Međunarodna konferencija studija konzervacije-restauracije

Consolidation of stone sculptures using the biomineralization method

Author: Barbara Dragan, acad. restorer
Mentors: Blaž Šeme, PhD, Assistant Professor; Sabina Kramar, PhD, Assistant Professor

Department of Conservation and Restoration of Works of Art, Academy of Fine Arts and Design, University of Ljubljana (Slovenia)
Study programme: Second-Cycle Master's Programme of Study in Conservation and Restoration of Works of Art
Specialization: Paintings and Polychrome Plastic (1st year of study)

Abstract

The biomineralization method uses carbonatogenic bacteria to form biocalcite for the purpose of consolidating cultural heritage objects made of carbonate stones. The paper sums up my bachelors’ thesis, where I examined the effect of the consolidation of objects made of carbonate stones by the method of biomineralization. The very definition of the methods’ concept as well as the short process of the operation is presented. For the experiment, the commercial product Calcite Bioconcept, which contains two components: lyophilised bacteria Bacillus Cereus named Biocal and a nutrient called Nutrical, was used. The paper encompasses the presentation and the analysis of the results of colorimetry, drilling resistance measurements (DRMS) and the ultrasound velocity measurements (USV) before and after the consolidation. Measurements were carried out on laboratory samples of limestone and marble. Moreover, the description of the process of consolidation of a damaged marble relief, which is kept in Museum & Galleries of Ljubljana, is also included. Consolidation of the object proved to be successful, however, some improvements should be made.

Opširnije:Consolidation of stone sculptures using the biomineralization method

13. MEĐUNARODNA KONFERENCIJA STUDIJA KONZERVACIJE-RESTAURACIJE (DUBROVNIK 2016.)

Ispod se nalaze sažeci i cjeloviti tekstovi usmenih izlaganja predstavljenih na 13. međunarodnoj konferenciji studija konzervacije-restauracije. Konferencija  je održana 2016. godine u Dubrovniku, a program možete pogledati ovdje. Napominjemo da neki predavači nisu predali cjelovite tekstove svojih izlaganja.

Conservation and Restoration of the Wall Painting Representing the Scene "The Shooting of Crucified Saint Cosmas and Saint Damian"

Author: Ana Grđan
Mentor: Neva Pološki, MA, Assistant Professor

Academy of Fine Arts, Zagreb (Croatia)
Study programme: Integrated undergraduate and graduate course of study in conservation-restoration of works of art
Specialization: Paintings (5th year of study)

Abstract

The baroque wall painting representing the scene The Shooting of Crucified Saint Cosmas and Saint Damian was investigated and subjected to various tests with the aim of developing an appropriate conservation-restoration concept. The final goal was to reestablish structural and aesthetical integrity of the damaged painting; overpainted, destabilized by cavities and intersected by shallow scratches in the intonaco. Performing the tests in situ, special attention was given to the selection of the appropriate cleaning methodology for various extraneous materials, starting from dry cleaning methods and then proceeding with chemical substances such as AB 57, ammonium carbonate and cation exchange resin. Besides the aforementioned researches and laboratory investigations of original and added materials, tests were also conducted in the OKIRU workshop. Simulations of scratches were done on plastered test plates. They were filled with different plasters recipes and textured to match the adjacent surface. The plaster which enabled appropriate surface treatment was chosen to be used on site. Various recipes of different injection materials (lime and quartz sand, CaLoSil "paste-like", CalXnova and PLM-AL) were also tested. Researches included material shrinkage, flow properties and the capability to fill object-specific cavities. The established conservation-restoration concept was applied in situ, with great care given to application methodology.

The author has not submitted the paper.

Opširnije:Conservation and Restoration of the Wall Painting Representing the Scene "The Shooting of...

