Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "konserwacja papieru" wg kryterium: Wszystkie pola

  Lista filtrów
Wyrównaj
    Wyświetlanie 1-12 z 12
    Tytuł:
    Przyczynek do badań nad historią konserwacji papieru
    A CONTRIBUTION TO STUDIES IN THE HISTORY OF CONSERVATION OF PAPER
    Autorzy:
    Wawrzeńczak, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/535512.pdf
    Data publikacji:
    1974
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    konserwacja papieru
    Biblia Leopolity
    Hymny kościelne
    starodruki
    Opis:
    The two examples of conservation of the sixteenth- century books printed tin Cracow's old printing works notorious of the high quality of their products have been presented by the author. The first of books, widely known as the so-called Leopolite’s Bible printed at the Szarffenbergers and constituting one of the most outstanding monuments of ancient printing art in Cracow was, in 1883, subjected to restoration by Władysław Wenda then an employee of the Old Records Archive, Warsaw who concentrated his efforts on reconstruction of the missing text parts and on restoration of the partly damaged woodcut illustrations. His work can be regarded as one of the most typical for the nineteenth-century approaches in restoring of old books. Though lacking suitable experience, which the lack found its reflection in quality of conservation carried out, Wenda — it should be emphasized — tried to restore its original forms to the defective copy. So, for instance, the missing frontispiece was replaced by him with a copy prepared by the use of homeographic technique invented in 1857 by Adam Piliński. Also the facsimile reproductions of the four text pages have been added by him. It deservaes to be stressed that Wenda being fully conscious of importance which his description of treatments carried out might have for the future researchers had bound it together with the original text. Hence, the above description can be treated ias one of the first conservator’s documentations.
    Źródło:
    Ochrona Zabytków; 1974, 3; 229-236
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Laminacja papierów czerpanych
    LAMINATION OF HAND-MADE PAPERS
    Autorzy:
    Płochocki, Krzysztof
    Powiązania:
    https://bibliotekanauki.pl/articles/536834.pdf
    Data publikacji:
    1970
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    papier czerpany
    konserwacja papieru
    laminacja papieru
    laminacja bez laminatora
    Opis:
    Under certain conditions the hand-made papers manufactured from rag fibres are exposed to attacks of micro-organisms thus suffering the degradation of cellulose content in fibres. Papers so contaminated are gradually loosing their original mechanical strength. * At the end of the 19th century a method has been found for strengthening of weakened papers by their lining with artificial parchment glued on by means of the starch glues. However, with the passing time artificial parchment is getting more and more brittle and looses its transparency whereas its removing from the weakened paper becomes very difficult and causes several considerable troubles. The weakened papers can also be laminated with silk chiffon or Japanese tissue paper, but here the faults common for the both methods of lamination consist in — difficulties to strip the linings from their beds in the case of need, advancing flavescence, loss of mechanical strength, and the susceptibility of starch glues to the action of micro- organisms and insects. All the above factors necessitate the considering of possibilities to apply other methods of lamination for hand-made papers. Method of lamination using acetylcellulose foil worked out by Barrow and its modifications applied successfully in several countries can be considered as proper one for lamination of machine-made papers, and in particular those containing groundwood. However, the hand-made papers change their texture apparently after processing of their surfaces. Lamination with the use of acetylcellulose foil partially solved in acetone appears to be a better method in application for old papers since it eliminates the need for high temperature and pressure but the acetylcellulose foil of high quality is required for this purpose. In the National Main Archiv of Old Record, Warsaw a method has been developed for lamination using the acetone solution of a c e ty lcellulose. The solution is rubbed on the paper and tissue paper by means of a painter’s brus/h enabling to laminate the paper on both sides or on one side only. However, the lamination on both sides is more labour-consuming operation and leads to the increased paper thickness but at the same time provides the higher mechanical strength. In the course of lamination by means of acetylcellulose acetone solution the toxic and highly inflammable vapours arise. Similar to the above method is lamination using the methylcellulose solution. The aqueous solution of methylcellulose is entirely odourless. The principle of lamination procedure is much the same as in the case of starch glue lamination with this sole exception that paper laminated with methylcellulose is much more resistant to the attacking microorganisms and at the same time shows considerable improvement of its mechanical strength.
