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Title
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Summaries / Polska Sztuka Ludowa - Konteksty 1968 t.22 z.3
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Description
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Polska Sztuka Ludowa 1968 t.22 z.3 ; s.166-167
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Date
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1968
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Format
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application/pdf
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Identifier
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oai:cyfrowaetnografia.pl:4547
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Language
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pol
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Publisher
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Instytut Sztuki PAN
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Relation
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oai:cyfrowaetnografia.pl:publication:4901
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Text
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P
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Q U A R T E R L Y F U B L I S f í ED
3
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t3Y TlíTÍ AIÎ.T I N S T I T U T E OF T H E FOL I SU A-CADE M Y OF SCIENCES
YEATí BOOK X X I I
T
19b!j
SUMMARY OF A R T I C L E S
R o m a n R e i n f u s s - S K A N S E N M U S E U M OF F O L K
I N D U S T R Y A T ETERA (Bulgaria).
I n Bulgaria, apart from preserving whole groups
of historical buildings, single objects are also under
protection. The Museum at Etera is of a special cha
racter: i t houses a collection of r u r a l i n d u s t r i a l equip
ment (fulling presses, mills, turneries, blacksmiths'
workshops, saw-mills, etc). Some of them are local ir.
origin, others have been brought there or reconstructed.
The situation of the Skansen Museum (at the foot of the
mountains on the banks of streams) creates excellent
conditions for the exploitation of the equipment. Part
of the production of the workshops is sold on the spot
as tourist souvenirs (flints from the blacksmiths', wooden
plates and bowls from the turnery) (fig, 10). There is also
a workshop producing twisted cords for the galloons
of Bul^aria-i folk costumes.
The author savs that the museum a t Etera is not
a dead display l i k e most centres of this type. The w o r k s
hops w o r k for the village, producing souvenirs for
tourists. The workers are retired craftsmen. I n a few
vears time, when a l l the workshops have been set in
motion, the museum w i l l be self-supporting.
The author stresses that the idea of organizing this
Bulgarian Skansen Museum is a good one and that
i t w o u l d be a good thing if one was organized i n Poland.
I n this way, m a n y folk crafts could be reactivated.
B a r b a r a B a z i e l i c h — FASHION I N REGIONAL
CUSTUMES T H E SUBJECT OF E X H I B I T I O N I N S I
LESIA
ii,.
A n exhibition entitled "Fashion i n Regional Costu
mes was opened i n June 1967 i n the Katowice Y o u t h
Palace. On the m a r g i n of her remarks about the e x h i b i
t i o n , the authoress touches upon the problem of the m o
dification of Silesian costumes from the middle of the
19th century t i l l todav. The costumes were presented
i n two groups: everyday and Sundav clothes W i t h i "
the f r a m e w o r k of these groups, summer and w i n t e r
costumes were shown, attention also being paid to the
time of the day they are w o r n . The exhibition was
completed w i t h f a m i l y photographs from the t u r n of
the 19th and 20th centuries, (fig. 19). So far, exhibitions
have shown the t e r r i t o r i a l traditions of groups of S i
lesian costumes. The authoress, i n presenting a picture
of the exhibition, gives prominence to the differences
i n folk costumes, depending on their function the status
of those who wear them and the occasion or
the year for w h i c h they are w o r n .
A p a r t from sets of costumes of a t r a d i t i o n a l cha
racter, sets showing the influence of elements of urban
clothes are also displayed. The costumes of the brido
and bridegroom and the best man and chief bridesmaid
(fig. t>) formed a separate firoup, and also children's
costumes, w h i c h were modelled on adult costumes a t
the beginning of the 20th century. Today, the children's
costumes are onlv for special occasions,' and are w o r n
above a l l , for church ceremonies.
The exhibition was an opportunity to follow the
changes that Silesian costumes have undergone in
various t e r r i t o r i a l groups. One of the signs of changes
was the use of factory made fabrics (cashmir wool,
foulard, Chinese silk) imported from France and Austria.