FTIR Analysis of Fresco Painting and Stone Sculpture Pigment Samples: The creation of pigment sample data base at the Arts Academy of Split laboratory

Author: Josipa Marić
Mentors: Miona Miliša, PhD, Research Fellow & Lecturer; Ivica Ljubenkov, PhD, Assistant Professor

Arts Academy, Split (Croatia)
Study programme: Integrated undergraduate and graduate course of study in conservation-restoration
Specialization: Archaeological Heritage (5th year of study)

Abstract

The presentation reports on the results of the analyses of pigment samples from fresco paintings and stone sculptures and the creation of a data-base of pigments in the Academy's scientific laboratory. It points out the importance of collaboration with professionals from other disciplines, especially chemistry. Understanding chemical composition and degradation process in heritage objects is crucial for their preservation for future generations. Identification of different pigments is important in deciding which conservation materials to use, foreseeing their reaction with the binding medium, the effects of the environment on the degradation processes and the effects of the conservation treatment itself. The analysis of the pigments will offer better insight into the composition and age of polychrome layers, while the future data base will make it possible to find the connection with other polychrome objects and find the place of origin. The pigment samples were examined by handheld digital microscope and analysed by Fourier Transform Infrared Spectrometry (FTIR), a technique already used for diagnostic purposes in conservation of archaeological heritage. The reliability of these measurements is very high even with extremely small sample sizes. Sample preparation is simple and the results of the analysis are quickly available.

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Opširnije:FTIR Analysis of Fresco Painting and Stone Sculpture Pigment Samples: The creation of pigment...

Dilemmas in Removing Old Varnish from the Baroque Painting "Objokovanje" (Lamentation)

Authors: Nives Slemenšek, BA, and Barbara Kogoj, BA
Mentor: Assoc. Professor Lucija Močnik Ramovš

Academy of Fine Arts and Design, Ljubljana (Slovenia)
Study programme: Conservation and Restoration of Works of Art
Specialization: Paintings and Polychrome Sculpture (1st year of the Master's programme)

Abstract

The painting Lamentation from the 18th century is painted in oil technique on linen canvas. After analytical investigation of the paint layer and varnish, we discovered that the painting has two types of final varnish: the first layer of varnish, based on albumen and the second one, based on natural resin. Surface dirt was partially still adhered between the layers and on the top of the final varnish. In the past, consolidation of the paint layer and the ground with Aquazol has been carried out. This intervention had affected our further work. Different cleaning agents and tests were used. While we were doing tests for removing resin varnish, we found out they respond differently to the same agent on different areas. Based on the results, we chose two different cleaning agents for removal of the varnish. Dilemmas, possibilities and methodology for removal of the varnish will be presented in details.

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Opširnije:Dilemmas in Removing Old Varnish from the Baroque Painting "Objokovanje" (Lamentation)

Investigation, Conservation and Replica of a Late Medieval Great Pavise From the City of Kaufbeuren, Germany

Author: Martin Siennicki, MA
Mentor: Wolfgang Baatz, Professor

Academy of Fine Arts, Vienna (Austria)
Study programme: Conservation and Restauration
Specialization: Objects, with focus on wooden objects (graduated in January 2016)

Abstract

The presentation will deal with my diploma thesis, which concerns an originally probably 15th century great Pavise from the city of Kaufbeuren, Germany. Today the shield is in the possession of the Bavarian National Museum. Fire and neglect have caused severe damage and losses leaving the shield in a fragmented condition. Finding an object of this kind with nearly untouched condition is a rare instance, as many other remaining shields of this period have been already restored. Therefore the main focus in my diploma thesis was to investigate production processes and to analyse and identify materials used to build this shield. The man-sized, rectangular and slightly curved shield is composed in layers of different materials. On top of a core of softwood lies a layer of animal tendons. This layer is covered by an fire protection layer made by mixing spherical iron-containing slag particles, glass particles, bone meal and animal glue. The complete shield is enveloped with rawhide. The crest of Kaufbeuren forms the decor of the shield showing a golden oblique ribbon with two golden, six-pointed stars on a red background. Based on the material and literature research, a replica shield was constructed. The conservation treatment at the original shield was limited to a dust reduction by mechanical means and Cyber Clean Hypoallergenic®, and a consolidation of loose paintfragments with JunFunori® and Klucel H.

The author has not submitted the paper.

Opširnije:Investigation, Conservation and Replica of a Late Medieval Great Pavise From the City of...