    Źródło:
    Ochrona Zabytków; 1970, 2; 115-118
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Usuwanie grynszpanu z papieru
    THE REMOVAL OF VERDIGRIS FROM PAPER
    Autorzy:
    Kehl, Jerzy
    Powiązania:
    https://bibliotekanauki.pl/articles/538974.pdf
    Data publikacji:
    1981
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    usuwanie grynszpanu z papieru
    grynszpan
    usuwanie plam ze związków miedzi
    konserwacja papieru
    Opis:
    On old maps in verdigris painted places there occur now crumbling and falling-off stains difficult to remove with usual agents. Some ligands, forming soluble chelates in combination with copper, were examined. The examinations made allowed us to choose the bath in 1% water solution o f sulfosalicylic acid or 1% solution o f disodium EDTA salt to remove the stains.
    Źródło:
    Ochrona Zabytków; 1981, 1-2; 98-99
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Porównanie metod konserwacji na przykładzie dwóch obiektów w stanie destruktu
    THE COMPARISON OF CONSERVATION METHODS ON THE EXAMPLE OF TWO DECAYED OBJECTS
    Autorzy:
    Ważyńska, Ewa
    Wołk-Jezierska, Witomiła
    Powiązania:
    https://bibliotekanauki.pl/articles/535105.pdf
    Data publikacji:
    1981
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    porównanie metod konserwacji
    konserwacja szesnastowiecznego drzeworytu
    konserwacja papieru
    dublowanie
    drzeworyt światłocieniowy „Chrystus przed Piłatem”
    Opis:
    The subject of the communique is a comparison of two methods of conservation employed in the Workshop of the Conservation of Engravings and Old Books (attached to the State Enterprise for Monuments Protection) to reconstruct works of art which were in a very bad condition. One of the works is the print „The Map of the Sejneńska Diocese” by B. Gratowski, the property of the Museum of Revolutionary Movement at Białystok; the other — a wood Chiaroscuro engraving by A. Andreani „Christ before Pilat” found in the National Museum in Wroclaw. Despite added strengthenings in form of cloth and paper plying-ups, the paper of the objects displayed a marked decomposition of the fibre due to its excessive brittleness and poor adhesion to the plying-up as a result of a destructive action of microorganisms. In order to have the possibility to carry out conservation treatment on the destructed paper and also to succeed in its transfer onto a new plying-up, two variants of a protective face sizing were applied. In one case a traditional method and starch pastes were used to protect the facing and the plying-up; in the other case acetyl cellulose was used instead of a starch paste. The use of the same glue made it necessary to apply water solutions of alcohols to remove yellow discolorations. When treating with acetyl cellulose it was necessary to deacidify several times. Contrasting flues facilitated conservation procedure to a large extent. Conservation processes employed made it possible to select a less labour-consuming but equally effective method for the conservation of works of art which have a decayed groundwork.
    Źródło:
    Ochrona Zabytków; 1981, 3-4; 184-188
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Potrzeby w zakresie przechowywania zbiorów na podłożu papierowym i ich konserwacji na przykładzie Biblioteki Polskiej w Paryżu
    THE REQUIREMENTS OF STORING PAPER-BASED COLLECTIONS AND THEIR CONSERVATION UPON THE EXAMPLE OF THE POLISH LIBRARY IN PARIS
    Autorzy:
    Łonicka, Hanna
    Powiązania:
    https://bibliotekanauki.pl/articles/539441.pdf
    Data publikacji:
    2002
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    Biblioteka Polska w Paryżu
    przechowywanie zbiorów na podłożu papierowym
    konserwacja papieru
    sposób przechowywania zabytków papierowych
    starzenie papieru
    optymalne warunki przechowywania papieru
    Opis:
    The article is the outcome of the author’s stay at the Polish Library in Paris in 2000 for the purpose of examining collections of paper-based objects and the state of their preservation. The Library gathers works by Polish authors connected with France as well as those by artists originating from the French, English or Italian schools. The article discusses assorted factors affecting changes of the physical and chemical properties of paper. The rate of those transformations depends on external and internal factors. Further on, the author considered ways of minimalising the impact of those factors by means of suitable conditions of storing the collections. Another topic, alongside prophylaxis, was conservation intent upon restoring the “original appearance” of paper-based collections.
