Műtárgyvédelem, 2006 (Magyar Nemzeti Múzeum)
Összefoglalók
was, beside the colour, that the chemicals that stabilize colours would not deteriorate the original fabric. Colorfastness was another central aspect. Finally we decided to use reactive pigments. After stitching conservation, we had to give a final shape to the object that assures protection and an aesthetic appearance at the same time. As stitching had been finished, the supported and covered object was laid on cardboard and secured. The last step was the attachment of the 11 pairs of silver clasps that had been prepared after the original ones in the meantime. The bodice was lined with thin silk in a colour matching the bodice, which covered the stitches and the folds on the back. As the purpose of the treatment was the preservation of the information hidden in the object, the losses were not replaced. A reconstruction of the supposed original shape of the bodice has been prepared as an exhibition illustration. The object was restored within the frames of object restorer training in the co-operation of the Hungarian University of Fine Arts and the Hungarian National Museum in the academic year of 2004/2005. Katalin E. Nagy was the supervisor of the diploma work. Restoration of Johannes Georgius Leeb’s guitar from 1792 Krisztina Dolmányos The restoration of Johannes Georgius Leeb’s guitar prepared in 1792 was a diploma work. The object is kept in the Historical Collection of the Hungarian National Museum. Its catalogue number is H.1982.3. Johannes Georgius Leeb probably lived from 1752 till 1810 and worked in Bratislava mainly as a fiddle- maker. The Leeb family used the Johannes Georgius name for three generations. They are very difficult to differentiate as they displayed the name in several versions, among others as “Leb”, “Löb” and “Löbb”. Longitudinal fissures run along the back and the rib and also around the sound-hole on soundboard of the musical instrument and inlays were missing from the multilayered purfling. A formerly repaired delamination could be observed on the soundboard at the neck along which a fragment was missing from the surface of the soundboard. The appliqué decoration at the bridge was also incomplete. The unvarnished soundboard was cleaned with vinyl rubber, while wet cleaning was applied on the rest of the body of the instrument. The separated back was pressed between plates to hinder further warping. The synthetic adhesive (poly-vinyl acetate) used formerly to repair the delamination in the soundboard was removed with acetone, and it was glued back with animal glue. Owing to the place of the fracture, the area had to be pressed from several directions at the same time. The missing area of the striped ornament on the lower part of the neck was completed at the same time. The next step was the replacement of the missing elements of the inlaid ornament on the soundboard. First the ebony elements were prepared after the original ones, then the mother- of-pearl ones were prepared also after the original ones. After having removed the earlier linings, the fissures on the rib had to be compressed as strongly as 190