Some form^ and elements of the costumes have become
more modest and others have been abandoned a l t o
gether, w h i l e s t i l l others have been adapted to the
prevailing fashions.
The peasants' costumes w o r n i n Silesia gave the
wearers a feeling of national distinctness. The costumes
emphasized that thev belonged to a certain region and
nation.
166
Some sets of certain parts of the costumes and
ornamentation, for instance, embroidery and laee
(fig. 14), etc. were also on show at .the exhibition, w h i c h
demonstrated the character of the changes t a k i n g place
i n the Silesian countryside under the influence of
fashion.
S t e f a n i a K r z v s z t o f o w i c z — T H E O R I G I N OF
I C O N O G R A P H I C PICTURES OF T H E EYE OF PRO
VIDENCE
The authoress discusses a group of folk paintings o f
the Eye o f Providence. A l l o f them are painted according
to one compositional pattern. The upper part of the p i c
ture shows the Eye of Providence i n a triangle s u r r o u n d
ed w i t h clouds, garlands of flowers and wreaths. O w i n g
to the compositional differences i n the lower part of
the pictures, the authoress divides them into several
groups of different types. The first group are pictures
w i t h a scene showing adoration of the Eye of P r o v i
dence by one person (fig. 1), the second group is o f
pictures where the Eye of Providence is adored by two
or more persons (fig. 2—6, 8).
The folk paintings discussed i n the article constitute
an example of the penetration of official iconographic
patterns into folk art. The authoress discusses p u b l i
cations spreading the cult of Providence. They appeared
in Poland in the 17th and 18th centuries. The folk p a i n
tings date back to the 19th century. I t is certain that the
compositional patterns were t a k e n from illustrations.
Drawings i l l u s t r a t i n g the texts of prayers, sermons and
litanies (fig. 10) were used b y the folk artists as examp
les. The authoress says t h a t the folk paintings w i t h the
Eye of Providence are one of the few examples of the
cult of the abstract notion of Providence. The w a y of
interpreting this cult shown i n official art suited the
m e n t a l i t y of the folk artists.
Elżbieta
CARRIERS
Królikowska
— WANDERING
CRIB
The crib is one cf the forms of the folk puppet
theatre that has lasted t i l l this verv day i n some regions
of Poland. The authoress w r i t e s about the t r a d i t i o n of
crib-shows i n B e ł c h a t ó w district (Łódź Voivodship).
One of the villages there was, u n t i l the second w o r l d
war
a centre of wandering crib-carriers. A t present
there is only one c r i b - c a r r i e r left w h o takes his crib¬
-show round the neighbouring villages every year at
Christmas (fig 2) Jan Jasicha is 71 vears old and is
the last of the wandering crib-carriers of B e ł c h a t ó w
district
*
Jasicha's crib-show is based on the old traditional
models. The l i t t l e wooden puppets only differ from each
other by the wav they are dressed. They have no arms
or legs (fig 3—9) The text of the crib-show is partjy
spoken and p a r t l y sung. The authoress gives the text
and music for the parts that are sung.
Insufficient source material made i t impossible for
the authoress to trace the evolution of the f o r m and
subject of the crib-show. There is a constant decline
of interest i n the crib-shows and there is nobody to
continue the traditions. The T V , radio and the cinema
are a better f o r m of entertainment for the people.
S t a n i s ł a w S k i b i ń s k i — THE HARVEST-HOME
"GOAT" I N T H E CHEŁM DISTRICT
The rite k n o w n as "the Goat" consists i n l e a v i n g
handfuls of uncut w i n t e r corn and t y i n g them up at
the top A t the place where i t is tied, the "goat" i s
adorned w i t h flowers and herbs (fig. 2, 3). The earth bet
ween the uncut clumps is dug w i t h a sickle and tho
grain from the ears of uncut corn is used to make
the first sowing. The author analyses the names given
to the rite i n the Chelm L u b e l s k i district. There are
two names, the boundary between them is sot by the
author as r u n n i n g f r o m the north-east to the north-west
(fig. 1). The rite is acampanied b y the singing of couplets,
several of w h i c h are quoted by the author. The r i t e
k n o w n as "the Goat" is d y i n g out, one of the reasons
for this being the ever more generally applied mecha
nical methods of harvesting corn.
