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Consolidation, stabilisation and reinforcement of polychromed wooden artefacts in Warsaw Academy of Fine Arts, Faculty of Conservation and Restoration.

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Presentation on theme: "Consolidation, stabilisation and reinforcement of polychromed wooden artefacts in Warsaw Academy of Fine Arts, Faculty of Conservation and Restoration."— Presentation transcript:

1 Consolidation, stabilisation and reinforcement of polychromed wooden artefacts in Warsaw Academy of Fine Arts, Faculty of Conservation and Restoration Elżbieta Jeżewska, Krzysztof Chmielewski* *Inter-academy Institute of Conservation and Restoration of Works of Art, Warsaw Academy of Fine Art

2 What are we dealing with? -bad state of condition (less harmful when the object is „untouched” by conservators -previous conservations From our (conservators) point of view consolidation, stabilisation and reinforcement of wood is: -structural impregnation – that is impregnation with resinous solutions (local, partial or total) - transfers of paint layer to a new support (total/partial, temporary) - „inserts” of new wood releasing stresses and defects filling (putties, wood)

3 Reflected light UV fluorescence

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5 After conservation The layer of wax on the back side of the panel, during conservation

6 Fragments of the wooden polychromed ceiling from the church in Boguszyce. Dark stains caused by PVA retouches and glue.

7 PRESENT DAY Mostly methods of local or partial impregnation. That is brushing, injections and partial impregnation by immersion.

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15 The sculpture after conservation.

16 Mother Mary and Child, Front and rear side of the painting before conservation. 1,08 m

17 Wooden support taken apart to separate planks

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19 After conservation

20 Drastic examples

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25 Total transfers Twelve Great Feasts, 19th century icon

26 The back of the painting. One crossbeam is missing.

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30 „Saint Nicolaus” russian icon from 19th century

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32 After facing with japanese tissue the paint layer was detached from damaged wooden support. Detaching of faced paint layer.

33 After conservation. The paint layer transferred to a new support. The backside of the original painting with an inscription kept glued onto the backside of the new support.

34 Interventions on the backside of original support

35 Ascension, 1st half of 18th century

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40 After conservation

41 Minor interventions

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43 Thank you for your attention


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