The direction of restoration of artistic metal has existed in the Center since 1945. The workshop restores various types of museum metal produced in a wide time range. Specialists work with ferrous and non-ferrous, as well as precious metals, including silver, gold, bronze, brass, copper and tin. Items from archaeological excavations, church utensils and ancient Russian copper casting, weapons, household items, folk items, as well as works of decorative and applied art - clocks, lighting and memorial dishes.
More 100 metal items are restored annually
Over the years of the workshop, more than 4,000 exhibits of ferrous, non-ferrous and precious metals from the funds and expositions of dozens of Russian museums have been restored. Among them are collections and individual items of archeology and ethnography from the Kizhi Museum-Reserve, the Taimyr Museum, Petrozavodsk, religious objects from the museums of New Jerusalem and Sergiev Posad, memorial weapons from the Museum of the History of the Don Cossacks in Novocherkassk. The department carried out the restoration of the Korsun cross of the 12th century from the Pereslavl-Zalessky Museum (now it is one of the main shrines of the St. Nicholas Cathedral of the St. Nicholas Convent in Pereslavl); sundial XVI century from the Ivanovo Museum.
WORKSHOP ROOM 1
There are two types of restoration workshops - a workshop at a museum and a workshop at a specialized restoration organization. Regardless of the subordination of the workshop, the requirements for its premises, equipment, equipment must meet the conditions formulated in the "Instructions for the registration and storage of museum valuables in state museums USSR ", approved by the Ministry of Culture of the USSR, and in other orders and instructions on the organization of storage and restoration of works of fine art.
The building or premises of the restoration workshop must meet the requirements for museum structures: be fireproof, isolated from flammable structures and storage facilities (for example, petrol stations and gas filling stations), doors and windows must ensure the safety of works received for restoration from theft. All openings must be blocked by the system burglar alarm... The room must be equipped with a water supply system with a sewage drain, electrified, have supply and exhaust ventilation or vents in window frames.
The workshop must be equipped with fire-fighting equipment, which must be periodically checked for readiness and serviceability. To extinguish the fire, carbon dioxide gas fire extinguishers are used, as they ensure the best preservation of museum exhibits. Smoking in the restoration workshop is strictly prohibited.
The restoration workshop consists of two or three mutually associated premises... In the first room, the works received for conservation and restoration work are received, the works of painting that have arrived in the packaging are kept, if they were previously in the cold, the boxes are unpacked, checked accompanying documents... In the period between the receipt and dispatch of the works, the same room is used for the following restoration work: carpentry restoration of the boards of the works, primary processing heavily contaminated works (dedusting, destruction of destructive bioorganisms, etc.) and other works not related to the paint layer. Here, equipment can also be completed and tools, materials (especially packaging) can be stored.
If this room is directly adjacent to the one in which clean processes are carried out, then a fireproof cabinet is placed in it for storing chemicals and other materials.
The second room is intended for various conservation and restoration works, mainly with a layer of painting and gesso. It must not carry out work that creates dust waste that clogs up the room.
In the third room, which is the cleanest and protected from dust, there are works where the loss of the painting layer is toned and the covering (protective) layers are applied to the painting. The works are also openly stored here after restoration before they are sent to the place of permanent location. If there is no third room, then the second one performs its functions.
When visiting restoration objects (monuments of architecture and history), part of the work, especially conservation work, is carried out by restorers in the premises temporarily provided to them. There, the conditions of work should be as close as possible to the conditions of the monument itself, so that the work does not experience sudden changes in temperature and humidity.
WORKSHOP TEMPERATURE AND HUMIDITY MODE
Restoration facilities must provide the same temperature and humidity conditions as in the places of permanent storage of works. As a rule, this is the mode of a heated museum room. In some cases, a mode is created unheated premises from which the work came. Fluctuations in the environment lead to changes in temperature and humidity inside the work, and therefore to its destruction. Works on thick boards (icons, carvings, etc.) are especially affected.
The premises of the restoration workshop must have heating and ventilation system, which provide a temperature regime of 12-18 ° and a humidity of 60-65% with daily fluctuations of no more than 5%. In the case of a decrease in humidity (which usually occurs during the heating season), it is increased using special humidifiers. They are fixed on radiators or placed next to them. To increase the intensity of evaporation, pieces of cloth are put into them (bikes or flannel). As you use them, you need to periodically wash them, cleaning them from dust and mineral salts from hard water that have settled on them. To reduce salt precipitation on pieces of bike or flannel, boiled water is poured into the tanks of humidifiers, which contains less mineral salts.
It is also possible to increase the humidity in the premises by reducing the heating intensity. Therefore, radiators in the premises of restoration workshops must have valves that can be used to regulate the supply of hot water to each group of installations.
