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Part of Summary / Polska Sztuka Ludowa - Konteksty 1961, z.2
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P
O
QUARTERLY
L
I
S
PUBLISHED
H
BY
F
THE
ART
N. 2
Anna
Świątkowska
—
ŁOWICZ
INSTITUTE
Y E A R
BOOK
S U M M M A R Y
OF
PAPER
CUTS
Paper c u t s h a v e been m a d e i n t h e Ł o w i c z r e g i o n
for a b o u t 100 y e a r s . U p t i l l t h e l a s t w a r t h i s k i n d
of a r t i s t i c w o r k w a s t h e d o m a i n o f r u r a l w o m e n a n d
girls w h o m a d e t h e p a p e r c u t s a l m o s t e x c l u s i v e l y f o r
use i n t h e i r o w n m i l i e u . A t t h e b e g i n n i n g o f t h e
20th c e n t u r y , P o l i s h a r t i s t s d i s c o v e r e d t h e b e a u t y o f
these p a p e r c u t s a n d f r o m t h a t t i m e o n t h e y h a v e
been g a i n i n g e v e r m o r e a p p r e c i a t i o n a n d p o p u l a r i t y
all over the c o u n t r y .
After the last w a r , the paper cuts no
longer
fulfilled their o r i g i n a l f u n c t i o n a n d w e r e n o longer
used b y t h e r u r a l p e o p l e . B u t t h e a r t d i d n o t d i e
out. T h e g r e a t d e m a n d f o r t h e m i n t h e t o w n s , a l l
over t h e c o u n t r y a n d a b r o a d h a s k e p t t h i s f i e l d o f
folk a r t a l i v e a n d has c r e a t e d a f r e s h i n c e n t i v e f o r
its c o n t i n u a t i o n . T h e o l d l a d i e s a d e p t i n t h i s w o r k
are passing o n t h e i r s k i l l to t h e y o u n g e r g e n e r a t i o n
and at p r e s e n t t h e r e a r e o v e r a h u n d r e d w o m e n
making paper cuts i n t h e i r cottages i n the Ł o w i c z
region.
This article, e x a m i n i n g the o r i g i n of the Łowicz
paper c u t s a r g u e s a g a i n s t D r . G r a b o w s k i ' s v i e w t h a t
they w e r e d e r i v e d f r o m t h e p a p e r c u t s m a d e i n t h e
districts s u r r o u n d i n g W a r s a w . A n a l y s i s o f t h e m o t i f s
used is n o t s u f f i c i e n t a r g u m e n t , p a r t i c u l a r l y as a t
the e n d o f t h e l a s t c e n t u r y t h e p a p e r o u t s w e r e
a continuation of the traditional f o r m of decorating
both t h e i n t e r o r a n d e x t e r i o r w a l l s o f r u r a l c o t t a g e s .
T h e s i m i l a r i t y o f m o t i f s ( f i g . 1—4) o c c u r r i n g : i n t h e
paper c u t s a n d i n t h e p a i n t i n g s d e c o r a t i n g
the
cottages s h o w t h a t f r o m t h e t i m e g l o s s y p a p e r b e g a n
to r e a c h t h e r u r a l areas ( a b o u t 1860—65), p a p e r c u t s
began t o r e p l a c e t h e f o r m e r s i n g l e - c o l o u r p a i n t i n g s
(made w i t h a s t e n c i l ) a n d m u l t i c o l o u r e d p a i n t i n g s
(painted i n w a t e r c o l o u r s ) . I n s t e a d o f these p a i n t i n g s ,
the c o t t a g e r o o m s w e r e d e c o r a t e d w i t h p a p e r c u t s
on t h e w a l l s a n d o n t h e c e i l i n g b e a m s ( f i g . 9).
F r o m s i n g l e m o t i f s , i.e. f l o w e r s , t r e e s , b o u q u e t s ,
which were glued to the w a l l s i n earlier times, the
paper c u t s b e g a n t o d e v e l o p i n t o t h r e e b a s i c c o m
positions, a l l o f t h e m g l u e d o n g r e y p a p e r
(now
white paper) a n d a l l of s i m i l a r forms, w h i c h have
been m a i n t a i n e d t o t h i s d a y :
1. R i b b o n s —> p a p e r r i b b o n s , u s u a l l y m e a s u r i n g
50 X 12 c m . , f i n i s h e d o f f a t t h e b o t t o m w i t h
a fringe
and
decorated
with
the
former
..bouquets" on a w h i t e or coloured b a c k g r o u n d
(fig. 10—12).