    Źródło:
    Ochrona Zabytków; 2002, 3-4; 374-377
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    PROBLEMATYKA OCHRONY ZBIORÓW Z XIX I XX W. O PODŁOŻU Z PAPIERU
    THE PROTECTION OF NINETEENTH AND TWENTIETH-CENTURY COLLECTIONS WITH PAPER BASES
    Autorzy:
    Sobucki, Władysław
    Powiązania:
    https://bibliotekanauki.pl/articles/536745.pdf
    Data publikacji:
    2008
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    'ACID PAPER' - PROGRAM
    COLLECTIONS WITH PAPER BASES (POLAND)
    podłoże z papieru
    formowanie papieru
    konserwacja papieru
    podłoże trwałe
    podłoże nietrwałe
    papier maszynowy
    kwaśny papier
    odkwaszanie
    Opis:
    The nineteenth century witnessed profound transformations in the technology of paper production; consequently, paper lost its age-resistance and books, periodicals and documents from that period onwards represent, as a rule, an unsatisfactory state. A mass–scale deacidification - the only known way of limiting losses in collections from the two centuries - was inaugurated in Poland thanks to the Government 'Acid paper' Programme, realized in 2000-2008. Books and other prints are treated with the Bookkeeper method applied at the National Library in Warsaw and the Jagiellonian Library in Krakow, while sheet documents are treated with the Neschen method in the two above-mentioned libraries and in four archives: in Warsaw, Katowice, Gdynia and Milanówek near Warsaw. Furthermore, statistical research conducted as part of the programme established that in Poland at least 43 mln books and 200 kms of acts must be deacidified, which, on a national's calve, comprises about 94% of library and archive resources from the last two centuries. The optimistic aspect of the issue lies in the fact that the publication of books with non-acid paper was inaugurated in Poland at the end of the last century; this means that the number of library resources threatened with acid hydrolysis is not growing. The article also analyses studies relating to the state of preservation of nineteenth and twentieth-century collections with a paper base.
    Źródło:
    Ochrona Zabytków; 2008, 3; 65-74
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Odkwaszanie papierów zabytkowych
    The Deacidification of Old Paper
    Autorzy:
    Sobucki, Władysław
    Powiązania:
    https://bibliotekanauki.pl/articles/539121.pdf
    Data publikacji:
    2001
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    odkwaszanie papierów zabytkowych
    konserwacja papieru zabytkowego
    degradacja papieru
    budowa cząsteczki celulozy
    depolimeryzacja celulozy
    źródła zakwaszenia papieru
    pomiar pH w papierze
    płukanie papieru w wodzie
    koncepcja rezerwy zasadowej
    rezerwa zasadowa
    węglany ziem alkalicznych
    wodorotlenek wapnia
    wodorotlenek baru
    wodorowęglan magnezu
    odkwaszanie w obiegu zamkniętym
    kanadyjska metoda odkwaszania
    Opis:
    The exceptional harmfulness of acid substances is the reason why deacidification should be perceived as the most important operation performed in the course of the conservation of historical objects with a paper base. The presented article is a review of the current state of knowledge on the subject.Theauthor discussesthe reasons for the deacidification of library and archival material and the assessment of the degree of their acidity by pH measurements using harmless methods.The reader is offered a presentation of the concept of the alkali reserve and its significance for the improvement of the durability of paper. A pH oscillating from 8 to 8,5, obtained in the course of the deacidification of old papers, is regarded as a minimum level to be sought during this operation.Empha sis is placed on the significance of rinsing in water and the importance of the carbonates of alkaline earths obtained in the paper as a result o deacidification.The author considers the most essential deacidification substances: calcium hydroxide, magnesium bicarbonate and barium hydroxide.A ttention is drawn to problems accompanying the treatment of manuscripts, water colours and pastels.Arti cle was written upon the basis of lectures and courses conducted by the author for students specialising in the conservation and restoration of old prints and graphic works in the Department of the Restoration and Conservation of Works of Art at the Academy of Fine Arts in Warsaw.