Ewa
S n i e z y r i s k a - S t o l o t — ADEODATUS MAR
T Y N S K I , STONE M A S O N F R O M B O R Z E C I N (1833—1895)
D u r i n g studies conducted by the laboratory for r e
search on folk a r t of the P A S A r t Institute, i n Brzesko
district (Cracow Voivodship) several figures signed bv
the stone mason A . M a r t v n s k i were recorded i n the
inventory (fig. 1—5). The compositional p a t t e r n of several
others give grounds to assume that they were also made
bv M a r t y n s k i (fig. 8). T h e Martynsiki f a m i l y came to
Poland f r o m Slovakia.
The authoress w r i t e s about the figures found by
the wayside ( M a r t y n s k i also d i d interior decoration i n
churches), analysing their f o r m and ornamentation. She
classifies M a r t y n s k i ' s w o r k to the so-called sculpted
figures w h i c h have l i m i t e d architectural elements and
w e l l developed w o r k m a n s h i p i n carving. M a r t y n s k i ' s
mastery of his a r t can be seen p a r t i c u l a r l y w e l l L i
carvings where there is a group of figures (fig. ft), and
the m o t i f Df b i l l o w i n g clouds is characteristic i n h i ^
w o r k . The columns of the figures are adorned w i t h
bas relief carving.
The authoress discusses i n brief the problem of the
patterns on w h i c h the stone mason's w o r k was based.
They originated f r o m Leipzig, M u n i c h and Grbd-en.
There is no doubt that M a r t y n s k i based his w o r k on
reproductions of these patterns. H i s w o r k is based on
the old craftsman's traditions. The artistic level of his
figures distinguishes them f r o m other stone mason's
w o r k s to be found i n the Cracow Voivodship.
n O J l b C K O E
KBAPTAJIbHHKE
3
JKYPHAJI
J ó z e f P ó ł ć w i a r t e k — M A K E R S O F PIPES A N D
TOYS I N L E Ż A J S K Y E S T E R D A Y A N D T O D A Y
Basing himself on archive m a t e r i a l f r o m the 17th and
18th
century, the author discusses the w o r k of the
makers of pipes and toys i n L e ż a j s k and the surrounding
parts. A p a r t f r o m artisans affiliated i n guilds and en
gaged i n the production of toys, there were also "bot
chers" i n small towns and villages. The archive docu
ments reflect the struggle of the guilds against the
"botchers". They sold their products at religious festi
vals and at fairs.
The studies of the author have shown that the p r o
ducers of pipes and toys were w h e e l w r i g h t s and
coopers.
Today, the toymakers produce wheelbarrows, coaches
and horses, w i n d m i l l s , birds, etc. (fig. 2—5>, U p t o the
First W o r l d W a r manv of the tov-makers were engaged
exclusively i n the production of pipes. Toy m a k i n g is
now on the decline.
F r a n c i s z e k K o t u l a — C O M P L 2 X S T U D I E S OF
THE
FOLK CULTURE I N MIELEC DISTRICT
The ethnographic section of the Museum i n R z e s z ó w
organized a stationary camp i n Mielec district i n 196S.
The subject of the studies carried out was the geography,
settlement, history, building, methods of healing, magic
practices and the customs and folk rites of the district.
The a i m of the studies was to establish the boundary
line between the ethnic groups of Lasawiaks
and Eastern
Krakowiak.**, neighbouring on each other. D u r i n g the
research w o r k an interesting historical object was
discovered, namely a glass j u g w i t h etched ornamenta
tion (fm 2—4), made at the nearby sjlass w o r k s i n L i o nica. The author describes the colour and ornamentation
of the j u g and apalyses the motifs used i n the decoration.