In most premises of restoration workshops and museums in the middle lane, there is increased dryness. However, in the autumn and spring seasons, humidity can rise, which is harmful for artworks. Located in a room with high humidity the work does not immediately show signs of undesirable changes, but the board and levkas damp, swell from moisture. When the air humidity in the room becomes normal, the boards and levkas begin to dry out and after a month or two deformations appear - bulging of levkas and the paint layer. Therefore, dehumidification systems are used to reduce air humidity. The domestic industry produces dryers of two brands - "Azerbaijan" and "Azerbaijan OOV-1.4". The first is intended for dehumidification of premises with a volume of up to 800 m 3 at a temperature of 15-30 °, the second - for rooms up to 400 m 3.
Optimal mode for the storage of paintings and other exhibits located in museums and restoration workshops, an air conditioning system provides. It consists of a set of devices and devices designed to regulate the temperature and humidity of the air, clean it from dust and harmful gases, and provide ventilation and circulation. Two types of units are used for air conditioning - centralized and local.
Restoration of works in museums and architectural monuments that have an air conditioning system, as a rule, should be carried out either in the same buildings, or in rooms also equipped with air conditioning. In buildings that do not have such a regime, workshops are equipped with local air conditioners that produce industrial enterprises our country. These are Azerbaijan-2, KVA, Neva air conditioners and KI-0.4 air conditioner.
In order to regulate the temperature and humidity conditions in the premises of restoration workshops, psychrometers, hygrometers, thermobarohygrometers, as well as thermographs and hygrographs should be used. The last two devices provide information on the temperature and relative humidity of the room air on special graduated tapes for daily or weekly use. All other devices are calibrated only for temperature indicators, therefore, to determine the relative humidity of the air using psychrometers, you need to use special tables attached to the devices and to the instructions for museum storage.
The safety of works in the premises is significantly influenced by their placement. The main rule is the inadmissibility of placing works near heating installations, especially in heating season... Overdrying, as a rule, leads to cracks in the board, lags and swelling in the gesso.
The state of the piece also depends on the speed of air movement. The increased movement of air, as a rule, leads to overdrying of the work, and stagnation - to the stimulation of the activity of biodestructors (molds, bacteria, insects). The air speed is influenced by the location of ventilation openings, heaters, window and door openings. The speed of air flows in the exhibition rooms should not exceed 0.3 m / sec., In the funds - 0.1 m / sec., In the chemical laboratory - 0.5 m / sec. There are no such recommendations for restoration premises. Therefore, in restoration practice, they are guided by the given data. So, in the shelves of temporary storage of works, the speed of air circulation should be similar to the speed of its movement in museum depositories. For this purpose, the shelving in the workshop is placed closer to the corners, where the air flow is less.
At the same time, when working with volatile organic solvents you should choose a place closer to the window, since the speed of the air flow is higher here thanks to the water heating batteries and window vents. However, too fast air movement should not be allowed, as this excessively accelerates the evaporation of solvents, which makes it difficult to carry out the restoration process.
LIGHTING
The restoration workshop uses both natural daylight and artificial lighting... Lamps illuminate rooms, workplaces and individual sites work on works. Abundant lighting leads to severe eye fatigue. Therefore, if during work it is not required to illuminate the entire work as a whole, then only the working area is illuminated.
All windows of the workshop are hung with white curtains, which do not allow direct sunlight to hit the work and do not change the color of the light. Curtains should be made of loose fabric that partially blocks the sun's rays and at the same time does not darken the workplace.
General artificial lighting in restoration workshops should be close to diffuse natural light... Therefore, fluorescent lamps installed in DNP lamps are used. Special filters on luminaires with fluorescent lamps reduce the activity of items harmful to exhibits ultraviolet radiation four to five times. Lamps daylight are selected taking into account the spectral composition of radiation, which is indicated on each series of lamps with the following markings: LB - white light, LD and LDC - daylight, LHB - cold white light, LTP - warm white light; two types of improved color rendering are designated: LHBC - cold white light and LTPC - warm white light with two phosphor layers.
Restorer's workplace
Incandescent lamps are also used to illuminate the workshop and workplaces. The most suitable are mirror lamps of concentrated light distribution ZN-5, ZN-6, ZN-7, ZN-8, mirror lamps of a reduced size, type NZK, mirror lamps with medium light distribution, type NZS, lamps of the NGD type and type MOD with a diffuse reflecting layer on the side basement, local lighting type MOZ.
It is convenient to use an OI-19 illuminator with an incandescent lamp when removing records or sampling the remains of a darkened cover film, as well as when removing the remains of dense contaminants from the cover film. It gives a small light field, the brightness of the work area can be adjusted with a diaphragm, and the light beam can be changed (colored) with color filters. By changing the color of the beam, differences can be revealed color shades in painting, poorly visible in ordinary light. This illuminator is conveniently combined with head loops, boom loops and others.