2. S t a r s —• c i r c l e s 1 7 — 2 1 c m . i n d i a m e t e r ,
m a d e o f c a r d - b o a r d ( f i g . 13—20).
mostly
3. „ K o d r y " ( d e r i v e d f r o m t h e I t a l i a n
„coltre",
„ c o l t r i n e " ) —> r e c t a n g u l a r , d e c o r a t e d h o r i z o n t a l
b a n d s 80—100 c m . l o n g a n d 15—20 c m . w i d e ,
hung on beams
and walls, alternated
with
" s t a r s " ( f i g . 22—39).
O
L
OF
THE
K
POLISH
X V
A
ACADAMY
OF
R
T
SCIENCES
1961
ARTICLES
I n the o r n a m e n t a l p a t t e r n o f a l l three types of
paper cuts, the evolution was identical. The
first
m o t i f s , v e r y s i m p l e g e o m e t r i c a l o n e s (spots c i r c l e s ,
squares, etc.)
and
geometricized
ones
(schematic
figures of dolls o r s i m p l i f i e d p l a n t forms), w e r e
g r a d u a l l y replaced a t the e n d o f the 19th c e n t u r y b y
more realistic h u m a n figures
i n Łowicz
regional
costumes a n d by t r a d i t i o n a l p l a n t motifs, f o r instance,
"the tree" w h i c h w e r e considerably developed
(fig.
4 — 6 , 14—17, 22, 41). A d e f i n i t e n a t u r a l i s t i c t e n d e n c y
c a n b e seen i n t h e s e c h a n g e s . A s f r o m 1910, n e w
decorative tendencies w e r e added confusing the for
m e r austere o r d e r of the composition, a n d reminiscent
of t h e secession p e r i o d w i t h t h e c o m p l i c a t e d c h a r a c t e r
o f t h e d e s i g n , t h e t w i s t i n g l i n e s a n d restless c o m p o
sition. The complete s y m m e t r y of the arrangement of
e l e m e n t s b e g a n t o d i s a p p e a r a n d t h e c h a n g e s w e n t so
far that, for instance, i n " K o d r y " w i t h p l a n t motifs,
a three element composition w i t h a three axis symme
try changed into a w a v y branch only maintaining the
c e n t r a l axis o f s y m m e t r y , t h e rest o f the elements
being arranged
rather
freely.
The
plant
motifs
themselves w e r e also changed. Changes, s i m i l a r t o
those t h a t t o o k p l a c e i n e m b r o i d e r y a f t e r t h e F i r s t
W o r l d War, also o c c u r r e d i n the paper cuts. Here too,
the geometrical ornamentation was ousted by plant
motifs treated i n a n ever m o r e n a t u r a l i s t i c way.
The influence of the towns was not w i t h o u t its
effects
either.
About
1923, o n t h e i n i t i a t i v e o f
A . Chmielińska, t h e w e l l k n o w n c u l t u r a l w o r k e r a n d
propagator of f o l k art, a n e w k i n d of „star" paper
c u t b e g a n t o be m a d e — i n t h e f o r m o f o p e n w o r k
circles. N e x t c a m e ellipses w i t h a n a r r a t i v e c o m p o s i
t i o n . I t m u s t be p o i n t e d o u t h o w e v e r • t h a t i n t h o s e
t i m e s these f o r m s w e r e o n l y m a d e f o r use i n t h e
t o w n s a n d w e r e n o t t o be f o u n d i n t h e r u r a l areas.
The t r a d i t i o n a l „ K o d r y " themes d i d not undergo
a n y p a r t i c u l a r changes r i g h t u p t o t h e last w a r ;
t h e y w e r e u s u a l l y „ W e d d i n g " a n d „ C o a c h e s " , scenes
f o r v i l l a g e l i f e , etc. ( n o t w i t h o u t a n o t e o f s a t i r e
sometimes).