A Comparison of Conservation Methods on Example of Waterlogged Wood from Neolithic Site

Author: Ewa Lisiecka and Kazimierz Górski
Mentor: Piotr Witomski, Professor

Warsaw University of Life Sciences (Poland)
Study programme: Technology of Wood
Specialization: Antiques Wood Conservation

Abstract

After excavation, waterlogged wood requires proper treatment. Today, different methods are usedfor the dimensional stability: sucrose (sugar) method, PEG or freeze-drying. The research were performed to compare the physical and mechanical properties of Neolithic archaeological wood after it's treatment with this three methods. Since 2007, after excavation wood were stored in leakproof, plastic bags. The studies provide interesting results for this kind of material. They confirm that the choice of method should depend on the degree of degradation of the material.

The authors have not submitted the paper.

The Xylarium of the Conservation–Restoration Department of the Arts Academy, Split

Author: Ana Šapina, MA
Mentors: Larisa Aranza, Associate Professor; Bogoslav Šefc, PhD, Assistent Professor

Arts Academy, Split (Croatia)
Study programme: Integrated undergraduate and graduate course of study in conservation-restoration
Specialization: Easel Paintings and Polychrome Wood (graduated in February 2016)

Abstract

Xylarium of the Conservation-Restoration Department of the Arts Academy at Split contains 85 specimens of 41 wood species, and a digital photo collection of cross-sections for microscopic examination. It was established in the academic year 2015/2016 as part of the author's MA project. The project offers a survey of characteristics and historic usages of different wood species in easel paintings and polychrome wood sculpture, stressing the importance of wood identification for conservation-restoration purposes. This general survey is followed by the description and characterization of all wood species contained in the collection, and the instructions concerning the maintenance procedures and preparation of wood samples for identification. The presentation focuses on the process of founding and the setup of the xylarium. The specimens of different wood species, and their historic usages are also shown in the presentation.

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Opširnije:The Xylarium of the Conservation–Restoration Department of the Arts Academy, Split

Conservation and Restoration Research of Summer Houses of Dubrovnik Area

Authors: Petra Ajduković, Anita Brakus Kedžo, Ana Doljanin and Veronika Meštrović-Šaran

Abstract

Restoration and conservation research conducted in November 2015 on three summer houses of Dubrovnik area brought forth a number of new cognitions regarding the state of these important monuments of Dubrovnik's culture. Our presentation would shortly, within the time limits, present the results of the mentioned research on Rastić, Boždari-Škarplenda and Gučetić-Lazarević summerhouses. Further, the methods used in this research will be compared to those used in the past research of years 1986 and 1987, conducted by the associates of the Art History Compartment of Historical Sciences Institute in Zagreb. Besides presenting the results itself, the significant role recently taken by other disciplines of science will be emphasized, with the aim of better understanding the cultural heritage and the cases and processes of their deterioration. The contemporary physical and chemical methods of analysis (microsecting/light microscope recording, FT-IR analyses, GR recording, SM light microscope analysis, AS qualitative and quantitative salt analysis, PA petrography analysis, XRD, X-ray diffraction etc.) and the most recent documentation methods (digital photography, 3D scan, point cloud, total cell) complemented the mentioned previous studies, which have more than 30 years ago warned about the necessity of reconstructing or at least recovering the damage that threatened to completely destroy certain parts of the buildings. Besides this, the comparison of the documentation regarding the current condition of summerhouses in the mid-eighties and the documentation of the most recent research, will give a clear insight into the volume and the types of damage and contamination amassed in the last 30 years.

The work presented in this lecture was carried out by a private company. Conservation-restoration students did not participate in the project, nor was it related to any conservation-restoration study programmes. A copy of the paper can be obtained from the corresponding author: Ova e-mail adresa je zaštićena od spambota. Potrebno je omogućiti JavaScript da je vidite.

