Kovács Petronella (szerk.): Isis - Erdélyi magyar restaurátor füzetek 18. (Székelyudvarhely, 2018)
Mester Éva: Az ólmozott üvegablakok és üvegfestmények rekonstrukciójának kockázatai
The unidentifiable elements, such as the head ornament of the upper part, figure elements of the rocky landscape, the garland, the six columns, which also named the clock case, and the background that fills the space between the columns and the attached textile decoration could not been reconstructed. Their remained imprints on the foundation can only be imagined by the shape of the missing columns and their capitals. The proportion and decoration of the columns are not known for sure; therefore, their reconstruction was carried out digitally, only. The former division of the columns of the clock was shown in an exhibition by using a Plexiglas installation. Huba Vályi master horologist helped the restoration of the clockwork. The components were cleaned with Argentol and with a mixture usually used by horologists, containing water, potassium soap and ammonium hydroxide. The metal surface of the clock got a protecting coating with a mixture of Mowilith and Paraloid B72 solutions, and finally, the clock mechanism was fixed in the clock case with screws. Judit Madarászná Gorej Wood and furniture conservator artist MA Translated by: Anna Muraközy Edit Pelles The restoration of an enameled hookah The diploma work of the author at the Hungarian University of Fine Arts was the restoration of a hookah (qalyan) made in the 19th-20th century in Iran.The artefact belongs to the property of the Déri Museum in Debrecen. The purpose of the conservation was to stabilize the object and to improve its visual interpretation and aesthetic appearance. For the aesthetic restoration, the damaged parts were completed with enamel, the material used originally. The hookah was originally made from four parts fitting each other, but now it has only two remaining elements; the base (height: 19 cm) and the tobacco bowl (height: 15.4 cm). This artwork is special on account of the recessed enamel decoration that covers almost its entire surface, depicting floral motifs and portraits typical of the Qajar period. Deformations, missing enamel, oxidation, and traces of repairs were observable on the hookah. Missing enamel had been substituted by applying wax in the gaps. The composition of the metals and the enamels was analysed with portable X-ray fluorescence spectroscopy. Microscopic investigation of the cross-sections of the enamel helped to study its current condition and how it was originally made. In conservation, it was necessary to disassemble the artefact into its component parts in order to strengthen it statically. During the cleaning process, lg/1 surfactant (Dialkyl Sulfosuccinate - which has a neutral pH) diluted in distilled water was used. The broken and weakened parts were strengthened from behind with Japanese paper and a 20% solution of Paraloid B72 in acetone. Repairs of missing enamel decorations were made of enamel using two different techniques. In the case of the decorations which were completely missing the form of the empty cell was cut out of a 0.1 mm thin sheet. First, white primer enamel was fired on both sides of the metal, then the top surface was fired with several thin layers of coloured enamel, and then the pattern was made with porcelain paint and fired. In the other mode, where the damaged enamel was fragmented, a negative of the missing part was taken with silicone putty, and then with the help of a special jewellery plaster a negative mould was taken from the silicone, and after filling it with enamel, the replacement could be fired. In order to achieve the proper thickness and the same primercolour without shades, it was necessary to fill the plaster negative and fire it several times. Finally, the painting of the pattern was prepared and fired again. In some cases, the infill needed to be taken out of the plaster and put into the original enamel to finish the pattern in the proper shape. After the infills were taken out of the negative and put in their future place and painted, they were fixed upside down, cast again in plaster, and re-fired. In the case of larger missing parts, thin copper wire or copper wire netting was placed into the negatives for strengthening purposes. The fixing of the enamel infills was accomplished with a 30% solution of Paraloid B-72 after the artefact was assembled. The assembly of the artefact was achieved with the remelting of the original soft soldering material since an adhesive would not have given the proper stability. Although objects comparable to the hookah were investigated, for lack of reliable sources, the missing parts were not reconstructed, only drafts and 3D models were made. Edit Pelles Metal and goldsmiths conservator artist MA Translated by: the author Mester Éva The risks of reconstruction of leaded glass windows and glass paintings With the transformation of the European states and with the increasing influence of public opinion, reconstruction is more accepted recently in the protection of the monuments and artifacts. Reconstruction means the re-creation of non-existing details or the completely destroyed work of art, which is a complex task. 135