B u t a b o u t 1900, a n e w f a s h i o n i n p a p e r c u t s
a p p e a r e d : p a i n t i n g s o f heads p u r c h a s e d r e a d y m a d e
w e r e g l u e d i n t h e p l a c e o f h e a d s a n d a b o u t 1920,
heads c u t o u t f r o m p h o t o g r a p h s began to be used
( f i g . 34, 39). N o w , t h e y a r e d r a w n f r o m i l l u s t r a t e d
weeklies.
A f t e r t h e S e c o n d W o r l d W a r t h e scope o f t h e m e s
became broader, m a i n l y o w i n g to the influence of
o r d e r s f r o m o u t s i d e t h e r u r a l areas a n d c o m p e t i t i o n s
on
definite subjects. „ K o d r y " w i t h
political and
social themes began t o appear, made specially f o r
e x h i b i t i o n s a n d f o r m u s e u m s , etc.
C o n t e m p o r a r y p a p e r c u t s g a i n t h e i r effect
not
only by line but mainly by the intensity and purity
of their colour.
125
Once, w h e n v a r i o u s glossy papers w e r e a v a i l a b l e
i n t h e r u r a l areas, t h e w o m e n m a k i n g p a p e r cuts
u s e d a b o u t 40 shades. T o d a y , t h e s m a l l e r r a n g e o f
p a p e r s h a s l i m i t e d t h e r a n g e t o o n l y 10 c o l o u r s .
A l t h o u g h the w o m e n w h o made paper cuts have
passed d o w n t h e i r s k i l l f r o m generation t o generation,
the' degree o f s k i l l w a s v a r i e d . A p a r t f r o m some w h o
c o u l d m a k e paper c u t s s i m i l a r t o those m a d e b y
t h e i r predecessors a n d c o n t e m p o r a r i e s ,
there were
also t a l e n t e d f o l k a r t i s t s c r e a t i n g t h e i r o w n k i n d o f
paper cuts o f a specific style. T h e a u t h o r w r i t e s about
some of the most o u t s t a n d i n g paper c u t artists —
Jadwiga
Klimkiewicz,
Franciszka
Burzyńska,
the
S t r y c h a r s k i f a m i l y , Elżbieta Żaczek, A n a s t a z j a
Pawlikówna a n d others.
Today, a l l those m a k i n g p a p e r cuts a r e f o l l o w i n g
the „new" fashion, c r i t i c a l l y evaluating their earlier
w o r k s , even b e i n g ashamed of t h e m . O n l y t w o of
t h e m —• 7 1 - y e a r - o l d K a t a r z y n a G u z e k a n d Stanisława
Bogusz — are s t i l l m a k i n g paper outs s i m i l a r to the
old patterns.
T h e a u t h o r concludes her a r t i c l e w i t h the postu
late for more care for the paper c u t makers, not
o v e r b u r d e n i n g t h e m w i t h o r d e r s , h e l p i n g t h e m t o get
c o l o u r e d p a p e r , etc. so as t o h e l p m a i n t a i n as l o n g
as p o s s i b l e t h e a r t i s t i c v a l u e s w h i c h h a v e b e e n p r e
served to a great e x t e n t i n the Łowicz region paper
cuts.
Jadimga
and
CENTURY
Anatoliusz
BIŁGORAJ
RELIGIOUS
—
Czerpiński
18TH
FOLK
COSTUMES
FROM
THE
PICTURES
IN
T a k i n g as a basis a c y c l e o f 1 8 t h c e n t u r y r e l i g i o u s
pictures of peasant theme f r o m the Solska
Forest
r e g i o n (Biłgoraj d i s t r i c t ) , w h i c h is t h e o n l y k n o w n
cycle of this type, the authors analyse the regional
costumes of t h a t time. The cycle comprises
eight
scenes f r o m t h e r e v e l a t i o n a n d o f m i r a c l e s , a l l o f
w h i c h go t o m a k e u p t w o p i c t u r e s m e a s u r i n g 2.04 m .