Another interesting object o r i g i n a t i n g - f r o m the
neighbouring glass w o r k s i n N i w i s k o is the glass
chandelier discovered i n a wooden church (fig. 8).
H f l P O t f H O E
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ceBy.
A B T O P aHajiM3wpyer n a s B a i i M e 3Toro oSpaAa Ha TeppMTOPMM X e j i M C K o r o p a i i o H a . O H O a s j i a e T c a ABOHKMM: c M e a t -
Hyio npaHMi;y OOOMX HaaBaHMM aBTop HaMenaeT c c e Bepo-BocTOKa H a c e B e p o - 3 a n a A (MJIJI. 1). OdpaA c o n p o B O J K f l a e T c a pa3JIMHHbiMM H a n e B a M M . H e K o r o p b i e ta HMX
aBTop npMBOAMT K TeiccTe. OSpaA „ K 0 3 b i " n o c T e n e H H O
M C H e 3 a e T ; OAHOM M3 IIPMHMH STOTO a B J i a e r c a
MexaHMHecKaa y S o p K a 3epHa, n o j i y n a i o m a a s e e Gojibuiee p a c n p o -
crpaneHMe.
3ea
C b H e j K M H b C K a - C T O J i e T — AAEOAATYC
M A P T b I H b C K M . BOXCEHTMHCKMH K A M H E P E 3 (1833
—1895)
B o BpeMa pa5oT, KOTopbie Beji K a S M H e r n o MccjieAoBaHMK) H a p o A H o r o T B o p n e c T B a n p M H H C T M T y T e M C K y c c r e
IIoJibCKOM A » a A e M M M H a y K , B B s t e c K O M paMOHe ( K p a KOBCIKOe BOSBOACTBO) 5bIJIO 3 a H e c e H O B M H B 6 H T a p b H e
CKOJIbKO C K y j i b n r y p , n o f f l n M c a H H b i x K a M H e p e a o M A. MapTblHbCKMM ,MJIJI. 1—5). KOM'n03MI^M0HHaH C X e M a H e C K O J I b KMX A P y r M x c p M r y p H a a o A M T na M b i c j i b , HTO OHM T a K H c e
n p M H a A J i e x a T K p a S o i a M M a p r M H b C K o r o (MJIJI. 8). CeMb*
M a p T M H b C K M x n p M S b i j i a B n o j i b u i y M3 C j i o a a K M M .
ABTOP M3ynaeT npMAopoHiHbie cpMrypbi (MaprbiHbCKM
Monojinaji
TaKace AeKopaTMBHbie
pafcoTbi B K o c T e j i a x ) ,
a H a j i M 3 M p y a MX c p o p M b i M p e 3 H 0 M o p H a M e H T . n o MHBHMIO
aBTopa
cpMrypbi
MapTMHbCKoro oTHocaTca
K T a K Ha3.
C K y j i b n T y p H b i M cpMrypaM c orpaHMHeHHbrMw apxMTeKTOHMnecKMMM 3JieMeHTaMM M Oojiee pasBMTbiMw p e s u w M M c p o p MaMM. X a c T e p c T B o M a p T M H b C K o r o o c o O e H H o 6pocae T ca
B
raasa
B r p y n n o B b i x M3o5pajKe Max (MJIJI. 9); xapaKTepH
HbiM MOTMBOM e r o p a o o T
OcHOBaHMe cpMryp MacTep
HBjiaiOTca KyneBbie
oOJiaKa.
yKpamaji
SapejibecbaMM.