Opširnije:Conservation and Restoration Research of Summer Houses of Dubrovnik Area

Bicorn Hat with a Fitted Hatbox and Two Portepees

Author: Ava Hermann
Mentors: Gabriela Krist, PhD, Professor; Tanja Kimmel, Assistant Lecturer

University of Applied Arts, Vienna, Institute for Conservation (Austria)
Study programme: Conservation and Restoration
Specialization: Textiles (3rd year of study)

Abstract

The bicorn hat with fitted hatbox and two portepees are part of the permanent exhibition of the Franzensburg at Schlosspark Laxenburg in Austria. They were chosen to be restored at the Institute for Conservation (Head: Gabriela Krist), University of Applied Arts Vienna. The bicorn hat is conform with the clothing regulations of Emperor Franz Joseph's k.u.k army for a German general's Gala-uniform in the 19th century. As part of the conservation process, a report of the inventory and the condition of the ensemble were made. The mixed media objects are made of textile, wood, leather, metal, paper, cardboard, rubber and feathers and showed a strong mold infestation. Therefore, the conservation focused on the treatment of the non-active mold on different materials. The hatbox showed further damages, such as large tears and missing parts on the backside of the box. The leather parts of the box were infected with red rot. Important aspects of the project were securing methods for the preservation of the objects, as well as the stabilization of the decomposed leather. Due to the previous mold and beetle infestation, the exhibition conditions for the ensemble are crucial and should be considered in the future. For this purpose, a catalog for museum conditions has been elaborated and a fitting support for the bicorn hat and the portepees has been made.

The author has not submitted the paper.

Opširnije:Bicorn Hat with a Fitted Hatbox and Two Portepees

The importance of Artist’s Voice: Developing a treatment plan for Dora Kovačević’s sculpture "Zid" (The Wall)

Author: Tina Tomšič, MA
Mentor: Sagita Mirjam Sunara, Assistant Professor

Arts Academy, Split (Croatia)
Study programme: Integrated undergraduate and graduate course of study in conservation-restoration
Specialization: Easel paintings and polychrome wood (graduated in February 2016)

Abstract 

The paper discusses the topic of artist interview, explaining how the preparatory research should be conducted and the interview questions set up. It also demonstrates how the information obtained in the interview could be used, not only for the purposes of conservation-restoration, but also to the advantage of historians, art historians and other researchers. 

The case study interview was conducted with the sculptor and graphic artist Dora Kovačević. In 1985, Kovačević participated in the Sisak Steelworks Artists Colony, creating a steel sculpture entitled The Wall. Along with other outdoor sculptures made by the residents of the Colony, The Wall was entered in the Heritage Register of the Republic of Croatia, in 2012. Subsequently, a project was initiated to protect and conserve the collection, now called the Sisak Sculpture Park. The aim of the artist interview was to learn more about the Colony and about The Wall sculpture: how it was created, what its meaning is, what the artist thinks of its present state and display environment, etc. The information collected will help the conservator-restorer make an informed decision about the future treatment and display of the sculpture.

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Opširnije:The importance of Artist’s Voice: Developing a treatment plan for Dora Kovačević’s sculpture...

Possible Ways for Reconstructing Missing Sections of Mosaics

Author: Anja Novak, BA
Mentor: Blaž Šeme, PhD, Assistant Professor

Academy of Fine Arts and Design, Ljubljana (Slovenia)
Study programme: Conservation and Restoration of Works of Art
Specialization: Wall Paintings and Stone Sculpture (1st year of the Master's programme)

Abstract

The presentation considers different methods of filling the lacuna in mosaic fragments. The choice of method does not depend only on the conservator-restorer, but also on the environment where the mosaic will be presented (in situ or inside). In addition to the surface look and the final appearance of the mosaic, another important factor needs to be considered when filling the gaps, i.e. the use of suitable materials, which unite the original mosaic into one homogeneous image. In addition to the aesthetic aspect, the comparison takes into account technical advantages and disadvantages of the selected methods, with the help of already existing samples. As part of the theoretical study, six test samples were made in direct technique, depicting a braid – a motive, often depicted in mosaics from the Antiquity/Roman period. During the construction of each sample, we intentionally left some gaps, which were latter filled using different filling methods.