b y 1.82 m . w i t h l o n g i n s c r i p t i o n s i n v e r s e . T h e s e a r e
pictures of the k i n d p a i n t e d by artisans and, f r o m
the f o r m a l p o i n t of view, are k i n d r e d to the a r t of
t h e o l d g e n t r y o f t h e 17th a n d 18th c e n t u r i e s w i t h
their cult of a l l that was national. The
realistic
native character of the paintings make them a va
l u a b l e source o f i n f o r m a t i o n c o n c e r n i n g t h e Biłgoraj
regional costumes of the 18th century. Analysis of
the pictures c o n f i r m s i n general the results o f research
c a r r i e d o n i n these parts a n d also yielded some
additional details.
Pękalski
THE
BIŁGORAJ
—
WOODEN
TOMB
SHRINES
IN
DISTRICT
T h e t o m b s h r i n e s f o u n d i n t h e Biłgoraj d i s t r i c t
are a rarity i n our country a n d nothing like t h e m
h a s b e e n f o u n d i n o t h e r r e g i o n s so f a r . A d o z e n o r
so y e a r s ago t h e r e w e r e t h r e e o f t h e m i n t h e ce
m e t e r y a t Puszcza Solska; n o w there are o n l y t w o
that have survived. A l l of t h e m have the same
characteristic s o l i d shape a n d a l l o f t h e m have been
carved out o f a single large block o f wood, i n w h i c h
niches w e r e h o l l o w e d o u t for the figures o f saints.
T h e o l d e s t s h r i n e ( f i g . 3) p r o b a b l y d a t e s b a c k t w o
h u n d r e d y e a r s , a n d t h e m o s t r e c e n t is s h o w n i n
f i g . 5. I n a d d i t i o n , a t o m b s h r i n e f r o m G ó r e c k o K o
ścielne (Biłgoraj d i s t r i c t — f i g . 4) has b e e n p r e s e r v e d
126
Ewa
Fryś-Pietraszkowa
—
JÓZEF
GIBULA'S
FUR
NITURE
I n the Powiśle Lubelskie region, where decorative
f u r n i t u r e has n o i n t e r e s t i n g t r a d i t i o n s , being l i m i t e d ,
i n general, to p a i n t e d coffers,
a set o f f u r n i t u r e
d e c o r a t e d w i t h c a r v i n g s t h a t has b e e n p r e s e r v e d i n
Z a b o r z e a n d a f e w v i l l a g e s o f O p o l e L u b e l s k i e is
w o r t h y of attention. This furniture was made by
Józef Gibuła, a f a r m l a b o u r e r w h o l i v e d i n S ł o t w i n y
(Opole Lubelskie district). His hobby was carpentry
a n d h e m a d e f u r n i t u r e f o r h i s o w n use a n d f o r
his relations a n d friends. His f u r n i t u r e was r i c h l y
decorated
w i t h polychromic carving, very
original
b o t h as r e g a r d s i t s a p p l i c a t i o n (on e l e m e n t s o f f u r
n i t u r e w h i c h i t was n o t t h e c u s t o m to decorate, for
i n s t a n c e , t h e v e r t i c a l b o a r d s o f c h a i r b a c k s ) , a n d as
regards the o r n a m e n t a l presentation of the motifs,
rather reminiscent of children's drawings i n their
simplicity.
W h i l e i t is d i f f i c u l t t o f i n d a n y d i r e c t c o n n e c t i o n
w i t h t h e t r a d i t i o n s o f f o l k a r t , G i b u l a ' s w o r k has
c e r t a i n characteristic of f o l k a r t a n d analysis of the
v a r i o u s m o t i f s used s h o w e d t h e m t o be a n a l o g i c a l
w i t h those o n distaffs f r o m R a d o m a n d the moulds
h i g h l a n d e r s u s e d f o r m a k i n g cheeses.
SOLSKA
FOREST
Michał
i n t h e c o l l e c t i o n s o f t h e M u s e u m a t Zamość. T h e
o r i g i n of these shrines c a n be traced to the t r a d i t i o n ,
s p e c i f i c f o r t h e Biłgoraj r e g i o n , o f h o l l o w i n g o u t
wayside shrines i n tree t r u n k s , and this proves that
t h e shrines f o u n d i n t h e Puszcza Solska cemetery
w e r e a l s o m a d e i n o t h e r v i l l a g e s of t h e Biłgoraj
district.