CTaTbM BRpaTu,e o 6 c y » c A a e T n p o ó j i e n i y K a M H e ma6ji0HOB,
OTMenaa,
HTO MX POAMHOM
6buin
JIeM ^^M^, MIOHXCH, u TpeAeH. M a p T b i H b C K M HecoMHeHHO
noJib30Bajica
p e n p o A y K i | M a M M 3TMX o5pa3upB. Ero T B O P necTBo onMpajiocb H a CTapyio peMecjieHHyio
TpaAMUHio.
XyAOJKecTBeHHbiM y p o B e m ,
cpMryp
MapTMHbCKoro B H A e j i a e T ero r r p o H S B e A e H M a c p e A M pa6oT A'pyrMX MacrepCKMX K a M H e p e 3 H b I X K p a K O B C K O M 3eMJIM.
ABTOP
pesHbix
1
W a e c b n y j i i i b B H p T e K - JIEJKAlłCKME MACTEPA
H H I 1 I A J I O K M flETCKMX M r P y i U E K B H E P A M CETOflHH
i . ,
( ,
Ha ocHosaHMM a p x M B H b i x M a x e p M a j i o B X V I I — ^ X V H I BB.,
a B T o p C T a T b M r i H i i i e T o M a c T e p a x M r y u i e n H b i x M3AejiMM
B JlejKaMCKe M ero oKpecraocTax.
K p o M e u , e x o s b i x peMeCJieHHMKOB, M3rOTOBJiaBUJ,MX M r p y m K M ,
cymecTBOBajiM
„xajiTypmMKM"
B - MecTenKax
M
flepesHax.
ApxMBHbie
AOKyMeHTbi oTo6pa»aiOT 5opb6y u e x o s c „xajiTypmHK a M M " . CBOM M3AeJiMa w r p y m e H H M K M n p o A a J i M BO s p e M a
n p e c T o j i b H b i x npa3AHMKOB M H a a p M a p K a x .
a B
HapoflHoro
Tearpa
c o x p a H M J i c a B HeKOTopwx p a M O H a x
—
no
nojibiun.
ABTOP
onwcbiBaeT TpasMUMio B e p T e n o B B E e j i x a T O B C K O M
paiiOHe ( B e j i x a T y B , J I o f l S M H C K o e BoeBOflCTBo). OAHa M3
6ejixaroBCKMX
flepesenb
Bwna o B T O O M MMPOBOM BOMH M r^eHTpoM nepeflBM3KHbix B e p r e n o B .
Tenepb TOJibKO
OAMH K y K o j i b H M K e a c e r o f l H O cTpaHCTtayeT c BeprenoM no
oKpecTHbiM jiepeBHaM (MJIJI. 2). H n y H c M x e , nocjieflHeMy
M3 CTpaHCTByK)Lu;MX K y K O J i b H M K O B B B e j i x a T O B C K O M p a i i o He. 71 r o A .
fl
P
BepTen
HCMXM H B J i a e T c a o T p a © H M G M n p e 3 K H M X 0 6 pa3u,0B.
flepeBaHHbie
KyKOJrKM-MiapMOHerKM
po3HHTca
M e s t A Y CO5OM TOJibKO H a p a A O M , n p M n e M OHM j i M u i e n w p y K
w HOT (MJIJI. 3X9). T a K C T n p e A C T a B J i e H M H n a c T M H H O p a 3 r o BOPHblM, HaCTMHHO HCe n e « e H H b I M . A l B T O p C T a T b M n p M B O AMT T e K C T M H O T H y i o T p a H C K p M n u M i o K n e c e H H b i M n a p T M a m .
OrcyTCTBMe
A*OC T a T O H H o r o
KOAMnecTBa
MaTepMaAOB
JIMUIMJIO
aBTOpa
B03M05KHOCTM n p O C J I C A M T b 3BOJHOLCI1K)
cpopMbi M c o A e p a c a H M a npeACTaBJieHMH.