Binocular microscopes MBS-2, used in restoration practice, have special illuminators that provide illumination of the working area.
EQUIPMENT, INSTRUMENTS AND INSTRUMENTS
The premises of a stationary restoration workshop must have the equipment, instruments, and tools necessary for carrying out the work. It also contains the materials needed for the restoration work.
In the second room of the workshop, one table with drawers for storing documents and tools is installed for each artist-restorer. There is also a common small table (utility) with marble or wooden board covered with asbestos cardboard. It is used primarily for placing an electric stove on it, as well as for preparing working compositions. A fume hood is placed near the work tables of the restorers. The ventilation outlet of the cabinet is mounted to chimney brought to the premises. The fume cupboard taps and drain holes are connected to the plumbing and sewerage system. The cabinet is used for the preparation and temporary storage of small amounts of easily evaporating solvents and for working with them; an electric stove can be placed in it.
Wooden one-sided portable shelving for temporary storage of works. Above shows the canvas upholstery of the nests
The room requires two bookcases or medical-type cabinets with shelves. One contains tools and small equipment, the other contains materials for work.
Works in the workshop are stored on a wooden portable rack, which can be single-sided or double-sided. The rack consists of two main parts - a horizontal shelf with a flooring of slats and a vertical frame with slot-cells for each piece. The gaps between the rails of the shelf ensure normal air circulation around the products. This shelf is 30 cm from the floor. If necessary (with low humidity in the room) cuvettes with water are placed under it. The vertical frame of the rack has two or three horizontal slats with grooves for fixing the works in a vertical position. It is advisable to make the size of the grooves and the distance between them different: in the front part there are small grooves of 5-6 cm for medium-sized pieces, and in the distant part - 10 cm each for large-sized pieces made from thick boards. The cells are upholstered with a ribbon of canvas folded two or three times so as not to scratch the artwork. The rack is made in accordance with the dimensions of the space allocated for it.
Cushioning pads with reclining straps
It is not permitted to place icons on the floor. During the permutations, slats are placed on the floor, and on them - works, between which (in their upper part) cushion pads are laid (in their upper part).
In the workshop, you need to have a couple of wooden easels for viewing the works in an upright position while working on removing notes and shading losses.
If the organization does not have an equipped carpentry and locksmith workshops, then in the first working room of the restoration workshop there should be a workbench and a set of carpentry and locksmith tools. These tools are necessary for the restorer to carry out work on the restoration of boards of works, packing and unpacking exhibits.
In the upper part of the walls, metal tubular rods are reinforced, as in the halls of a museum. They serve to hang artworks, the condition of which must be monitored for a long time.
For storage of perishable compounds, especially adhesives, it is necessary household refrigerator... When carrying out various works, a household vacuum cleaner, an electric stove with closed spiral and electric irons with thermostats.
The workshop should have store scales, laboratory and pharmaceutical beam scales with sets of weights.
Enameled household utensils are widely used in restoration processes: buckets, containers with lids, pots of various containers and mugs.
Many processes require chemical laboratory glassware, from glassware - measuring glasses for drawing up working emulsions and solutions, beakers, flat-bottomed flasks, droppers, test tubes (in addition, glass rods and some other items), from ceramic dishes - porcelain mortars, several mugs spoons of various capacities and other items.
The restorer must have a sketchbook for watercolor painting with paints, white palette, palette knives of various shapes, flutes and brushes for watercolor and oil painting (squirrel, columnar, bristle and others).
For visual research of paintings in ultraviolet rays, mercury-quartz lamps PRK-4, PRK-7 and others are used. To cut off the visible part of the spectrum, UFS-1 or UFS-2 light filters are used. Convenient for use by restorers is the medical device UVL with a burner and a light filter mounted in a plastic case, a portable device of the OLD-41 brand (TU 64-1-2242-72, 50Hz, 220V, 20W). The UVL apparatus allows you to control the state of the covering layer and surface recordings of the work (see illustration on p. 97).
To view works in the infrared part of the spectrum, an electro-optical converter of infrared rays is used. For this purpose, you can use a NVD (night vision device), readjusted from far-sightedness to viewing paintings at close range (see photo on p. 98). View result (if it gave positive effect) can be fixed on a special photographic film (ill. 80-83).
80. The recording layer of the 19th century - the image of the Gospel. Fragment of the same work
81. Revealing with the help of ICL the text of the beginning of the XV century. through the recording layer of the 19th century. on the same fragment
82. Image of Tatiana - entry of the XIX century. Fragment of the icon "Nikola belt"
83. Revealing with the help of ICL the original image of the XV century. (Ulyana) under the image of the 19th century. (Tatiana) on the same fragment
When removing later recordings, a darkened layer of varnish or drying oil, as well as some contaminants, magnifiers with varying degrees of magnification and a binocular microscope of the MBS-2 type are required, which has a tripod with a rod, which allows you to work on areas of the work that are far from its edge. A binocular microscope is also necessary when examining the condition of the layers of the work, especially the colorful ones (see photo on p. 99).
