Prékopa Ágnes (szerk.): Ars Decorativa 31. (Budapest, 2017)
Veronika SZILÁGYI: Rebirth of the Gundel Centrepiece: Methodological Experiments in the Restoration of Enamelled Metalwork
soldered parts, over which was placed 22-carat “moonlight” gold leaf. The centrepiece has two types of painted surface. One is the surface paint—presumably porcelain paint—on the enamel, which has been fired onto the basic enamel. This paint did not always bond sufficiently to its base, so a protective layer of Paraloid B72 and Mowilith 50 in an acetone-toluene-xylene solution was applied to such surfaces. The other type of paint is the black-coloured pigment on the metal surface of the mandorlas on the candelabrum. The fragile resin- or oil-based protective layer on the black-painted decoration was preserved and regenerated by applying acetone with a brush under a microscope. (Fig. 14) Re-assembly Re-assembly of the artwork began with replacing the shells and the rim decoration around them, which is fixed with screws. After reaffixing—partly with adhesive—the inner beaded-wire filigree, the fragile, enamelled decorative elements with set gemstones 14. The central section with painted elements, before and after restoration. Photos by Gellert Áment (left) and Gábor Nyíri (right) (originals and replacements) were refitted to the granulated base of the rim, and then set back onto the deep lower dish. The first step in reconstructing the upper section was to reassemble the removable parts of the candelabrum. When the curved balustrade was back in place, the putti figures were restored to their original locations. Once the centrepiece was reassembled, it was placed onto the lowermost supporting section, resting on lion’s feet. Finally, the candelabrum was slotted into place in the middle of the central section. The heavy and sensitive centrepiece probably received most of its damage while it was being moved. The large size and complex structure also posed numerous difficulties during the restoration process. The restoration would therefore have been incomplete without also providing the centrepiece with a structure allowing it to be moved in safety, to prevent further damage. (Fig. 15) The pine frame was made to measure, can be dismantled for easy storage, and is lined with soft cotton fabric.28 Summary Restoration of the large and complex Gun- del Centrepiece represented a genuine challenge. Certain stages in the moving or cleaning processes often required one-off solutions. Nevertheless, the greatest task was to preserve and substitute the enamelled parts. It was for this reason that I devised a new method, which involved gluing the replacement parts with a type of plastic adhesive that can later be easily removed. The material I chose to make the supplements with was a kind of enamel which is closest to the original. This durable material can be fired in a kiln, and even in powder form does not age quickly. However, 121