    Źródło:
    Ochrona Zabytków; 2001, 1; 63-73
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Japońskie kleje polisacharydowe jako spoiwo w konserwacji zabytkowych tkanin jedwabnych oraz papieru
    Japanese Polysaccharide Glues as the Doubling Binder in the Conservation of Historical Silken Fabrics and Paper
    Autorzy:
    Liszewska, Weronika
    Powiązania:
    https://bibliotekanauki.pl/articles/537097.pdf
    Data publikacji:
    2002
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    kleje polisacharydowe
    spoiwo klejowe
    konserwacja zabytkowych tkanin jedwabnych
    zabytkowe tkaniny jedwabne
    konserwacja papieru
    japońskie metody dublowania malowideł
    wzmacnianie tkanin
    dublowanie tkanin
    klej skrobiowy
    sztuka hyogu
    tradycyjne spoiwo klejowe
    japońska skrobia pszenna shofu
    sezonowanie tkanin jedwabnych
    amyloza
    amylopektyna
    klajster pszenny
    klej furu-nori
    klej funori
    klej z wodorostów morskich
    Opis:
    The author discusses two Japanese polysaccharides from the viewpoint of their application as the doubling binder for paintings on silk and silken fabrics — the non-gluten wheat starch shofu and the seaweed glue funori. Detailed research concerned the quality of the wheat starch. Subsequently, the author compared the properties of the two polysaccharides. Following studies concerned the rheology, resistance and rigidity of the binder as well as the artificial aging of samples of silk fabric and Japanese paper containing the glues in question. The aging of both natural binders was conducted in a climatic chamber for 24 days in a temperature of 65°C and with a humidity of 55% RH, as well as by means of exposure to a xenon lamp for 240 hours. The results indicated the extremely stable optical properties of the funori glue and its positive impact upon the resistance of silk. Research conducted with the aid of SEM (electronic scanning microscope) indicates the way in which the glue spreads on the surface of the fabric.
    Źródło:
    Ochrona Zabytków; 2002, 2; 191-206
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Papier jedwabny jako nowy materiał konserwatorski
    Silk Paper as a New Conservation Material
    Autorzy:
    Potocka, Anna Dorota
    Powiązania:
    https://bibliotekanauki.pl/articles/538564.pdf
    Data publikacji:
    2001
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    papier jedwabny
    nowy materiał konserwatorski
    konserwacja i restauracja zabytkowych jedwabi
    konserwacja tkanin zabytkowych
    własności papieru jedwabnego
    konserwacja tkanin jedwabnych
    Opis:
    The concept of silk paper (German: Seidenpapier) refers to a wide assortment of paper with a basis weight below 25 grams/sq. metre, including so-called Japanese and Chinese tissue paper (6-8 grams/square metre), which does not include any silk fibres. The reason for this state of things is probably the use of the same Chinese ideogram for describing silk, paper and mulberry. Pertinent literature does not mention any publications on the production of silk paper. Consequently, a series of tests and research experiments were conducted pertaining to the possibility of producing specialist paper for the conservation of silk fabric, and composed of silk fibres. Close adherence to the contemporary conservation principle entailing the usage of conservation material containing the same raw material which was applied for making the historical object leads to the simple conclusion that paper intended for the conservation of silk fabrics should be made of identical fibres. Up to now, this postulate has not been put into practice, since due to its chemical structure silk fibre does not show any paper-creating properties. The basic goal of the research was, therefore, to obtain material built of the same fibre as the historical fabric, but blended within a different structure. The possibilities of using paper for the conservation of silk fabrics are manifold — sheets of paper are glued underneath fabric, and missing parts of the fabric are supplemented with patches and a fluid silk mass on low pressure tables — both methods will make it possible to work on large surfaces of the fabric and to attain its stabilisation. “Dyeing in the paper mass” will enable a quicker selection of a suitable colour foundation reinforcing the original fabric. Application samples have confirmed the excellent properties of the new material, and wet and dry aging tests have proved its excellent parameters. Silk paper has been registered in the Patent Office, and is a legally protected invention.