Various medical instruments are widely used in restoration practice. These are primarily scalpels - general surgical, eye and others. The most convenient are abdominal scalpels, both ocular and general surgical. However, they need to be re-sharpened by changing the angle of the blade.
Instruments made or adapted for restoration
I. PTFE tool used in the process of strengthening the paint layer
II. Medical scalpels (regrind angle shown)
III. Medical curved pliers for cutting small nails
IV. A nailer made from a screwdriver
Medical syringes of the "Record" brand are used to supply glue under the backlog and swelling of the levkas (see photo on p. 77). They are produced with a capacity of 1, 2, 5, 10, 20 ml. In restoration work, syringes of larger capacity are often used. The capacity is indicated by dashed markings and numbers on the glass of the cylinder. The glass of the "Record" syringe is heat-resistant, withstands boiling in water and rapid cooling. During the work, various injection needles are used, as well as special ones with wide channels (needles for the Bobrov apparatus, needles for blood transfusion with a channel diameter of 2 to 4 mm). With this diameter, it is possible to insert under levkas adhesive solution with chalk powder. The diameter of the canal and the length of the needle are indicated by a number, the first two digits of which indicate the diameter of the canal in tenths of a millimeter, the last - the length of the needle in millimeters. No. 0640 means that the diameter of the canal of the needle tube is 0.6 mm with its length 40 mm, No. 1060 - the diameter of the canal is 1 mm, length is 60 mm.
In the process of using syringes and needles for the introduction of adhesives, especially those that gelatinize (solidify) upon cooling, they are periodically placed in hot water (70-90 °) during work and during breaks. Upon completion of use, it is necessary to rinse the syringe and needle from the glue and insert a mandrel (wire) into the needle channel. They should be stored dry. If glue remains in previously used syringes and needles before starting work, they should be warmed up in warm water and rinsed. For these purposes (as well as for heating the working composition of the glue) it is convenient to use medical sterilizers. The workshop should have sterilizers of several sizes.
In addition to simple sterilizers, electric ones are produced. In restoration practice, it is more convenient to use simple sterilizers.
For injecting adhesives (especially non-hot ones), as well as glue-adhesives, you can use rubber medical syringes with soft tips instead of medical syringes. Needles with pear-shaped cannulas can be inserted into soft tips, which are firmly gripped by the rubber walls of the soft tip of the syringe. It is more convenient to use small-capacity syringes (No. 1, 2, 3).
To remove small nails when removing the frames and especially to remove them from the front side of the board, specially sharpened bone nippers are needed. Medical pliers-nippers with grooved lips and smooth processing of rounded lips are able to grab a cap that fits tightly to the surface of the frame or even a nail shank without a cap. However, the jaws of the bone cutters close tightly, and they can sometimes bite the nail shaft with them. To prevent this from happening, you need to grind off the gripping part of the jaws and make a small cut in them with a small file. When gripping, the carnation gets into the cutout and its shank does not overlap.
The artist-restorer has to make some of the tools himself, for example, small trowels and spatulas made of fluoroplastic, which were developed by the artist-restorers V.P.Slezin and R.P.Sausen. They are very convenient for smoothing the paint layer of tempera painting while strengthening and straightening deformations. Unlike other plastics, fluoroplastic has minimal adhesion - stickiness, which allows smoothing directly on the surface protective coating works. It is best to use fluoroplastic grade 4-B (MRTU 6-05-810-71). It can be easily processed with a knife, scalpel and file. Some of the shapes of small spatulas and trowels are shown in the accompanying illustration, they are fixed in the collet pencil holders (see p. 125).
It is more difficult to make a sole on a copper iron used for heat ironing when adhesive method strengthening the levkas. A small iron made of copper with a fluoroplastic sole has minimal adhesion and retains heat for a long time. The sole should have a thickness of at least 10 mm, since the thinner one warps when heated. To attach it, holes are made in it and in the copper sole of the iron, into which fluoroplastic pins are inserted. The iron, made only of fluoroplastic, retains heat well, but it is too light, which requires a lot of effort when ironing.
A number of tools and part of the inventory are described in the chapters on the individual restoration work processes.
1 This chapter describes the workshop equipment for carrying out restoration work with works of easel tempera painting on boards. The equipment of the workshop for easel oil painting is described in the manual "Restoration of works of easel oil painting" edited by I. P. Gorin and Z. V. Cherkasova (M., 1977, pp. 38-42).
