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Wzmocnienie wytrzymałości mechanicznej płótna "Panoramy Racławickiej" - dublaż

100%
Wójtowicz R.
Ochrona Zabytków
|
1984
|
issue 4
269-276
EN
Up to now, in moist cases, the prime purpose of the panorama conservation has been to restore and increase its mechanical strength. Those oases have been presented and compared with the conservation of the Racławice Panorama. The necessity to reinforce almost the entire surface of the picture in a vertical position has been proved. The parts of the reverse which had been mended (seams, glue joints) were additionally strengthened by local reinforcement applied ”wet” (on small surfaces) — adhesive: Lascaux Acryllkleber 498 HV, carrier; ’’fizeldna”. Strips of reinforcing fabric were pasted on 3 metres below the upper edge of the individual segments in a horizontal position. Relatively small deformations occur in that airea. The work was oarrded out on a convex table (9 m X 3,5 m) in a vacuum pocket. The strips of glass fabric measuring 1,10 m in width and 15 m in length were machine coated with Acryllkleber 498 HV so that the adhesive wias evenly spread. The adhesive was reactivated with toluene prior to lamination which took place in a temperature of ca 65°C for 2—3 sec per surface unit. Additionally, the one metre strip below the upper edge of the segments was reinforced with a very strong polyester fabric — „Trevira” which wias pasted on with Acryllkleber 498 HV. The principal reinforcement was carried out when the segments had already been suspended and intergrated into a picture. The method was the same as applied during the local reinforcement in a horizontal position. The facing was held fast by means of laminated panels (2,5 m X 1>2 m), profiled so as to match the desired shape of the picture surface; the panels were mounted on mobile overhead trolleys. The reinforcement was successfully completed in eight weeks (20 people, 1700 m2 of the surface).
2
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Laminacja czy dublaż : próba uściślenia pojęć

75%
Potocka A. D.
Ochrona Zabytków
|
2000
|
issue 3
325-328
EN
The determination of a uniform terminology in conservation always encountered numerous obstacles. Different names, associated with various workshop and historical traditions, to mention lengthy debates concerning tinting or grounding, unfortunately lead to misunderstandings or at least a different interpretation of numerous phenomena. Whenever this issue concerns the individual reception of the state of the preservation of an object or its structure, there always exists a large margin of understanding. Difficulties emerge when this question pertains to conservation terms borrowed from other domains of science (physics, chemistry, material engineering, etc.), extremely frequently interpreted in assorted manners. This careless adaptation of certain terms results in a falsification of the meaning of a given world or the entire phenomenon. More, the conservators themselves define the same activity in different ways, depending on the context. It should be added that similar problems are tackled by conservators of works of art in many other countries. Hence the frequent initiatives of preparing terminological and thematic dictionaries, undertaken by the AIC in the U.S.A. and ICOM in Europe. Due to their nature and the character of damage, silk objects are conserved by specialists representing numerous domains — conservators of fabrics, canvas paintings and paper. Their cooperation is frequently indispensable, although we immediately encounter a different interpretation of identical activities, especially the reinforcement of the base. An analysis of the above example and a comparison of conservation and material terminology make it possible to distinguish certain fundamental concepts, such as lamination, gluing with laminates and duplication. The term lamination concerns deeply penetrating, irreversible operations or those difficult to remove, with the application of synthetic glues and multi-strata structures; gluing with laminates denotes non-invasion, reversible, transparent and one-sided reinforcement, similar to contact duplication using synthetic glues, while the term duplication signifies one-sided reversible reinforcement, with the employment of natural or synthetic means. All conservation consisting of the introduction and addition to a weakened monument of suitably selected means with a needle and thread should be described as the reinforcement of the object on a secondary, protective textile base.
3
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Metoda odwracalnego dublowania obrazów na podobraziu płóciennym przy użyciu kleju Plextol D 360

75%
Mitka A.
Ochrona Zabytków
|
1992
|
issue 3
196-200
EN
In the method of a reversible relining of paintings on canvas bases, the adhesive is used solely on the relining canvas, and produces a self-adhesive coating. The author applied Plextol D 360 in numerous operations. The effects of research into the effectiveness of relining with the help of Plextol 360 were compared with the usage of other adhesives. The author also conducted a series of tests with other adhesives. Finally, he mentions various examples of employing Plextol D 360 in conservation work. (translated by A. Rodzińska-Chojnowska)
4
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"Nawrócenie św. Pawła" z Muzeum Zamoyskich w Kozłówce domniemanym dziełem Michaela Willmanna

51%
Nawrocka-Teodorczyk M.
Ochrona Zabytków
|
2001
|
issue 2
157-169
EN
The conservation of the Baroque oil painting on canvas was conducted as a diploma work. The author attempted to attribute the painting of unknown origin and carried out its conservation, which involved the elimination of considerable deformations of the canvas, a two-stage doubling system, complicated cleaning of the heavily darkenedd surface, the removal of repainting and a reconstruction of missing fragments upon the basis of a discovered analogy in an engraving by Bolswert and paintings by Willmann. A comparative analysis of the style and the outcome of an examination of the chemical pigments and bindings indicate with a large dose probability the authorship of M ichael Willmann — the “Silesian Rubens”.
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