This diploma thesis contains description of conservation-restoration works conducted on a painting entitled The Wedding of Samson, from a private collection. The painting is a copy of Rembrandt's eponymous original, and in 1934. it was painted by an unknown author. Due to the fact that the painting is a copy of a well-known masterpiece, some chapters of this work are devoted to iconographic analysis of the painting, a biography of the Dutch artist Rembrandt, the presentation of the theme of Samson's life in art and a brief comparison of the original Rembrandt painting with a copy. Since the painting’s surface was covered in prominent craquelure network, the survey of the craquelure phenomenon was chosen as a principal subject matter of this diploma thesis. In chapters are described facts about craquelures were listed, their categorisation and formation explained and, in accordance with previously stated data, a visual identification of craquelures present on The Wedding od Samson was carried out. After the painting was admitted to Department for conservation and restoration of works of art, its current condition was documented and the samples were analysed in order to identify the materials used for its creation. During the ensuing conservation-restoration treatments the surface of the painting was cleaned from accretions and varnish removal tests were carried out. The varnish was extremely difficult to remove, so, after consultation with the owner of the painting and after interpretation of instrumental analysis results, it was opted against its removal from the painting’s surface. During conservation-restoration works the paint layer was consolidated and losses in the canvas and ground layer were mended and filled in. Afterwards, the painting was treated on the vacuum heat table and remounted on original stretcher, which was previously cleaned and added a profile. The retouching of the craquelures was followed in order to optically reduce their visibility, thereby establishing the visual legibility and completeness of the image. During the retouch, an unreadable signature of the author and dating was also observed. At the end of the conservation and restoration works, a final protective layer of varnish was applied to the painting. Exterior decorative frames, as well as interior ones, do not enter into this thesis. The frames are not adequate to the size of the picture, the exterior is too large, while the interior is largely obscured by the edges of the picture. In agreement with the owner, it was decided that the frames would not be returned to the picture and that the owner would create a new decorative frame.Conservation and restoration works are accompanied by written, graphic and photographic documentation.