Sometimes the established storage regimes - temperature-humidity, light, biological - turn out to be an insufficient measure to ensure the physical safety of museum items, and in order to stop the destructive process that has begun in them, the use of special means is required. The preservation of museum objects under conditions of a regime that inhibits the processes of their natural aging, as well as the suspension of destruction that has already begun, with the subsequent strengthening of objects is carried out during conservation. It can only be carried out by an employee with special training - a restorer. He takes measures to eliminate the causes of destruction of the object, strengthens its material and structure, removes deforming and harmful deposits.
Objects often have losses, later additions, as well as damage, as a result of which they completely or partially lose their original appearance or condition, thereby reducing their museum value. In these cases, the restoration of objects is carried out, that is, distortions that are caused by natural aging, damage caused or deliberate changes are eliminated.
Equipment for equipping restoration workshops in museums:
Specialized furniture for restoration workshops
· laboratory equipment
Equipment for the restoration of books
Presses of various configurations
· Vacuum tables for restoration of graphics, paintings, fabrics;
Sheet-pouring machines (replenishment of the lost parts of the sheet is one of the main operations in the restoration of documents. A significant amount of water is used in the technological cycle of the sheet-pouring machine, therefore this productive method of restoration cannot be used for documents with a highly damaged paper structure containing text and drawings made with water-soluble paints or ink)
· light tables for the restoration of graphics and copying works
Instruments for measuring and controlling physical parameters
Vacuum table shipped in complete set and ready to use.
The vacuum table consists of three components:
Suction table with adjustable height tilt.
Humidity domes with supersonic air humidifier.
Control panel.
Vacuum tables provide a stable foundation in the process of processing documents, allow you to control the washing process, water treatment of stains, and replenish the lost parts of documents with paper pulp. Parchment processing, and water leveling are possible.
The tables create a uniform vacuum over the entire work surface. The suction table is made entirely of aluminum with a perforated top.
The vacuum table control panel contains motors and controls in one convenient location. The control panel consists of suction motors, variable air speed controller, vacuum gauge in mm H20, air compressor, activated filter from charcoal... The Control Panel is constructed of high density polyethylene (HDPE). Its improved insulation design reduces noise by up to 74 decibels at all operating levels. The suction motors are very durable.
Humidity dome keeps humidity with a supersonic humidifier.
The clear acrylic dome is attached to the back of the vacuum table with of stainless steel... Each dome is approximately 43cm in height. Round inspection ports (15.2 cm in diameter) allow entry into the dome without venting all humidified atmosphere.
Backlit table
The backlit table surface is made of matt translucent plastic with a diffusing effect - to achieve uniform illumination, it is protected by a cover glass that prevents mechanical damage (scratches, cuts, etc.). A series of lamps are installed in its body, creating an even soft light. The illuminated table is mounted on a swing frame. The design is simple and reliable. On request, light filters are installed to create non-actinic light. It is possible to set two levels of illumination. For smooth adjustment of the angle of inclination of the table top, a gas shock absorber is used in the structure.
Painting alignment table- provides a high adjustable temperature, and vacuum environment... The vacuum converter allows the painting leveling table to be applied as a hot suction table.
each package consists of thermoplastic with a heating temperature below the aluminum plate of the table. the digital temperature controller maintains an accurate set temperature. transparent flexible material PVC, vacuum suction hoses, sealing weights and a vacuum source create a vacuum on the surface of the aluminum suction countertop. the table is designed to reduce or eliminate general distortions in pictures.
RESTORATION WORKSHOP, ITS EQUIPMENT, EQUIPMENT
The state and further life of the works of art exhibited and stored in the funds decisively depends on how the restoration work in the museum is organized. Therefore, in each museum, restoration workshops, their premises, equipment, as well as the conditions of the ore restorers should be the subject of special care and attention of the museum management.
In the restoration workshop of easel oil painting, preventive and restoration work is carried out, the technical and technological features of the paintings are studied, the works arriving at the museum are processed, exhibits are being prepared for exhibitions, the packing, transportation of paintings, etc. is monitored.
The requirements for such a workshop must meet the following optimal conditions: it is necessary that the workshop be located directly in the museum building, on the ground floor, with convenient communication with the storeroom and exhibition halls. The location of the workshop outside the museum building is dangerous for the safety of exhibits, since it makes it difficult to protect them, forcing the paintings to be transported through an open space, exposing them to variable environmental conditions. It is unacceptable to locate a restoration workshop in basements and semi-basements, where it is impossible to create normal conditions for the work of restorers, and, consequently, for the restoration of works of art.
The workshop for the restoration of easel oil painting is located in several rooms, which provide for the main types of work. This is an assembly room, or reception room, a room for technical restoration and a room for painting paintings with varnish. restoration rooms should be high enough, at least 3.7-4 m with comfortable openings, so that large paintings can be carried in them. All premises are required: good natural and artificial lighting, forced ventilation, water supply and an adjustable heating system.
The temperature and humidity conditions of the premises of the restoration workshop should be the same as the temperature and humidity conditions of museum halls and storerooms, so that the restored works do not experience sudden changes in temperature and humidity when they are moved.