MHTepec
K BepTenaM ace 6ojibuie ocjia6eBaeT. H e A O C T a e T n p o A O J i J K a T e j i e M TpaflMr^MM. T e j i e B M A e H M e ,
paAMO
w KMHO HBJiaioTCa Sojiee M H T e p e c H o i i dapoMOM pa3BjieHeHMH,
d a H M C J i a B
cepnoM
C K H Ó H H b C K H
—
fl02KMHKOBAH
„K03A" B XEJIMCKOM PAHOHE
OSpaA „ K 0 3 b i " a a K J i i O H a e T c a B TOM, HTO BO BpeMa
x a T B W o c T a B J i a i O T H e c j K a T y i o r o p c T b 03MMM M n e p e B a 3 b i B a i o T e e , y K p a u i a a B a e p x y y3eji LCBeTaMM M T p a s a n n
(MJIJI. 2 , 3). 3eMJiK> M e s t A y STMMM n y H K a M M
oKanbmaioT
H c c j i e A O B a H M a a B T o p a n o K a a a j i M , HTO MsroTOBJieHMeM
riMmajioK
M M r p y u i e K 3 a H M M a J i w c b KOACCHMKM M DOHAapM.
CoBpeMeHHbie
M r p y u i e H H M K M A S J i a i O T TaHKM, 6PMHKM
C J i o i u a A K a M M , B e i p a H b i e M e j i b H M i ; b i , c p M r y p K M n r M r i M T.n.
(MJIJI. 2—5). flo n e p B O M MMPOBOM BOMHW MHorMe M r p y u i e H
HMKM 3aHMMajiMCb TOJibKO M 3 r o T O B j i e H M e M nwmajiOK (CBMpejiefi).
npocbeccMa
MrpyrueHHMKOB
npMXOAMT
Tenepb
B ynaAOK.
< J > p a H i i M i i i e K K o T y j i a — K O M n J I E K O H H E MCCJIEflOBAHMH
H A P O ^ H O H K Y J I b T y P b l B MEJIEU;KOM
PAHOHE
B
1966
r. STHorpacbMHecKoe
oAejieHMe
XCeniOBCKoro
My3ea o p r a H M 3 0 B a j i o
CTar^MOHapHbiM j i a r e p b B Mejibue.
MccjieAOBaHMM Sburw r e o r p a c p M a ,
nocejieH-
npeAMeroM
n e c T B O , M C T o p n a , c T p o M T e j i b C T B o , 3 A p a B 0 0 x p a H e H M e , M-arMa,
H a p o A H b i e o O b i n a M M o6paAbi. M c c j i e A O B a T e j i M noerasMJiH
ce5e n;ejibio y c r a H O B M T b npaHMirbi Mempy
CMOKHBIMII
3THMH6CKMMM rpynaMM J l a C O B M K O B M BOCTOHHWX K p a K O B a K O B . B o BpeMa MccjieAOBaHMM 6bijia o S H a p y s c e H a MHTepecHaa n a x o A K a — C T e K j i a H H b i M K y B u i H H c T p a B j i e H b i M
y 3 o p o M (MJIJI. 2—4), p a G o T b i 6jiM3jiexaui,ero CTeKOJibHoro
M
a B
^„Lf™iSMKa^
TMBbI.
flpyroił
MHTepecHoii
naxoAKOM a B j i a e r c a
cTeKJiaimaa
j i i o c T p a (MJIJI. 8), o B H a p y s c e H H a a
B A e p e B a H H O M KOCTejie.
J I i o c T p a S b i j i a M 3 r o T O B J i ę H a 7 5 S - < p c e A H e M HMBHCKOM C T e KOJIbHOM 3 a B 0 A 6 .
^
'(mm
CZASOPISMA
INSTYTUTU SZTUKI PAN
[
wydawane przez:
't'
P.P. W Y D A W N I C T W A A R T Y S T Y C Z N E I F I L M O W E
'
B I U L E T Y N H I S T O R I I S Z T U K I , k w a r t a l n i k , ponad 100 str. dużego
f o r m a t u , około 100 i l u s t r a c j i . Cena 24 zł, prenumerata p ó ł r o c z n a 48 zł,
roczna — 86 zł.