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Opširnije:Possible Ways for Reconstructing Missing Sections of Mosaics

Design of Repair Plasters by Drilling Resistance Criterion

Author: Ivan Vanja Martinović
Mentor: Neva Pološki, MA, Assistant Professor

Academy of Fine Arts, Zagreb (Croatia)
Study programme: Integrated study-Conservation and Restoration of Works of Art
Specialization: Paintings (5th year of study)

Abstract

The aim of the study was to design repair plasters with properties similar to historical plasters found on the baroque wall painting located in the chapel of Passion of the Christ in St. Cosma and Damian church. To prove the compatibility in the term of hardness, the drilling resistance criterion was used. Repair plasters should have similar composition as the original ones but should have lower hardness so they dont produce stresses to the surrounding original structure. In order to fulfil that demand, recipes and samples of potential repair plasters were designed on the basis of the results obtained by chemical and granulometric analyses of the original material. As the hardness of a plaster is affected by the type of a filler and binder, size of the aggregates and filler-binder ratio, in every potential repair plaster recipe at least one of these components was changed with the goal of finding plasters with optimal hardness. After measuring historical plaster layers in situ and various repair plaster samples using DRMS (drilling resistance measurement system) technology, the results were compared. Recipes which proved to be the most compatible with historical plasters, in terms of hardness and visual appearance, were used for filling the damaged areas in multilayered plaster structure of the wall painting.

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Opširnije:Design of Repair Plasters by Drilling Resistance Criterion

Reorganisation of a Museum Depot

Authors: Ajla Alijagić, Kenan Cikotić, Iman Gec, Ida Fazlić, Mirza Raunić, Jasmina Hrustanović and Arman Džaferagić
Mentor: Azra Bečević-Šarenkapa, MSc (senior conservator)

Academy of Fine Arts, Sarajevo (Bosnia and Herzegovina)
Study programme: Interdisciplinary Study Programme in Conservation-Restoration
Specialization: General (2nd year of study)

Abstract

This paper will focus on work in reorganisation of the storage room of the Agricultural collection at the Ethnology Department in the National Museum of Bosnia and Herzegovina. Our mentor was part of a RE-ORG team in South East Europe and gets knowledge and desire to work in one of the least worked storage room in Ethnology Department. Using a methodology developed by ICCROM we approached to our task. Our work was consisted of condition survey of the whole collection, making plans for future storage, surface cleaning of the objects, documentation, preparing appropriate space for storing objects, making mount for the objects. One of the most important task is to protect objects in best possible way in sense of making an environment appropriate for certain objects (according to type of material, size, importance). One of the most important things which we accepted with RE-ORG methodology is that we can improve conditions in the storage rooms, and therefore the state of the objects with relatively few financial resources, but with a lot of will, desire, knowledge and teamwork.

The authors have not submitted the paper.

Opširnije:Reorganisation of a Museum Depot

Removing Textile Patches from Canvas

Author: Katarina Debeljak
Mentors: Tamara Ukrainčik, Associate Professor; Maja Sučević Miklin, Assistant Lecturer 

Academy of Fine Arts, Zagreb (Croatia)
Study programme: Integrated undergraduate and graduate course of study in conservation-restoration of works of art
Specialization: Easel paintings (3rd year of study)

Abstract

This presentation covers a brief introduction of a canvas that is traditionally used as textile support in easel painting and shows the process of treating tears and holes and making patches, depending on the type of damage. The discussion about this process will include mention of adhesives that are used in restoring canvas, both the traditional (like bees wax and resins) and more recent ones (like Beva 371, Plexisol P 550-40), as well as their basic characteristics. The presentation will focus on the exercise of removing fabric inlays and patches that are glued on the canvas. The purpose of the exercise is to show the best ways of removing old treatments and the problems that may appear during the process. Through an exploration of this experimental procedure, different types of canvases, adhesives, solvents and materials will be discussed. In the beginning, canvas as a support was used only for decorative reasons. There was no intention that it would become permanent. Over time, it was determined that canvas had an advantage over wooden support because it was lighter in weight, and therefore, more easily transferred. Throughout the boom of oil painting hemp fabric was used almost exclusively, though later, other lower quality types such as cotton, jute, and more recently, some new industrial kind of canvases were employed. The experimental process will include widely used canvas supports like linen and cotton.Also, the exercise will include some synthetic fabric products which are used today. Their quality and durability differ depending on the manufacturerand raw material. The presentation will show the spectrum of available adhesives as well as their role in the conservation of canvas support. Some of the adhesives that will be mentioned are beeswax, starch, starch paste, synthetic wax, Beva 371, polyvinyl acetate (PVAC), and acrylic resin (Lascaux 360 HV, Lascaux 498 HV, Plextol B500,Plextol D360, Plextol D498, Schweispulver Kremer 9780, Plexisol P550-40). The use of solvents and other approaches of removing old patches and inlays will also be covered in this presentation. In conservation-restoration work, the adhesives' specific properties, such as strength of adhesive bond, reversibility, low viscosity, must be known. Solvents are usually used to remove adhesives. The choice of solvent depends on several factors, such as the effect of dissolving, evaporation rate, viscosity, as well as environmental protection and the health of conservators. An important factor is the ability of a solvent to remove some of materials, while others stay unsolved. The exercise will also present examples of different types of canvas patches and inlays that were found on paintings.