T H E S E C T I O N : H I S T O R I C A L A R C H I V E S contains
the second p a r t o f E d w a r d Pietraszek's w o r k "Pottery
C e n t r e s o n t h e E s t a t e s o f t h e Tonczyński F a m i l y i n
t h e 1 8 t h C e n t u r y a n d t h e F i r s t H a l f o f t h e 19th
Century"
based o n i n f o r m a t i o n copied
out
from
i n v e n t o r i a l books, a n d a s h o r t a r t i c l e b y J a n i n a
Kamińska: "Some S u p p l e m e n t a r y
Information
on
t h e H i s t o r y o f P o l i s h S t r i p e d F a b r i c s " . O n t h e basis
o f r e s e a r c h o n m a t e r i a l s f r o m t h e 1 1 t h a n d 12th
centuries f o u n d i n archeological excavations it was
c o n c l u d e d t h a t s t r i p e d fabrics w e r e used i n the area
from
Silesia
to Pomerania
(Opole—Gdańsk).
The
a u t h o r , o n t h e basis o f d o c u m e n t s f r o m the C h u r c h
l a w s (1233, 1320 a n d 1402) p r o h i b i t i n g p r i e s t s t o w e a r
coloured " s t r i p e d " c l o t h i n g , concludes t h a t striped
f a b r i c s w e r e w o r n a n d used a l l o v e r P o l a n d i n t h e
13th, 1 4 t h a n d 1 5 t h c e n t u r i e s .
W r i t i n g about the exhibition of Polish folk a r t i n
B a s e l , o r g a n i z e d i n t h e M u s e u m für V ö l k e r k u n d e b y
P r o f e s s o r R. W i l d h a i b e r , K. Mathys
is v e r y enthusiastic
about the v a l u e o f t h e exhibits, expressing his special
a d m i r a t i o n for the f o l k " s p i d e r s " w h i c h he considers
to be the p r o t o t y p e of Calder's " m o b i l e s " . I n another
article about
the
e x h i b i t i o n , A.
Jackowski
lays
emphasis on the great care taken by Professor W i l d h a b e r i n a r r a n g i n g t h e e x h i b i t i o n , s a y i n g t h a t he h a d
succeeded i n assembling
a beautiful collection
of
Polish f o l k a r t objects. B u t he considers t h a t the
n u m b e r of exhibits of H u c u l i folk a r t was unproport i o n a l l y large a n d t h a t the inclusion of a
whole
section of H u c u l i a r t i n an e x h i b i t i o n of Polish folk
a r t is f u n d a m e n t a l l y i n c o r r e c t , f o r i t g r e w u p f r o m
d i f f e r e n t e t h n i c sources a n d o n l y a s m a l l p a r t o f i t
shows the ethnic influence of Polish culture.
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iipołOBO.iCTBOM Bwpe30K H3
fiyMarii.
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craTba nojieMH3HpyeT co B3rviHAOM AOKTopa rpafioBCKoro.
KOTopbift BHAHT .naiajio 3THX BbipesoK B noA,BapmaBCK'Hx
Bbipe3Kax H3 6yMarn. AHajwa MOTHBOB He MOJKCT 6biTb
apryMeHTOM, B OCOBeHHOCTH, eCJIH B3HTb BO BHHMaHHC
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tropów,
r
CxOACTBO MOTMBOB ( HJIJI. 1—4), BbICTyiiaiOmHX B BblpełKax M na KapTHHax, yKpauiaiouiHx CTSHM HSÓM — AOKa3HBaeT, ITO C MOMCHTOM noHBjieHim B .lepeBHe j i o m e n HOH CyMara (OKOJIO 1860—1865 r r . ) Bbipe3Ka Haiajia
saMenaTb npencHne OAHOUBeTHbie KapTHHbi (BbinojitisieMbie
no TpacpapeTy) u pa3H0HBeTHbie
(HapHCOBaHHMG aKBapejIbllblMH KpaCKaMll). BMeCTO HHX nOHBHJIHCb Ha CTeHax
yKpameiiiHH, Bbipesamibie H3 CyMarn H noMemeHHbie Ha
CTeHax H 6ajiKax noTOJiKa (HJIJI. 9 ) .
