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Porównanie metod konserwacji na przykładzie dwóch obiektów w stanie destruktu

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Ważyńska E. , Wołk-Jezierska W.

nr 3-4

184-188

The subject of the communique is a comparison of two methods of conservation employed in the Workshop of the Conservation of Engravings and Old Books (attached to the State Enterprise for Monuments Protection) to reconstruct works of art which were in a very bad condition. One of the works is the print „The Map of the Sejneńska Diocese” by B. Gratowski, the property of the Museum of Revolutionary Movement at Białystok; the other — a wood Chiaroscuro engraving by A. Andreani „Christ before Pilat” found in the National Museum in Wroclaw. Despite added strengthenings in form of cloth and paper plying-ups, the paper of the objects displayed a marked decomposition of the fibre due to its excessive brittleness and poor adhesion to the plying-up as a result of a destructive action of microorganisms. In order to have the possibility to carry out conservation treatment on the destructed paper and also to succeed in its transfer onto a new plying-up, two variants of a protective face sizing were applied. In one case a traditional method and starch pastes were used to protect the facing and the plying-up; in the other case acetyl cellulose was used instead of a starch paste. The use of the same glue made it necessary to apply water solutions of alcohols to remove yellow discolorations. When treating with acetyl cellulose it was necessary to deacidify several times. Contrasting flues facilitated conservation procedure to a large extent. Conservation processes employed made it possible to select a less labour-consuming but equally effective method for the conservation of works of art which have a decayed groundwork.

Problem uzupełnień ubytków w cienkiej warstwie malarskiej na przykładzie obrazu "Matka Boska Gidelska"

100%

Rachuta K.

nr 3

149-152

The painting Our Lady of Gidle is a mass-produced devotional painting. The painting technique was very simplified. After painting a series of paintings, the many-metre, usually very thin canvas was cut up, separating the individual compositions. The limpness of the base, the thin paint layer and the type of damages these paintings were in danger of, does not makt it possible to use the stereotype measures. The painting Our Lady of Gidle was created in the 19th cent, in the Częstochowa-Gidle workshops. It draws on the legend about finding the miraculous figure of Our Lady in a field. The painting handed over for conservation was in a very bad state: weakened canvas, no adherence to the base and flaking of the paint layer, numerous paint losses, bends etc. The measures began with straightening out the canvas and gluing under the paint layer. Then the paint layer was cleaned, the tears were glued up and patches were glued on. Next, the paint layer losses were supplemented. On a vacuum table, at a temperature of ab. 65°C, the painting was laminated with Beva 371 applied to silicone foil. After these steps, the limp under-painting was strengthened and the painting was additionally doubled by a thin canvas. For straightening and doubling, the paintina was soread out on a loom (even though it had not been spread out until that time). The conservation ended with pointing.