The author has not submitted the paper.

Opširnije:Removing Textile Patches from Canvas

Conservation of the Book Cover of Calligraphic Manuscript

Authors: Edib Huseinagić, Amina Begić and Lamija Avdić
Mentor: Ćazim Hadžimejlić, PhD, Professor

Academy of Fine Arts, Sarajevo (Bosnia and Herzegovina)
Study programme:Interdisciplinary Study Programme in Conservation-Restoration
Specialization: Multiple (2nd year of study)

Abstract                                                      

Presentation is about the project of conservation of the book cover of calligraphic manuscript, with conservation process, and necessary restoration. After first analysis we found that cover is not original part of the book, but made after in Austro-Hungarian period. Original cover is lost. Damages from moisture and insects are found, with parts that are torn or missing. Cover is made of sheep's leather and cardboard with flap which has no full function as it should have, because it is too short. Leather is brown colored, decorated with dry stamps of illumination motives. Original book covers with flap from the Ottoman period were made according to the standard, when length of the flap was depending on the thickness of the book. After cleaning and removing damaged parts, we began with ecessary restoration. After completing the whole process, the cover is fixed to the book.

The authors have not submitted the paper.

Opširnije:Conservation of the Book Cover of Calligraphic Manuscript

Conservation and Restoration of Calligraphic Manuscript

Authors: Ruhulah Hodžić, Ajla Redžić and Azra Hasković
Mentor: Ćazim Hadžimejlić, PhD, Professor

Academy of Fine Arts, Sarajevo and Faculty of Natural Sciences and Mathematics, Sarajevo (Bosnia and Herzegovina)
Study programme: Conservation and Restoration
Specialization: Paper (2nd year of study)

Abstract

Book that we treated was a very important piece due to its content and age. It was a section of the holy Koran, written in Arabic, with plenty of comments and explanations of text in the margins. It is important to mention its interesting illumination, typical for this type of manuscript, especially for its content, i.e. text of Quran. Furthermore, regarding its damage, there were noticeable harmful effects of moisture, insects, accurately worm and bookworm, then human factor, especially in the lower sides of pages, in form of dark spots, which were treated especially and represented a particular challenge, as well as consequences of inappropriate storage. The book pages, which is very interesting, consisted of two parts, i.e. one to another, glued sheets of paper, which as result of long-term harmful effects, were separated from each other. Inside, in areas next to connected book forms, there was visible influence of moisture and bacteria, in form of small dark blue to purple circles. When it comes to applied restoration treatment, at first it was consisted of dry cleaning, especially paying attention to areas between the letters and the lower parts of pages, namely the lower corners, particularly degraded and very fragile. Then we approached to the elimination of old adhesive, left of previous treatment on the areas were book forms connected together, which was of course especially helpful in new reconnecting. The next stage was wet cleaning, using cotton balls and gentle cotton buds, concentrating particularly on the already mentioned, very dirty bottom corners, as well as the tiny spaces between and around especially decorative letters.After passed required and adequate drying time, we consolidated book forms in one single ensemble, paying attention, of course, to correct page numbering, keeping in mind the eastern type of marking. It is very important to mention, that in the process of restoration damaging parts of book pages, we used Japanese paper, which proved to be the most appropriate and the best solution in this case. Finally, it is important to mention that the treated manuscript was successfully cleansed and restored, ignoring small and insignificant difficulties that we have encountered in delicate handling this type of book and its media.