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Ha Sejiyio óyMary, BbiflepwaHbie B T3KOM JKC (bopMaTO
H oymecTByiomMe AO iHacToamero BpeMeHH: 1. TeceMiKH —
SyMawHbie jieHTbi, npeMymecTBeHHo pa3MepoM 50 X 12 CM,
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npsiMoyrojibHbie
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nojiocw
.IJiHiiofl 80—100 CM. ujiipiiHoft 15—20 CM, noBeiueHUbie na
6ajiKax u creHax ti oTAejiemibie „3Be3.i.aMH" (HJIJI. 2 2 — 3 9 ) .
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naTypajiHCTHleoKyio TeHAeHUHio.
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1910 r o a a croaa BKJiKmaeTCH HOBoe CTpełUKHtie,
H3MeHHBiuee CTapbifl c r p o r n i i KOMno3HH.HOHHbift nopHAOK
H HanoMHnaiornee ceuecHio H3-3a sanyTawHOCTH pncyHKa
B H3OrHyT0M 6ere J I I H H H H H 6eCnOKOHCTBC KOMn03HHHH.
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I
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lOBecTHoro
aeHTejia
u .'iioóHTejiH napoAHoii
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ooHOsaHwyio n a Bbinwcxax H3 HHBciiTapHbix KHKI\ a THK>KC
iio6o.iibuiiyio CTaTbio H. K a M i i H b c K o i i „HecKOJibKo :ionOJIHCHHii K HCTOpHH IlOJIbCKOH nOJIOCaTOÜ TKaHIl". I i i )
iiccjiCAOBa.HHHM, ocHOBaiibiM Ha HCKonaeMOM
MaTcpna.ic
X I — X I I BCKOB, npOBe/l,eHHbIM T.O OeTO BpPMeHIl IIO.T,TBep>K.T,e«o noaiBJieHMe nojiocaToro MaTepnajia na Teppinopini
OT Cujie3HH flp noiviopbsi (Onojie-rA.'i'HbeiK). ABtop na
ooHooe nojio>KeiHHH uepKOBUbix 3aKOHOB (1233 r., 1320 r.,
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B no^ocxy,
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:
CZASOPISMA INSTYTUTU SZTUKI
wydawane
PJ.
WYDAWNICTWA
PAN
przez
ARTYSTYCZNE
I
FILMOWE
BIULETYN
H I S T O R I I S Z T U K I , k w a r t a l n i k , p o n a d 100 s t r . d u ż e g o
f o r m a t u , o k o ł o 100 i l u s t r a c j i . C e n a 24 zł, p r e n u m e r a t a półroczna 48 zł,
r o c z n a — 96 zł.
POLSKA SZTUKA
LUDOWA,
k w a r t a l n i k 64 s t r . d u ż e g o f o r m a t u ,
b o g a t y m a t e r i a ł i l u s t r a c y j n y . C e n a 18 zł, p r e n u m e r a t a półroczna 36 z l ,
r o c z n a — 72 zł.
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 , p o n a d 170 s t r . d r u k u , o k o ł o
100 i l u s t r a c j i . C e n a 18 zł, p r e n u m e r a t a półroczna 36 zł, r o c z n a — 72 zł.
K W A R T A L N I K F I L M O W Y , o k o ł o 100 s t r . d r u k u , k i l k a n a ś c i e
C e n a 10 zł, p r e n u m e r a t a p ó ł r o c z n a 20 zł, r o c z n a — 40 zł.
ilustracji.
M U Z Y K A , k w a r t a l n i k , o k o ł o 130 s t r . d r u k u , l i c z n e p r z y k ł a d y
C e n a 18 zł, p r e n u m e r a t a półroczna 36 z l , r o c z n a — 72 zł.
nutowe.
