapter the author of this report made a conservation expertise of the collection. Each of the tapestries was assessed according to a 9- point scheme. The most important points of the scheme were: material and technique of execution and the condition. To have an efficient and reliable expertise, a special work technique was prepared. In addition to this, main factors which bring about destruction were described in much detail and grouped in 5 basic groups. n the light of the expertise the condition of tapestries is the following: only in 10 tapestries a degree of impairement oscillates at 10 per cent of the entire surface, in 18 tapestries this figure comes to 22 per cent, while in 34 — the damage covers 25 to 60 per cent of the surface. Unfortunately, the last group comprises nearly all most valuable objects. A general cause of such a disquieting condition of tapestries was their use in the past centuries — they were often subjected to the effect of sun light, moisture, nailed to decorate the cathedral. On the other hand, they were never subjected to conservation. Conservation procedure applied so far had merely an off-handed and temporary character. In 1983 the Chapter undertook energetic measures aimed at commencing conservation work. In 1985 the book was published entitled "Los Tapices de la Seo de Zaragoza" presenting a collection with illustration. The book contains large excerpts from the expertise done by the author. At present the Atelier for Monuments Conservation in Warsaw prepares a multi-stage conservation programme covering the entire collection.

13

KONSERWACJA XVII- I XVIII-WIECZNEJ DZIECIĘCEJ ODZIEŻY GROBOWEJ

51%

Drążkowska A.

Ochrona Zabytków

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2005

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issue 1

55-67

EN

The article deals with textile monuments extracted in the course of archaeological work from crypts and tombs situated below floors in the churches of the Assumption of the Holy Virgin Mary in Toruń, St. Nicholas in Toruń, St. John in Gdańsk, St. Peter and Paul in Tworków, and the Holy Virgin Mary in Kostrzyn as well as the arch-cathedral of St. John in Lublin. The conservation encompassed 29 fragments of children’s clothes, which comprised part of the outfitting of children’s burials. Select examples of the apparel, preserved in larger fragments, were reconstructed by recreating the original form and shape. The conserved clothes had been sewn specially for the burial ceremony in accordance with the fashion of the time; they are accompanied by clothes worn by children while alive, “death” smocks, and apparel specially made from refashioned daily clothes. The conservation was conducted in the Atelier for the Documentation and Conservation of Archaeological Monuments in the Institutes of Archaeology at the Mikołaj Kopernik University in Toruń. Since the conserved clothes were coagulated, affected by fungi, damaged and dirty, they were first disinfected in a gas chamber by using ethylene oxide. After initial cleaning, the disinfection was repeated by applying a 0,5% solution of m p-chloro-m-cresol in methanol (PCMC). Prior to the cleaning, silk fibres were moistened and rendered flexible by means of a 5% and 10% water solution of PEG 200 or PEG 300. Several days later, the water bath was augmented with Pretepon G, used as a washing agent. One of the dresses and one of the żupans were impregnated (Paraloid B72, polyethylene glycol 300 in methanol and toluene) due to the damaged and weakened silk fibres. The next stage involved duplicating and reconstructing the missing elements of the clothes with acrylic glue 498 HV (Lascaux); in places the fabric was threaded together. Finally, trimmings made out of metal thread were cleaned and protected separately.

14

Z problematyki konserwacji zabytków ruchomych w Holandii

41%

Szunke N.

Ochrona Zabytków

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1965

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issue 1

45-52

FR

Compte tenu du cadre restreint reserve a cet article, l ’auteur a simplement procédé à une présentation des problèmes de restauration réduite au domaine des tableaux, objets faits en bois et tissus. Sur le plan de la restauration des tableaux, l’auteur nous fait connaître les solutions données à ces problèmes par le Rijksmuseum d’Amsterdam mais surtout celles qui furent appliquées dans l ’atelier de restauration du Stedelijk Musée. Les tableaux dont la couche picturale a perdu sa homogénéité adhérante, sont soumis à un traitement de rentoilage sur une table à vide. Par ce moyen on peut rentoiler les tableaux dont la première couche picturale est un composé à base de craie ou d’huile, délayés sur un support en toile, en carton ou sur un panneau en bois, traités par la technique picturale à l ’huile, à tempera ou mixte (moderne). Le colophane qui constitue le composant traditionnel des doublures, est remplacé parfois par la résine artificielle AW-2. Le rabotage du support en bois jusqu’à 3 mm d’épaisseur (en cas de nécessité), son recollage sur un panneau spécialement préparé, rend le nouveau support extrêmement léger et le garantit contre le gauchissement. Rijksmuseum à Amsterdam ne possède aucun atelier de restauration pour les oeuvres sculpturales et ne s ’oocuppe point actuellement de tra vaux de ce genre. Dans beaucoup de musées et d ’institutions, divers désinfectants sont employés en vue du traitement des objets d’art en bois. Pour détruire des agents biologiques nocifs, des facteurs sont mis en jeu tels que: rehaussement de température (47°), insecticides (hexachlorcyklohexate, pentachlorop hen ol, dieldrin, bromure d ’ethyle). Certains musées remettent leurs objets d’art en bois aux établissements industriels spécialisés qui s ’occuppent de leur désinfection et déslnsectdon. En ce qui concerne les tissus, on peut dire de façon générale, que le mérite d’avoir élaboré, perfectionné et promulgué en Hollande les méthodes de conservation, incombe à la Section de Conservation des Tissus dans le Laboratoire des Techniques Textiles et de la Technologie des Fibres de l ’Ecole Polytechnique à Delft. La consolidation d ’anciens tissus, partiellement détruits ou endommagés consiste le plus souvent à leur rentoilage sur un support de matière molle, dans la plupart des cas sur un canvas de matière p lastique. Dernièrement on pratique souvent le rentoilage des anciens tissus sur un nouveau tissu très fin, le térylène à l’aide des liants à base des copolimères des matières plastiques tels que: l’acétate de vinyl avec 25% du caprylate ootilovinylique, l’acétate de vinyl mélangé de 25% d ’acrylate vinylique. Actuellement les fabriques produisent des tissus qui sont imbibés des copolimères précités et qui portent dans le commerce les noms qui suivent: „Setamul N 6525” et „Setamul N 6825”. Après le collage d ’un tissu sur un tel support on passe dessus un fer à repasser électrique dont la température s ’élève à 70°. Cette méthode de rentoilage permet non seulement de restituer au tissu sa homogénéité originale mais elle constitue en plus un moyen d’imprégnation pour les tissus soumis au traitement précité.

