Kovács Petronella (szerk.): Isis - Erdélyi magyar restaurátor füzetek 3. (Székelyudvarhely, 2003)
Erdélyi - romániai magyar vonatkozási múzeumi restaurátor publikációk
bardfingers. Thread gloves should be worn to avoid leaving fingerprints and other stains on the picture. •The working surfaces must always be kept clean. •Photographs should be held by both hands and supported by a solid piece of cardboard, especially when one is dealing with damaged, torn or cracked specimens. Touching the emulsion covered surfaces must be avoided. •If the photograph is stored in an envelope, it should be pulled off the picture, rather than the picture being pulled out to fit. Should the photographic substance be stuck to the envelope, no force shall be used. •Paper prints and negative glass plates should not be stacked upon each other, nothing should be put on top of the photographs. •Eating or drinking should not be permitted in the proximity of our valuable pictures. Smoking should be forbidden as well. Even short term exposure to cigarette smoke may cause damage, discoloration. •The use of ink or felt-tip pens should be avoided. Under the influence of humidity, these materials penetrate the paper. They may thus damage the front of the picture, meanwhile becoming illegible on the back. Soft pencils should be used. • No tapes (Scotchtape), tacks and paper- or other pins shall be used in fastening pictures. •Co-workers dealing with photographs, especially newly recruited staff, should be supervised. • During the treatment of photographs, lamps with UV filters should be used. •If at all possible, copies should be made for the purposes of research and exhibition, thereby reducing the chances of damage to the original. •Storage and research facilities must be kept clean. Dust may leave scratch marks on the photographs' surface. •Humidity and temperature must be continuously monitored. • Photographs should be stored at a distance from freshly painted surfaces, copying machines and sources of heat. •Appropriate storage environments must be created: fired enamel cabinets, folded paper boxes without gluing, and appropriate storage paper ("Silversafe") that contains no buffer materials, optical whiteners or lignin. The study also directs attention to the extreme sensitivity of cellulose-nitrate films to heat. It discusses the damage caused by heat, humidity, air pollution and exposure to light as well. József Ormos Photo restorer Hungarian National Museum 1088 Budapest, Múzeum krt. 14-16. Sándor SZILÁGYI "Let us take a picture!" Basic practices in artefact photography Museum photography makes use of almost all known photographic techniques in the field. Consequently it is also one of the most complex types of photography. Due to the wide variety of materials found in artifacts, it encompasses a number of different fields. This study presents object photography from a practical angle that is accessible to all. Photographs used for documentation of the restoration process must be focused and must show the color, authentic sides and undistorted form of the object. One other important criterion is the accurate delineation of the objects' material. While choosing photographic supplies it is imperative to note that to date black and white photographs are the only accepted form of documentation in archives. For this reason black and white pictures of the object prior to restoration, after cleaning and in its final shape should always accompany the colored photographs of the restoration process. The author also lists all the necessary photographic equipment such as display tables, cameras, object lenses, filters and reminds readers that often older, manual cameras are better suited for object photography than their modern automated counterparts. Also mentioned in the article is the lighting, its direction and intensity. While choosing the correct lighting for artifacts it is essential to create harmony between the main and the disperse background lighting. Scanning light is used to accentuate material and the extent of damage to objects. The study briefly introduces the basic artifact types, such as metal items, coins, glass-, porcelainand wooden objects, textiles and paintings, while offering useful practical advice on photography to restorers. Sándor Szilágyi Photograph Wood and furniture restorer MA Museum of Fine Arts Budapest 1068 Budapest Szondi u. 77. Katalin T. BRUDER The re-restoration of the kantharos from Szob Between 1910 to 1911, while developing the gravel mill plant by the banks of the river Ipoly, several Celtic graves, rich in finds, were unearthed. One of them contained not only a middle Latin fibula but also a double handled bronze cup, the material of which is 115