PRENUMERATA
Z a m ó w i e n i a i przedpłaty n a p r e n u m e r a t ę p r z y j m o w a n e są w t e r m i n i e
d o d n i a 15-go miesiąca p o p r z e d z a j ą c e g o o k r e s p r e n u m e r a t y — p r z e z :
Urzędy P o c z t o w e , listonoszy o r a z Oddziały i D e l e g a t u r y
„Ruchu".
Można również zamówić prenumeratę dokonując wpłaty n a k o n t o
P K O n r 1-6-100020 — C e n t r a l a K o l p o r t a ż u P r a s y
i
Wydawnictw
„ R u c h " — W a r s z a w a , u l . S r e b r n a 12.
C e n a p r e n u m e r a t y z a g r a n i c ę j e s t o 40'°/o droższa o d c e n y p o d a n e j w y
ż e j . P r z e d p ł a t y n a tę p r e n u m e r a t ę p r z y j m u j e n a o k r e s y
półroczne
i roczne Przedsiębiorstwo E k s p o r t u i I m p o r t u „Ruch" w
Warszawie,
W i l c z a 46, k o n t o 2-6-71 w N a r o d o w y m B a n k u P o l s k i m w
Warszawie,
u l . W a r e c k a 10.
SPRZEDAŻ
E g z e m p l a r z e z d e z a k t u a l i z o w a n e m o ż n a nabyć w s k l e p i e „ R u c h u " p r z y
u l . W i e j s k i e j 14 w W a r s z a w i e . Z a m ó w i e n i a s p o z a W a r s z a w y
należy
kierować d o C e n t r a l i Kolportażu Prasy i W y d a w n i c t w „Ruch", W a r
s z a w a , u l . S r e b r n a 12.
A k t u a l n e n u m e r y czasopism I n s t y t u t u S z t u k i P A N
w w i ę k s z y c h księgarniach m i a s t w o j e w ó d z k i c h .
Białystok — L i p o w a 43
B i e l s k o — D z i e r ż y ń s k i e g o 33
B y d g o s z c z — 1 M a j a 17, D w o r
c o w a 14
B y t o m — Kościuszki 4
C h o r z ó w — W o l n o ś c i 13
Częstochowa — A l . N M P 8
Gdańsk-Wrzeszcz — G r u n w a l d z
ka 8
G d y n i a — Ś w i ę t o j a ń s k a 47
G l i w i c e — Z w y c i ę s t w a 31
Grudziądz — R y n e k 13
Inowrocław — Królowej J a d w i
g i 31
K a l i s z — Ś r ó d m i e j s k a 14
K a t o w i c e — W a r s z a w s k a 11
K o s z a l i n — M ł y ń s k a b l o k 12
K i e l c e — S i e n k i e w i c z a 30, S i e n
k i e w i c z a 60
Kraków — Podwale 6
Lublin
—
Krakowskie
Przed
mieście 68
są
do
nabycia
Ł ó d ź — P i o t r k o w s k a 102a
Poznań — M a r c i n k o w s k i e g o 2 1 ,
A r m i i C z e r w o n e j 37
P r z e m y ś l — Franciszkańska 19
R a d o m — Ż e r o m s k i e g o 27
R z e s z ó w — Kościuszki 3
Słupsk — P I . Z w y c i ę s t w a 11
S a n d o m i e r z — płk. S k o p e n k i 4
Sopot — Bohaterów M o n t e Cas i n o 26
Sosnowiec
b i e 23
—
Czerwone
Zagłę
T o r u ń — R y n e k S t a r o m i e j s k i 30
Warszawa — K r a k o w s k i e Przed
mieście 7, K r e d y t o w a 9, P i ę k
n a 31/37, B r a c k a 20, N o w y
Świat
35,
Rynek
Starego
M i a s t a 22/24.
W ł o c ł a w e k — 3 M a j a 25
W r o c ł a w — K u ź n i c z a 42
Z a b r z e — Wolności 276
Stołeczne Zakłady Graficzne. Z. W. Wnwa, Podchorążych 39. Z a m . 217. Pap.
ilutstr. k l . I I I , 120 g Ali + k a r t o n biały ,kl. I I I , 220 g. B I . Nakład 1300 egz. S-fl6
D r u k ukończono w czerwcu 1961 r .