15

Fibrylizacja - metoda uzupełniania ubytków i konsolidacji tkanin masy z włókien naturalnych

41%

Helena Hryszko H.

Ochrona Zabytków

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2001

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issue 1

56-62

EN

The contemporary conservation off abrics has not resolved the conservation ofdeg raded silk fabrics. Traditional methods of conservation using a needle are ineffective, and the application ofglue should be eliminated due to the irreversibility ofthi s operation. For the past two years the Chair ofthe Conservation and Restoration of Historical Fabrics in the Department of the Conservation and Restoration ofWorks ofArt at the Academy ofF ine Arts inWarsaw has been conducting research and experimental studies concerning an entirely new method of conservation, described by the author as fibrilisation. Fibrilisation consists ofsupp lementing gaps and the consolidation of silk fabrics by using raw silk fibre masses. The essence of the proposed method is the application ofex clusively the same raw material as the one used for making the object, without the necessity ofempl oying a reinforcing base or any additional chemical means. Fibrilisation is performed mechanically with the same equipment that supplements gaps in paper by means ofpa per bulk. The great variety of fabrics renders it necessary to resort to individual solutions depending on the given object. Thickness, colour and texture are adopted separately in each case. Apart fromsupplementing gaps, the fibrilisation of fabrics also offers an opportunity for consolidating the whole surface ofdeg raded fabrics. The results ofhe retofore research and experiments are highly encouraging. Fibrilisation certainly creates totally different possibilities of conserving silk fabrics. The complex outcome of research and conservation will be presented after their completion.

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15 Ochrona Zabytków

3 Faust J.

2 Weigt E.

1 Biedrońska-Słotowa B.

1 Czerwiński A.

1 Drążkowska A.

1 Helena Hryszko H.

1 Hryszko H.

1 Krzyżanowski L.

1 Królewski J.

1 Prokopowicz A.

1 Szunke N.

1 Taszycka M.

1 Załuska-Dąbrowska E.

1 Żukowska M.

1 2005

1 2001

9 1988

2 1977

2 1965

Międzynarodowy Warsztat Konserwacji Tkanin

Konserwacja tkanin w Centralnym Muzeum Włókiennictwa w Łodzi

Konserwacja jedwabnych szpalerów z pałacu w Pawłowicach

Konserwacja kobierców w Pracowni Konserwacji Tkanin Zamku Królewskiego

Konserwacja gruntowna a zabezpieczająca : na przykładzie dwóch kompletów ubiorów liturgicznych z XVI w.

Zespół obiciowych aksamitów wzorzystych z pałacu w Wilanowie - problemy konserwatorskie

Konserwacja tapiserii w świetle włoskiej teorii konserwacji

Konserwacja sukni dworskiej z początku XVII w.

Problemy konserwacji ubiorów

Konserwacja wschodniego namiotu z XVII w. ze Zbiorów Czartoryskich w Muzeum Narodowym w Krakowie

Konferencja IIC w Delft poświęcona konserwacji tkanin

Kolekcja tapiserii z katedry La Seo w Saragossie - stan zachowania i problemy konserwatorskie

KONSERWACJA XVII- I XVIII-WIECZNEJ DZIECIĘCEJ ODZIEŻY GROBOWEJ

Z problematyki konserwacji zabytków ruchomych w Holandii

Fibrylizacja - metoda uzupełniania ubytków i konsolidacji tkanin masy z włókien naturalnych