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Farbiarstwo roślinne - zagadnienia ogólne oraz zastosowanie w konserwacji zabytkowych tkanin

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Faust J.

nr 3-4

215-218

Apart from mastering the drawing and colour, knowledge of the history of textiles, weaving and embroidery techniques, conservation of textiles requires a theoretical and practical comprehension of general synthetic dyeing and of natural plant dyeing in particular. The author of the report studied plant dyeing with Professor Wanda Szczepankowska at the Academy of Fine Arts in Warsaw, after completing studies at the Academy of Fine Arts in Cracow. Since 1951 she has been working in Textile Conservation Department, first in Textile Conservation Section in the Wawel State Arts Collection and then in a similar section of the National Museum in Cracow. For 20 years the author has been involved in plant dyeing for the conservation of textiles, preparing materials for the conservation of tapestries, arrases from the collection of Sigismund Augustus and 16th-17th-century-old carpets. The rightness of using plant dyes in the conservation of textiles has been confirmed by a many-years experience showing their durability and a perfect harmony with colours of genuine items. Conservation workshops mentioned above receive dyeing plants from an English company known as Skillbeck Brothers, London and a Polish unit, namely the Institute of Plant Growing and Acclimatization at Puławy. They also replenish their stock with wild-growing plants available in herbs selling shops. Apart from the plants necessary to obtain required colours a number of chemicals is also applied as an important and indispensable mordant. Out of the plants used more frequently in dyeing wool as a conservation material we should mention here oak bark, birch leaves, greenweed, reseda, yellow tree, madder, indigo and the only natural dye of animal origin — cochineal dye. Having got a practical knowledge of formulations worked out by Professor Szczepankowska which give clear and basic colours, for a number of years the author of the report has been preparing formulations for colours necessary in the conservation of historic textiles. She has worked out several dozens of new formulations obtaining the dyeing resistant to light. In cooperation with Profesor Szczepankowska she has made numerous studies on the resistance of colours to light, wear and washing. In effect, the use of conservation materials dyed in accordance with the formulations of plant dyeing brought very good results in the conservation of tapestries and carpets, just as the wool dyed with plant dyes was used originally to make new textiles.