The restoration workshop is equipped with the necessary fire-fighting equipment. It should be borne in mind that in a museum it is recommended to use carbon dioxide gas fire extinguishers as the safest during their use for the preservation of museum collections.
MOUNTING, OR RECEIVING-DISTRIBUTING
This room receives paintings requiring restoration from the storeroom and museum halls. Here, the paintings are examined, the state of preservation is recorded and all the work on mounting them into frames or dismantling is performed, rolled out and rolled onto a shaft. The assembly room should be large enough to handle larger paintings.
a large wooden assembly table with a lid made of 4-6 sq.m. grooved planks. and a height of 75-80 cm. The table is made collapsible, with a removable folding or split lid and a folding underframe;
workbench for performing auxiliary carpentry and locksmith work;
racks for pictures and frames;
large cabinet with shelves for storing tools;
racks on the wall for storing materials;
Desk;
A large number of instruments required in this room include, first of all, measuring instruments - tape measures, rulers, etc .; carpentry and locksmiths, as well as tools and materials used in assembly work.
An essential accessory is also an electrically heated hot plate mounted on a metal sheet with an asbestos gasket.
ROOM FOR TECHNICAL RESTORATION
In this department, they carry out preventive processing of paintings, their stretching and constriction, strengthening of the paint layer, summing up the soil, edges, patches, eliminating deformations and warping of the base, performing all processes associated with duplicating and parquetry of paintings. It is desirable that it adjoin, on one side, to the assembly room, and on the other, to the room of the pictorial restoration. The dimensions of the area of the room should be no less than the area of the assembly room, they are due, as we can see, to the variety of technical restoration processes, often very lengthy, requiring various equipment and many devices for their implementation.
The most important equipment of this room are duplicating tables (wooden and marble), 75-80 cm high and 4-6 sq. M. In area. A wooden duplicating table must be strong, stable, its lid is made of thick grooved boards without cracks and lunge wood and smoothly planed.
A table with a marble lid is placed on a metal base, the lid is made of one large marble slab or consists of several 4-5 cm thick slabs tightly fitted to each other; the table top is leveled, the surface is smoothly sanded.
All major technical conservation and restoration processes are performed on duplicating tables. A necessary accessory is a selection of marble slabs of various sizes and thickness up to 2.5 cm, used as backing and pressing.
To work on small and medium-sized paintings, it is also useful to have plywood panels on a wooden frame with dimensions from 80x100 cm to 120x150 cm or several sheets of thick (10-12 mm) plywood; goats are attached to the boards and plywood.
Be sure to have at least eight to ten working sliding stretchers with a standard spike and bar sizes from 80 to 400 cm.
A special rack is convenient for storing disassembled working stretchers.
To store the paintings that are in the restoration, they use the racks of the generally accepted design.
In addition to the above, the list of equipment and furnishings includes:
a special demountable device for parquetting pictures written on wood, which consists of the so-called ceiling, side posts and wooden rods-spacers;
simple clamps in the form of staples with wedges and frame lattice, consisting of several clips, with a set of metal clamps, used for gluing cracks and straightening warped wooden boards;
portable dental drill with a set of corundum and metal cutters - used to clean the reverse side of paintings;
sewing machine for sewing canvases and hemming;
racks with a rotating axis for storing roll materials;
fridge;
medical-type cabinets with glass walls and doors for storing instruments and small doses of solvents;
small wooden cabinet with pull-out drawers for storing small packaged materials;
racks closed type on walls for storing canvases, paper and other materials;
electric heating devices - electric stoves and glue machines with electric heating, a distiller, medical sterilizers for heating irons, electric irons with a thermostat, an electric spatula with a heating controller and a set of metal spatulas of different sizes;
restoration tools: large and small forceps for stretching paintings; surgical scalpels, abdominal and ocular; wooden or plexiglass spatulas for gluing canvas, a special device in the form of a deep bath for gluing large canvases; a set of small plastic spatulas for ironing and laying craquelure; medical syringes with a capacity of 1 to 5 mm; palette knives of different sizes; large cast-iron cast irons, children's irons; a rotating roller made of foam rubber like a photo roll; tight fabric rollers for ironing pictures when duplicating; metal plates up to 1 mm thick different sizes(from 20x20 cm to 30x40 cm) with thinned edges for placing a picture between the canvas and its stretcher when working on the front surface; tape measures, rulers, scissors, as well as hammers, screwdrivers, a small nailer and other tools;
standard and laboratory volumetric dishes; enameled or aluminum pans of various sizes; porcelain chemical mugs and glasses; porcelain mortars with a pestle; graduated glass mug with a capacity of 1 liter; glass beakers, beakers, funnels; graduated glass pipettes (1 ml and 2 ml); glass rods for stirring liquids;
measuring instruments: pharmaceutical or laboratory scales with a set of weights; table dial scales with a scale up to 200 g; laboratory thermometer with a scale from 1 to 150º and a price of 1º.