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Opširnije:Conservation and Restoration of Calligraphic Manuscript

Conservation and Restoration of Military "Shako" Hat

Author: Petar Nevžala
Mentors: Danijela Jemo, PhD, MA; Mateo Miguel Kodrič Kesovia, Assistant Lecturer

University of Dubrovnik, Department of Art and Restoration (Croatia)
Study programme: Conservation-Restoration (graduate study programme)
Specialization: Textile (2nd year of the Master's programme)

Abstract

The project deals with the conservation and restoration of military "Shako" hat, an interesting 3D multilayer artefact that belongs to the Varaždin City Museum and dates from the time of Austro-Hungarian Monarchy. The conservation of the object is being carried out in the workshop for textile conservation-restoration at the University of Dubrovnik. The conservation itself is still in progress and will represent a master thesis topic. The presentation will discuss about the goals of conservation-restoration treatment, the up to date treatment, but also include art historical research and development of „Shako" hat, its different forms, markings, colours, ranking, etc. Specific issues, analysis and actions taken on the object, like identification of fibres, decomposition of some parts of the object, dry and wet cleaning, choice of adequate material, dyeing of support fabrics and consolidation techniques, will be thoroughly documented and elaborated step by step. Some future plans, such as the making of a construction for object display, will also be mentioned. All the work is being carried out under the mentorship of dr.sc. Danijela Jemo, senior assistant and mag.art. Mateo Miguel Kodrič Kesovija, assistent. 

The author has not submitted the paper.

Opširnije:Conservation and Restoration of Military "Shako" Hat

12. MEĐUNARODNA KONFERENCIJA STUDIJA KONZERVACIJE-RESTAURACIJE, SPLIT 2015.

Ispod se nalaze cjeloviti tekstovi usmenih izlaganja predstavljenih na 12. međunarodnoj konferenciji studija konzervacije-restauracije. Konferencija je održana 2015. godine u Splitu, a program možete pogledati ovdje.

Conservation In Situ: Investigative conservation-restoration works on the wooden inventory in the chapel of St. Mihalj in Samobor, Croatia

Authors: Martina Lochert* and Darija Tripalo**
Mentors: Associate Professor Zvjezdana Jembrih, MA; Assistant Professor Danko Šourek, PhD

*Academy of Fine Arts, Zagreb (Croatia)
Study programme: Conservation and Restoration of Works of Art
Specialization: Sculpture (5th year of study)

**Faculty of Humanities and Social Sciences, Zagreb (Croatia)
Study programme: History of Art

Abstract

The presentation describes the investigative conservation and restoration works carried out on the main altar, two side altars and a choir stall in the chapel of St. Mihalj in Samobor. The work was carried out in situ, from the 15h to the 19th of September, 2014. Investigative conservation and restoration works are an important segment of any conservation and restoration project, and are among the first steps that are to be taken when a new project is started. 
The theoretical part of the research was carried out by students of the Faculty of Humanities and Social Sciences, under the mentorship of professor Danko Šourek, and the investigative conservation and restoration works in situ were carried out by students of the Academy of Fine Arts in Zagreb, Department of Conservation and Restoration, under the mentorship of professor Zvjezdana Jembrih.
The investigative works included stratigraphic tests of the main altar of St. Michael (the beginning of the 18th century), two side altars - of St. Cathterine (left; mid-18th century) and Grieving Madonna (right; second half of the 17th century), and a choir stall dating from the beginning of the 18th century (some parts from later period). All three altars bear considerable damage due to high relative humidity and were extensively re-painted during the course of time. After stratigraphic tests carried out on the paint layer of all of the items, a proposal for treatment was drawn up.

Click here to read the paper online. (PDF // 2.13 MB)

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Opširnije:Conservation In Situ: Investigative conservation-restoration works on the wooden inventory in the...