Műtárgyvédelem, 2009 (Magyar Nemzeti Múzeum)
Bakács Annamária: Egy 19. századi hamisítvány nyomában
Műtárgyvédelem 34 of the back cover, which had broken into three parts. Besides, the X-ray shot taken of the frontal book cover showed insect holes that were cut across and filled in with a material of high radiation absorption properties. It means that a wooden material already deteriorated by insects had been applied. The composition of the blue pigment layer applied in the decorative band was not homogenous: the application of various pigments was used to imitate the impression of an aged colour. The tin white pigment grains that were added or accidentally mixed into this bluish pigment layer helped the dating since this pigment type cannot be found in objects of art prepared before the 1830’s. A few lucky coincidences and trained consultants helped to identify the forger: Icilio Federico Joni who lived and worked in Siena from 1866 to 1946. He started his career as a conserver and so he had the occasion study arts of objects prepared in the 15th century. With these pieces of information in mind we had to conserve the art of object in a way that the intentionally patinated surfaces would not be hurt while the aging processes would be slowed down and the hook cover would be fit for exhibition. As the varnish layer belonged to the intentionally created patina of the object, the interior and exterior sides were only cleaned from dirt with the 15 % solution of sodium carbonate. The back board, which had broken into three pieces, was glued together with a two-component epoxy glue. The deeper missing areas along the fractures of the support and the missing parts of the pigment layer were replaced with a gesso of chalk and glue. The sealants were inserted in a way that was in harmony with the pattern and the colours of the object of art. The strongly corroded iron onlays were cleaned with Evipass phosphorous acid solution. The book cover was protected with Rowney retouching varnish. The material used for aesthetic completion was oil paint of reduced oil content of the same gloss as the applied varnish. The retouching was adjusted to the condition of the environment of the completions. The leather of the spine was shaped by humidification on a previously already prepared Austroterm polystyrene arch, then it was cleaned with a fat liquor solution. The missing areas of the leather were replaced with the insertion of spots of the same colour, thickness and material (goatskin) as the original. The scaling of the grain surface was fixed with 1:4 proportion watery solution of isinglass glue heated to 45-50 °C. The tears at the tail were glued with rice starch. As both covers of the object of art were highly arched and the leather spine was also shaped to an arch during conservation, a mobile support was prepared for the object for the sake of safe storage. A szerző cime/Author’s address: Bakács Annamária Festőrestaurátor művész / Painting conservator MA Esztergom, Erzsébet királyné útja 47. Tel: +36-20-454-0332 e-mail: abakacs@freemail.hu 20