P O L S K A S Z T U K A L U D O W A , k w a r t a l n i k , 64 str. dużego f o r m a t u ,
bogaty m a t e r i a ł ilustracyjny. Cena 18 zł, prenumerata p ó ł r o c z n a 36 zł,
roczna — 72 zł.
*
f
P A M I Ę T N I K T E A T R A L N Y , k w a r t a l n i k , ponad 170 str. d r u k u , około
100 ilustracji. Cena 18 zł, prenumerata półroczna 36 zł, roczna —72 zł,
M U Z Y K A , k w a r t a l n i k , około 130 str. druku, liczne p r z e k ł a d y nutowe.
Cena 18 zł, prenumerata p ó ł r o c z n a 36 zł, roczna — 72 zł.
Wszystkie czasopisma n a b y w a ć m o ż n a regularnie jedynie w prenu
meracie.
j
f
W A R U N K I PRENUMERATY
„POLSKIEJ SZTUKI LUDOWEJ"
P r z e d p ł a t y na p r e n u m e r a t ę przyjmowane są w terminie dc dnia 10
m i e s i ą c a p o p r z e d z a j ą c e g o okres prenumeraty.
P r e n u m e r a t ę ; na k r a j dla c z y t e l n i k ó w indywidualnych p r z v j m u j ą u r z ę d y
pocztowe oraz listonosze.
Czytelnicy i n d y w i d u a l n i m o g ą d o k o n y w a ć w p ł a t r ó w n i e ż na konto P K O
nr 1-6-100020 — Centrala K o l p o r t a ż u Prasy i W y d a w n i c t w „ R u c h " —
Warszawa, ul. Wronia 23.
Wszystkie instytucje p a ń s t w o w e i społeczne m o g ą z a m a w i a ć prenume
rato w y ł ą c z n i e za p o ś r e d n i c t w e m O d d z i a ł ó w i Delegatur „ R u c h " .
Cena prenumeraty: półrocznie zł 36, rocznie zl 72.
Cena prenumeraty za g r a n i c ę jest o 40"/* droższa od ceny podanej w y ż e j .
P r z e d p ł a t y na tę p r e n u m e r a t ę przyjmuje na okresy półroczne i rocz
ne P r z e d s i ę b i o r s t w o K o l p o r t a ż u Wydawnictw
Zagranicznych
Ruch"
w Warszawie, u l . Wronia 23, za p o ś r e d n i c t w e m P K O Warszawa' konto
nr 1-6-100024, teł. 20-46-88.
SPRZEDAŻ
I
Egzemplarze n u m e r ó w zdezaktualizowanych m o ż n a nabvwac w P u n k eie W y s y ł k o w y m Prasy A r c h i w a l n e j „ R u c h " , Warszawa, u l . Nowomiejska nr 15/17 na miejscu, lub na n a m ó w i e n i e za zaliczeniem poczto
w y m . Konto PKO Nr 114-6-700041 V I I O/M Warszawa.
A k t u a l n e numery czasopism I n s t y t u t u Sztuki P A N posiada O ś r o d " ' '
Rozpowszechniania W y d a w n i c t w Naukowych P A N \ v P a ł a c u K u l t u r y
i N a u k i w Warszawie.
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Do C z y t e l n i k ó w
P u d j o l i Ś L i n w ^ z ^ t k i f m e z b e d r e tvn.a j j r z > s . : ) o ś r pełną r r t m i c / n ^ s c u kar.'wauia się p i s m a . Redakcja
'
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Z a k ł a d y G r a f i c z n e . . T a m i s a " . 7.Msú
X r ; . W - w a , P o d c h o r ą ż y c h 39. Z a m . 492.
l l u s u . k l . I I I , 113 s D l
k,.i-;on b i a ł y kl. I I I . 220 « . S I . N a k ł a d león . ¿ / .
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