The room for technical restoration is equipped, along with the usual electric lighting, with fluorescent lamps - pendant lamps located above the tables. They are made movable horizontally and vertically.
DEPARTMENT FOR PAINTING RESTORATION.
In this room, various works are carried out on the restoration of the painting layer of the painting: the treatment of the restoration soil, the removal of the layer of dirt and recordings, the thinning and removal of the darkened varnish, the painterly restoration of the loss of the paint layer. For a restorer performing these processes, which require not only prolonged eye strain, but also the use of various solvents harmful to health, the working conditions and, above all, the abundance of natural light and good ventilation... The room, in addition to natural ventilation, must be equipped with a supply and exhaust forced ventilation, as well as mobile exhaust devices that have their own outlet or are connected to the main ventilation line. On the walls of the room, metal rods are fixed to hang the paintings that are in the restoration.
The equipment and furnishings of the premises for the pictorial restoration are:
fundamental easels with a screw lift or simple;
rack-stand for pictures of medium and large size;
large, light-colored bookcase for storing small and medium-sized paintings;
cabinets for storing materials and tools;
fireproof cabinet for storing volatile and flammable solvents and reagents;
a writing table for maintaining and storing current documentation;
bookcase for storing restoration documents and filing cabinets;
primary tools: palette knives, scalpels, bristle flutes of different sizes, round core brushes for tinting from No. 1 and above;
laboratory glassware: beakers, glass funnels, flasks of different capacities with ground stoppers for storing solutions.
Regardless of the presence in the museum of a scientific laboratory in the room of the painting restoration, it is necessary to have the following devices for the study of paintings: a binocular magnifying glass-microscope; simple double magnifier; a device for studying painting in filtered ultraviolet rays (work with this device is possible only in the dark, so the windows of the room should have thick dark curtains); small portable installation of ultraviolet light for examining paintings in a lit room.
The room, like the previous one, is equipped with movable spotlights with fluorescent lamps and a device that allows you to raise and lower the lamp to the desired height.
ROOM FOR PAINTING.
Painting paintings with varnish and regeneration of varnish are usually carried out in the room of a painting restoration, but it is better for this purpose to have a small separate room or to fence off the part of the room intended for toning. The main requirements for this room: cleanliness, no dust, common with all other rooms temperature and humidity conditions. Recommended equipment: simple easel, two tragus and plywood board on which a picture is placed, regeneration boxes of various sizes, from 3x4 cm to 60x80 cm, a device for spraying varnish, a large, shallow cabinet-rack with glass doors for holding varnished paintings.
Restoration workshops in a modern museum, as a rule, have their own scientific laboratory, which plays a vital role in many processes of restoration work. In particular, such types of physical and chemical studies of easel oil painting, such as X-ray diffraction, chemical analysis of soil, paint layer, its binder and varnish, help the restorer not only choose the correct method of painting restoration, but also identify some technical and technological features of the work, often paramount to its attribution. In a scientific laboratory, along with other types of instruments and equipment for physical and chemical research, an X-ray apparatus and an ultraviolet light device must be present.
Of great importance for the restoration workshop, both in practical and in research work, is a photographic laboratory, which is obligatory for every museum, in which ordinary and special photography of a work of art is carried out in various rays of the spectrum. It is desirable that the room of the darkroom be located in the immediate vicinity of the restoration workshop in case the painting needs to be photographed in the laboratory.
Such auxiliary departments as baguette, packing and carpentry workshops are closely connected with the work of the restoration workshop in the museum. In the framing room, they repair and manufacture frames for paintings, in the packaging room, they perform all the work on unpacking or packaging of the works arriving at the museum or sent to exhibitions, in the carpentry shop they carry out all the necessary work on the repair and manufacture of stretchers, packaging containers, etc. All these offices, for lack of space, can be combined in one, but large enough.
Our description of the restoration workshop and its equipment is optimal. Fulfillment of these requirements is possible only when designing and constructing special museum buildings or if the museum has a sufficient number of suitable premises.
Therefore, taking into account the real conditions and opportunities that the overwhelming majority of museums occupying various buildings currently have, it should be recognized that in each individual case only an approximate, compromise solution to this problem is possible. Nevertheless, this situation does not relieve the museum management of responsibility for the best possible organization of the restoration workshop in the museum.
The Electronic Archive Corporation presents a catalog of equipment for the preservation and restoration of paper documents.
Equipment for the recovery of paper documents
Folding machines
Folding machines LCM (Denmark) - pneumatic lifting system. Working area sizes from 60 x 90 to 90 x 120 cmMSC leaf-adding machines (USA)
Working area sizes from 64 x 76 to 92 x 122 cm
Excess moisture removal tables
Mobile tables LCM (Denmark) - with the possibility of installing lighting Worktop size from 80 x 100 to 95 x 195 cm
Stationary tables MSC (USA).
Worktop size from 62 x 71 to 147 x 239 cm
Expendable materials: cellulose, polypropylene cloth, Tylose CB 200 glue
Document preservation equipment
Machines С-900 and С-500 Neschen (Germany) for neutralization of high acidity in paper documents Consumables: neutralizing solution, packing 5, 50 and 100 liters
Machine for acid-free lamination of paper documents with Filmoplast-R Neschen film (Germany)
Consumables: reversible acid-free Filmoplast-R paper 8.5 g / m2 (analogue of "Japanese silk"). Roll sizes: width from 31 cm to 93 cm, length from 50 m to 200 m
Equipment for the restoration of paintings and graphics
BELO vacuum tables (Germany).Sizes of countertops from 110 x 91 cm to 180 x 120 cm
Vacuum tables MSC (USA). Sizes of countertops from 61 x 77 cm to 147 x 239 cm
Tables for leveling painting MSC (USA).
Sizes of countertops from 122 x 153 cm to 274 x 366 cm
Equipment for the restoration of books
Book tables with limited turning angle for the restoration of rare books: BELO (Germany) - a mobile place of the restorer
MSC (USA) - small desktop device
Films for the protection and repair of book, newspaper and archival funds
Acid-free polyvinyl chloride film in rolls of various formats to protect library and archival funds:Filmolux - glossy, Filmomatt - matte
Filmoplast - various acid-free films made of paper and textiles in multi-format rolls for the repair of books and archival documents
Equipment for the restoration of textiles
Tables for the restoration of textiles BELO (Germany) and MSC (USA). Hot vacuum tables BELO (Germany).
Optional equipment
Bookbinding presses (mechanical and electrical)Paper cutters: roller, saber and guillotine
Paper boring, wire stitching and bookbinding equipment
Rinsing baths, laboratory furniture, fume hoods etc.
Museums, art galleries, restoration workshops
The restoration of historical values requires not only high qualifications from the workers of museums and restoration workshops, but also high-quality specialized equipment, which, combined with the experience of restorers, will prolong the life of ancient exhibits. Such equipment is offered by the Electronic Archive Corporation. With the help of our unique technology, your specialists will be able to:
- Restore and clean up unique paintings, books and parchment documents
- Align and remove general distortions in painting canvases
- Strengthen damaged or dilapidated foundations of paintings and graphic documents
- Restore rare books with a limited opening angle
Archives
Over time, documents on paper undergo an inevitable aging process, which leads to irreversible destruction. The speed of this process is determined by many factors, such as: increased acidity arising from the processes occurring during the natural aging of paper, the composition of the air in storage, the effect of microorganisms, as well as the intensive use of documents. The Electronic Archive Corporation, relying on extensive experience in working with Russian archives and having thoroughly studied the specifics of the archival industry, equips archives with specialized equipment that will allow:
- Extend the life of paper documents, large format documents - maps, plans, drawings, newspapers through preventive conservation
- Replenish lost parts in archival documents with paper pulp
- Neutralize acidity in paper documents of any format up to 900 mm wide
- Conserve valuable documents by lamination with Filmoplast R reversible acid-free paper, with the possibility of intensive use of documents after lamination
- Strengthen and restore archival documents with special acid-free, aging-resistant materials Filmoplast R, P and P 90
Libraries
The preservation of the book heritage is recognized today as one of the main problems of libraries. The emerging need for restoration, restoration and protection of book and newspaper collections of libraries can be solved by the introduction of specialized technologies. The Electronic Archive Corporation offers libraries unique materials and equipment that can be used to:
- Increase the volume of restoration of rare book collections
- Significantly speed up the process of manual repair of basic book and newspaper collections without compromising the quality of work performed
- Provide readers with books that are reliably protected from various damages by Filmoplast, Filmolux, Filmomatt materials from NESCHEN
The Electronic Archive Corporation, constantly cooperating with the Ministry of Culture and Mass Communications of the Russian Federation in the field of preserving the cultural and historical heritage of Russia, pays great attention to the technical aspect of the problem of ensuring physical safety, protection from damage, conservation, restoration and research of paper documents.
Effectively solving the problems of preserving archival documents, library funds, historical and cultural monuments of written and printed culture is possible only by combining the efforts of fund keepers and specialists in the development and supply of specialized equipment and modern technologies for the restoration and conservation of paper documents.
ELAR Corporation offers specialized equipment and materials that have been tested in the largest Russian and foreign museums, libraries, archives and have received the well-deserved approval of specialists.
Catalog of materials for the protection of archival funds.
For more information, you can call the toll-free phone number
Our experts will definitely contact you and answer all your questions!