    Źródło:
    Ochrona Zabytków; 2001, 2; 170-174
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Aparat do konserwacji papieru przy pomocy masy papierowej wykonany w Katedrze Technologii i Technik Malarskich ASP w Krakowie
    APPAREIL POUR LA CONSERVATION DU PAPIER A L AIDE DE LA PATE A PAPIER
    Autorzy:
    Płochocki, Krzysztof
    Powiązania:
    https://bibliotekanauki.pl/articles/537685.pdf
    Data publikacji:
    1969
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    aparat do uzupełniania ubytków w papierze
    konserwacja rękopisów
    Opis:
    À la Ch aire de Technologie e t T e ch n iq u e des P e in tu r e s a u p rè s de l ’Académie des Beaux A rts à Cracovie u n a p p a re il de co n se rv a tio n a é té mis en ma rch e s e rv a n t à com p lé te r les p e rte s re lev é e s s u r les fe u illes de p ap ie r, selon la mé th o d e de su bm e rs io n de la p â te à p ap ie r. L ’a p p a re il possède d eu x c e llu le s s é p a ré e s l ’une de l ’a u tr e p a r un file t su r le q u e l on place la fe u ille du p a p ie r endommagée. On rem p lit d ’eau les d eu x cellules e t on v e rse dans la c e llu le su p é rie u re la p â te à p a p ie r dans un e q u a n tité e t c o n s titu tion s tric tem e n t a d ap té e a u x né c e ssité s req u ise s. Le pompage de l ’eau de la c e llu le in fé rie u re e n tr a în e l ’éco u lemen t de l ’e au avec la p â te à p a p ie r à tra v e rs les p a rtie s endommagées du p a p ie r e t la s é d im e n ta tion de c e tte p â te s u r les en d ro its m a n q u a n ts . La feu ille com p lé té e e s t e n su ite séchée sous p re sse . L’a p p a re il a é té p ro d u it selon la d o cum e n ta tio n fa ite p a r MM. K. Płochocki e t T. Banaś. A c tu e llem e n t, on ex am in e le p ro b lèm e de la composition sp é c ifiq ue e ffe c tiv e de la p â te c om p lém en ta ire à p ap ie r.
    Źródło:
    Ochrona Zabytków; 1969, 4; 302-304
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Zagadnienia estetyki w konserwacji atlasu nieba J. Heweliusza "Firmamentum Sobiescianum sive Uranographia"
    ESTHETICAL PROBLEMS IN CONSERVATION OF THE CELESTIAL ATLAS „FIRMAMENTUM SOBIESCIANUM SIVE URANOGRAPHIA” BY J. HEVELIUS, PRINTED IN 1690
    Autorzy:
    Pieniążek, Zofia
    Powiązania:
    https://bibliotekanauki.pl/articles/538352.pdf
    Data publikacji:
    1974
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    konserwacja atlasu nieba Jana Heweliusza
    Firmamentum Sobiescianum sive Uranographia
    uzupełnianie ubytków papieru
    uzupełnianie ubytków rysunku
    format atlasu nieba
    Opis:
    The conservation of a work of art does not confine to its sole protection against the further destruction. As its equally important objective is to be considered the restoring of the lost artistic values, or, as is the case with conservation of an usable object, the recovering of its function. However, while carrying out the conservating treatments an unique character and individual features of an original work should not bo lost, for it is the restorer’s task to give the new birth to it in its original form and to safeguard it at the same time making the choice of the most appropriate method. And it is exactly at that point that he faces a decision to what extent he can intervene. The work of art suffered natural ageing and it happens sometimes that in the course of its varying fortunes it changed its appearance or even its character. Thus, every outlining of programme of conservation must be supported by a many-sided investigating of the object itse lf and by the knowledge of period of its cration as well. An object subjected to conservation may always cause controversial assessments as to the way in which some its elements have been handled or to solutions applied by the restorer. This follows from the nature alone of the restorer’s work on an ancient object at wchich, although the processes are subdued to certain rules, an extra-material element is to be found that is being nearly newly created by the restorer. The more the restorer’s action is subdued to that leading function aimed at safeguarding of the work of art and conforms the character of an object the more possible it is to achieve both artistic and style unity of the object restored. The celestial atlas of John Hevelius „Firmamentum Sobiescianum sive Uranographia...” forms the third part of work of that famous astronomer titled „Prodromus astronomiae cum Catalogo fixarum et Firmamentum Sobiescianum...”. Published already after Hev e lius’s death in 1690 thanks to endeavours made by his widow Elizabeth née Koopman it was printed in the printing shop of Jan Zacharias Stolle in Gdańsk and is devoted to the King of Poland John III Sobieski who for many years was the astronomer’s patron. The atlas contains 80 leaves of which the number 58 are the copper plates representing the maps of various constellations, scenes of panegyrical character and the portrait of Hevelius. The copper plates were prepared in the years 1686—1690 and with an exception of the astronomer’s portrait which was made by Lombert Visscher all they are the works of Carl de la Haye who used the drawings of Andreas Stech. The remaining leaves are bearing the Latin (20) and German texts (2) praising the astronomer’s merits for his birthplace — the town of Gdańsk. The celestial atlas under discussion was partly defective as it was deprived of its original binding that was replaced by a provisional file cover. Leaves „bearing the copper plates and those bearing the text were seriously damaged, rotten, covered with brownish-coloured spots and exhibited both numerous losses of paper support and of image portions. The poorly executed pastings have grown to a cause of