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GOTYCKI OŁTARZ Z DOBIEGNIEWA HISTORIA, STAN ZACHOWANIA, KONSERWACJA

100%
Markowski D.
Ochrona Zabytków
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2007
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issue 1
23-34
EN
The article discusses the history, construction and state of preservation of a Gothic altar from the church of St. Joseph in Dobiegniew (Lubuskie voivodeship) as well as the conservation-restoration carried out from August to December 2006. The altar is composed of a Gothic core with wings and Late Renaissance predella and crowning. The Gothic part was founded by the von Wedel family for the church in Ostrowite (commune of Dobiegniew). After 1945 the altar was transferred to the parish church of Christ the King in Dobiegniew and then, in the 1980s, to the church of St. Joseph in the same locality. Conducted studies made it possible to ascertain that the polychrome, which at present covers the altar is secondary and had been executed in the course of the altar's thorough renovation in 1928-1930. The state of the altar's preservation called for urgent conservation. The painted layer was crumbling, and the gilded and painted blue background featured extensive blisters. The reasons for this state of things were primarily uncontrolled sudden changes of the humidity and temperature in the church interior. The chief premise of the conservation-restoration was the preservation of the polychrome and gilt fragments originating from 1928-1930. The uncovered parts of the original carvings confirmed the occurrence of only traces of the original polychrome. An essential conservation move was the restoration in the background of the adhesion of the canvas, with the priming ground and the painted layer, to the wooden base. Slightly concentrated binding agents with small viscosity and excellent penetrating properties are regarded as the most effective for work of this sort; they include solutions of glutin glues, whose characteristic features additionally include considerable flexibility. The conservation of the altar involved the use of fish glue by applying the so-called Russian method. The selection of the binder and the methods of its introduction depended on the state of the preservation of the altar and the possibility of repeating the operation. The altar is displayed in conditions of unstable humidity and temperature, a fact, which suggests the assumption, that new loosenings will appear and that it will be necessary to once again conserve the monument by resorting to the earlier applied binder. The conducted work also involved the removal of secondary inscriptions in the lower quarter of the right wing and the altar crowning, thus revealing the original inscriptions in German.
2
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Dwustronnie malowane kwatery tryptyku z Sątop - badania, problemy i przebieg konserwacji

63%
Roznerska M., Markowski D.
Ochrona Zabytków
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1995
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issue 2
181-188
EN
The wing under examination comes from the altar of St. Jodok in the church in Sątopy. It is the property of the Mazurian Museum in Olsztyn, displayed in the castle in Lidzbark Warmiński. The wing is divided into two panels with paintings on both sides, 94,5 x 85,5 cm large, and executed with tempera on pine boards. The date of their origin has been established as the beginning of the sixteenth century. The wing has been already subjected to several conservation procedures. In 1990 it was handed over to the Department of the Conservation of Paintings and Polychrome Sculpture at the Mikołaj Kopernik University in Toruń. The wing was strongly warped and the painting layer in a state of deterioration. Owing to considerable difficulties in straightening out the base (each of the panels reacted differently to moisture), the only way to salvage the object was to transfer the wings of the polyptych to a new, stable base. Originally, the streppo method was taken into consideration but ultimately abandoned due to certain hazards involved; as a result the boards , some 0,8 cms thick, were separated with the help of a specially constructed device. After many difficulties, the two panels were separated without harming the painting layer. At the same time, studies were conducted on the selection of the new adhesive and base. It was decided to use a plexi board and the application of various glues was considered. Next, the resilience of such adhesives as Rhoplex B-500, Acrylkleber 360HV, Rhoplex+chalk (1:1) +Acrysol G-110, Rhoplex +Acrysol G-110 was tested. It was found that the most suitable adhesive was a mixture of Rhoplex, chalk and Acrysol. Additional tests were carried out with Araldit SV which has the consistency of putty. The Rhoplex mixture was used for one of the panels and Araldit SV - for the other. The placing on the new plexi base was performed on a vacuum table and a pressure of about 600 mB was applied.
3
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WYSTRÓJ WNĘTRZ DAWNEGO SANATORIUM W TRZEBIECHOWIE DZIEŁO HENRY’EGO VAN DE VELDE STAN BADAŃ I PRAC KONSERWATORSKICH W LATACH 2004-2005

63%
Bielinis-Kopeć B., Markowski D.
Ochrona Zabytków
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2006
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issue 3
5-28
EN
A physiotherapy-diet sanatorium founded by Prince Heinrich VII Reuss-Köstritz and his wife, Princess Marie Alexandrine, was opened in Trzebiechow in 1905. The author of the project was Max Schündler, an architect from Zwickau. The decorations and outfitting of the stately interiors were entrusted to the Belgian artist Henry van de Velde. Extant parts of the former sanatorium include the buildings of the complex and the park. The absence of significant repair during the inter-war period proved conducive for the preservation of numerous elements of the original outfitting and interior design. In 2004 the connection of the monument with the name of the celebrated Belgian artist proved decisive for the inauguration of studies, and a year later – for the first conservation-restoration undertakings aimed at recreating the original colours of the interiors, whose essential element consists of the perfectly preserved window and door joinery, the stair balustrades, the panelling and the benches. The conducted research disclosed the original intense colours either harmonising or contrasting with the walls and ceilings embellished with original ornamental motifs. The eight discovered decoration motifs of the interior constitute the most extensive set of the artist's preserved works in Europe; in 2005 they were subjected to conservation. Both the investigations and the conservation and restoration carried out in the Trzebiechow sanatorium have not been completed. Nonetheless, it may be said with full conviction that such a copious programme of interior design by Henry van de Velde has not been found elsewhere, a fact which enhances the rank of this particular complex among the cultural resources not only of Poland but also on a European scale.
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