further damages. Moreover, the separate leaves of atlas varied as to their sizes, these bearing the texts being only half as wide as those covered with images which has additionally grown to a cause of folding and damaging of paper material. While preparing the programme of restoration, in addition to problems of disinfection, cleaning or reinforcing of paper a number of controversial problem have arisen as to inanners in which the materials, techniques and structural solutions should be applied. To the number of the above problems are to be added also those connected with filling the losses of paper and images, and the determining of the size of atlas. Upon an appropriate solution was greatly depending the final shape of the object under discussion. It is well known that the supplementation of paper losses, quite irrespectively of method applied, should exhibit some esthetical values. A supplementation integrated with the object, forming a harmonious entity, makes it possible to focus the v iw e r ’s attention on artistic side of the exhibited work of art. However, the manner in which supplementation is being done is to a great extent conditioned by the kind of the object, its state of preservation and the localization of the loss. The leaves bearing the copper plates were supplemented at their cut edges and at the spine (i.e. structural) part with the hand-made paper; with the same kind of paper were also supplemented the tex t leaves in their margins outside the matter. In view of a considerable weakening of paper support in central portions of the copper plate images the losses situated within these fields were filled with the unsized China paper the twro or three layers of which, depending upon the thickness of support, were glued one on another. Losses in tex t leaves situated within the matter were supplemented with the Japanese tissue paper. As the copper plate images exhibit considerable damages an ideal solution would consist in placing of the separate restored plates of celestial atlas in the passe partout mountings protecting them against mechanical damages. It has been resigned of such a solution as the objective of restoration consisted in bringing the whole set of maps back to their original state and, in addition, together with texts they constitute an integral entity. Thus, the only treatment applied consisted in an additional reinforcing of each leaf of atlas through its lining (glueing on) with the Japanese tissue paper layer. Supplementation of losses in image forms one of the final measures within the restoration process that restores to a work of art its lost artistic values. The manner in which the losses in image are to be supplemented is suggested by the work itself, its character and the function it has to perform. It happens sometimes that in the object restored the losses in image are being left not supplemented. It is possible when the image composition does not dominate over its background and the supplemented portion remains in harmony with the general colour tone of the object. The damaged fragments of a drawing can be supplemented by partial restoration as, for instance, the supplementation of the damaged shape. Sometimes it is sufficient to fill the framing, an ornamental border of an illustration to properly enclose the composition with its other damaged places left without any treatment. Entirely different is the problem consisting in filling of minor losses scattered throughout the whole area of an object which, for example, may be required in illustrations having the nature of a painting — as are the aquatints and mezzotints — where the damaged composition is predominated by losses. In celestial atlas in question two kinds of damages to image were found and thus two different manners of their supplementation had to be adopted. The minor losses, in many cases disfiguring the image, were fully supplemented. Those covering bigger fragments of image in constellation maps were supplemented schematically through the application of thin lines linking the fragments preserved and through an imperceptible . re-arranging of compositions. The absence of original binding and thev arying sizes of the separate leaves could suggest that the original format of atlas was quite different, for instance, half that actual, with the bigger leaves folded. However, taking into account an appropriate protection of the restored leaves and also the esthetical reasons there was le ft the size of atlas with its plates unfolded. Only one additional element has been introduced in back cover, i.e. its negligible thickening which allowed to place the leaves of varying widths on the same plane and to prevent the deformation of paper. The restoration described above could, of course, be carried out in another way, too. However, the above procedure was adopted, for it allowed to preserve all values of object and its essential features at the same time enabling to achieve the desirable result, i.e. an esthetical shape of the restored work of art. The celestial atlas of J. Hevelius was subjected to restoration »in the atelier of restoration of graphic art and old books, Warsaw Branch of The Ateliers for Conservation of Cultural Property within the period from March 1970 to September 1971. The restoration was carried out by T. Tuszewski, Ass. Prof., who restored the text leaves and Z. Pieniążek, M.A., who restored the copper plates and made the binding. In 1972 an annual prize “For the distinguished achievements in conservation” was awarded to those employed at the above restoration.
    Źródło:
    Ochrona Zabytków; 1974, 4; 285-294
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-12 z 12

      Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies