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    Wyświetlanie 1-6 z 6
    Tytuł:
    O niektórych problemach konserwacji tkanin zabytkowych
    Autorzy:
    Tworek, Daniel
    Powiązania:
    https://bibliotekanauki.pl/articles/536169.pdf
    Data publikacji:
    1963
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    konserwacja tkanin zabytkowych
    wpływ światła na tkaninę
    mikroorganizmy niszczące tkaniny
    czyszczenie tkanin
    dublowanie tkanin
    tworzywa sztuczne przy konserwacji tkanin
    Źródło:
    Ochrona Zabytków; 1963, 3; 54-56
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Z problematyki konserwacji zabytków ruchomych w Holandii
    DES PROBLÈMES DE LA CONSERVATION DES OBJETS D‘ART HISTORIQUES EN HOLLANDE
    Autorzy:
    Szunke, Norbert
    Powiązania:
    https://bibliotekanauki.pl/articles/536126.pdf
    Data publikacji:
    1965
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    konserwacja zabytków w Holandii
    konserwacja malarstwa sztalugowego
    konserwacja podobrazia
    Rijksmuseum w Amsterdamie
    Stedelijk Museum w Amsterdamie
    Openluchtmuseum w Arnhem
    wypaczenie desek podobrazia
    przyczepność warstwy malarskiej do podłoża
    dublowanie obrazów na płótnie
    konserwacja rzeźby drewnianej
    konserwacja drewna
    utwardzanie drewna
    konserwacja tkanin
    wywabianie plam rdzy
    zabezpieczanie i utrwalanie tkanin
    Politechnika w Delft
    Opis:
    Compte tenu du cadre restreint reserve a cet article, l ’auteur a simplement procédé à une présentation des problèmes de restauration réduite au domaine des tableaux, objets faits en bois et tissus. Sur le plan de la restauration des tableaux, l’auteur nous fait connaître les solutions données à ces problèmes par le Rijksmuseum d’Amsterdam mais surtout celles qui furent appliquées dans l ’atelier de restauration du Stedelijk Musée. Les tableaux dont la couche picturale a perdu sa homogénéité adhérante, sont soumis à un traitement de rentoilage sur une table à vide. Par ce moyen on peut rentoiler les tableaux dont la première couche picturale est un composé à base de craie ou d’huile, délayés sur un support en toile, en carton ou sur un panneau en bois, traités par la technique picturale à l ’huile, à tempera ou mixte (moderne). Le colophane qui constitue le composant traditionnel des doublures, est remplacé parfois par la résine artificielle AW-2. Le rabotage du support en bois jusqu’à 3 mm d’épaisseur (en cas de nécessité), son recollage sur un panneau spécialement préparé, rend le nouveau support extrêmement léger et le garantit contre le gauchissement. Rijksmuseum à Amsterdam ne possède aucun atelier de restauration pour les oeuvres sculpturales et ne s ’oocuppe point actuellement de tra vaux de ce genre. Dans beaucoup de musées et d ’institutions, divers désinfectants sont employés en vue du traitement des objets d’art en bois. Pour détruire des agents biologiques nocifs, des facteurs sont mis en jeu tels que: rehaussement de température (47°), insecticides (hexachlorcyklohexate, pentachlorop hen ol, dieldrin, bromure d ’ethyle). Certains musées remettent leurs objets d’art en bois aux établissements industriels spécialisés qui s ’occuppent de leur désinfection et déslnsectdon. En ce qui concerne les tissus, on peut dire de façon générale, que le mérite d’avoir élaboré, perfectionné et promulgué en Hollande les méthodes de conservation, incombe à la Section de Conservation des Tissus dans le Laboratoire des Techniques Textiles et de la Technologie des Fibres de l ’Ecole Polytechnique à Delft. La consolidation d ’anciens tissus, partiellement détruits ou endommagés consiste le plus souvent à leur rentoilage sur un support de matière molle, dans la plupart des cas sur un canvas de matière p lastique. Dernièrement on pratique souvent le rentoilage des anciens tissus sur un nouveau tissu très fin, le térylène à l’aide des liants à base des copolimères des matières plastiques tels que: l’acétate de vinyl avec 25% du caprylate ootilovinylique, l’acétate de vinyl mélangé de 25% d ’acrylate vinylique. Actuellement les fabriques produisent des tissus qui sont imbibés des copolimères précités et qui portent dans le commerce les noms qui suivent: „Setamul N 6525” et „Setamul N 6825”. Après le collage d ’un tissu sur un tel support on passe dessus un fer à repasser électrique dont la température s ’élève à 70°. Cette méthode de rentoilage permet non seulement de restituer au tissu sa homogénéité originale mais elle constitue en plus un moyen d’imprégnation pour les tissus soumis au traitement précité.
    Źródło:
    Ochrona Zabytków; 1965, 1; 45-52
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Konserwacja ubiorów pochodzących z sarkofagów książąt słupskich
    THE CONSERVATION OF THE ATTIRES FROM SARCOPHAGI OF SŁUPSK PRINCES
    Autorzy:
    Rawa-Szubert, Anna
    Hryszko, Helena
    Kehl, Jerzy
    Powiązania:
    https://bibliotekanauki.pl/articles/537482.pdf
    Data publikacji:
    1981
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    konserwacja ubiorów z sarkofagów książąt słupskich
    konserwacja starych tkanin
    sarkofag książąt słupskich
    krypta kościoła Św. Jacka w Słupsku.
    księżna Anna de Croy
    książę Ernest Bogusław de Croy
    stroje trumienne
    dublowanie tkanin
    Opis:
    I. The sarcophagi o f Słupsk princes, found in the crypt of St. Jacek’s Church at Słupsk, were opened in 1977. A special commission stated that the coffin containing the body of Princess Anna de Croy had not been opened before. It has been decided that the conservation of textiles taken out o f the sarcophagi should be made by a textile conservation laboratory of the State Enterprise for Conservation of Art, branch office in Warsaw. From the viewpoint o f costiumology, coffin robes of Słupsk princes may be divided into two groups: 1) Textiles associated with the person of Princess Anna, and 2) Textiles taken out from the sarcophagus of Prince Ernest Boguslaus. Ad. 1. A funeral robe of the Princess (died in 1660) consisted of a velvet dress in Italian velvet, a small silk coif with some thin silk material on it. The coffin contained also a pillow, which just like coffin’s inside covering, was made o f silk as well. Ad. 2. The Prince’s robe consisted o f trousers and stockings in thin silk. His funeral underdress was made from French brocade, while his outer robe was a kind o f coat in black velvet, with rich braiding. This group includes also a brocade pillow. The robes were made specially on the occasion o f the burial, which is shown by the cutting and the mode o f their execution. Because of a high degree o f the damage the analysis of robes and textiles has been largely based on reconstruction. The analysis is much easier in the case of the Princess robes, as there is an important source in the form o f an epitaph in St. Jacek’s Church at Słupsk. The figure of the Princess is presented there in a very realistic way and dressed in the attire analogous to the one found in the sarcophagus. As far as the attire o f the Prince is concerned, there exists some other source material, namely the Prince’s will with instructions concerning a ceremony o f his funeral and his funeral attire. There are however some circumstances which lead one to suspect that the will was executed only in part, and thus it cannot be regarded as a reliable source. The analysis o f the Prince s robes allows us to suppose that Ernest Boguslaus was buried in the dress corresponding to the functions he performed during his life. II. The condition of the textiles taken out of the coffins was very poor. The objects remaining in the conditions so much unfavourable for textiles underwent serious damage due to a natural process of the aging of silk fibres, but mainly due to processes o f the body’s decay. Preserved parts o f the textiles crumbled and got broken when touched. Organic remainings tightly adhereing to the textiles formed in some parts a thick shell. Embroided braidings in the Prince’s robe done in thread with metal convolutions got corrugated almost totally and came off the base. The aim o f investigations and trials was to find the best way o f procedure that would make it possible to preserve everything that existed at the starting point of conservation. To this end it was necessary to work out (1) methods to clean and reinforce the textiles, and (2) the way to adjust specimens for the exhibition with a simultaneous reconstruction of their cutting. Ad. 1. Prior to commencing conservation the textiles were disinfected with „Rotanox“ . All impurities were then removed from the surface o f the textiles with brushes and scalpels. Then, each o f the textiles was subjected to soaking on special frames in water solution of „Pretepon ’, with frequent changing of the bath. To soften the textiles and the dirt prior to washing glycerin was used, while to clean the dirtiest places PEG 200 was applied during the bathing. After washing each detail was put in its place and left to get dry. To protect the textiles against biological pests 0.5% ethanol solution of pentachlorofenol was used. In order to reinforce and at the same time to plasticize brittle parts of the textiles, 2% solution o f methyl polymethacralan in the mixture o f chloroform, toluene and methanol containing 20% of PEG 300 was put on by means o f a sprayer. Ad. 2. Despite their very bad condition, the parts preserved allowed us to reconstruct the original cutting and dimensions o f the attires of the Prince and Princess. In order to reconstruct their original form, after eliminating needle techniques, the only solution was to double the parts preserved on a new silky base. The method of the so-called hot stamping with Polyacrylate D-312 adhesive was employed. Then, the foil was removed from the places where losses occurred and the textiles were pressed from the left side with an iron at temp. 60°C. Coming-off and corrugated threads o f the embroidery were covered and fixed with the solution o f methyl polymetacrylan. The last operation was to saw individual parts o f the attires according to their original form. After the completion of conservation works the specimens under discussion will be exhibited in the Museum of Middle Pomerania at Słupsk.
    Źródło:
    Ochrona Zabytków; 1981, 1-2; 72-81
    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:
    "Bulletin", T. X, 1967/1968 : [recenzja]
    Autorzy:
    Lehmann, Janusz
    Powiązania:
    https://bibliotekanauki.pl/articles/537912.pdf
    Data publikacji:
    1973
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    „Bulletin” 1967-68
    Ostatnia Wieczerza z Tongerlo
    Muzeum da Vinci w Tongerlo
    dublowanie kruchych tkanin
    Złożenie do Grobu z Mainvault
    barwniki gobelinów tureńskich
    konserwacja malarstwa orientalnego
    Źródło:
    Ochrona Zabytków; 1973, 3; 234-239
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Konserwacja sukni dworskiej z początku XVII w.
    CONSERVATION OF AN EARLY 17TH CENTURY COURT DRESS
    Autorzy:
    Faust, Jadwiga
    Powiązania:
    https://bibliotekanauki.pl/articles/539117.pdf
    Data publikacji:
    1977
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    konserwacja tkanin
    konserwacja ubioru
    konserwacja sukni dworskiej księżnej Magdaleny Sybilli
    dublowanie tkanin
    czyszczenie materiałów
    Opis:
    The dress, made after the Spanish fashion, is adorned with metal thread bobbin lace laid in stripes : on the sleeves and at the lower edge of the skirt — horizontally, and on the bodice and upper part o f the skirt — vertically. The lace is additionally decorated with sequins. The inner sleeves and the lining of the upper ones, have an ornament of flat string embroidery and seuqins. The dress is made of fabrics of various kinds : satin of two colours, golden — the cover o f the dress, and vermillion-rose — the lining of the upper sleeves and the inner sleeves ; vermillion-rose taffeta. The taffeta and satin were both woven of natural silk thread and coloured with natural dyes. Linen cloth o f natural colour was also used (as lining of the bodice and inner sleeves) ; and so was the impregnated linen cloth, the metal thread lace and plaitwork border. The dress was dirty, especially on the shoulders, sleeves, upper part of the skirt and lower edge of the lining. The satin was damaged and frayed in many spots. Similar damages were to be seen on the pink satin of the inner sleeves and on the lining of the outer ones. The lining of the skirt (pink taffeta) was very dirty and, at its lower edge, torn, frayed and ragged, with some fragments missing. There were to be seen there traces of the action of moisture and a number of damp patches. Similar damp patches were to be found on the back of the satin o f the skirt. Some o f the damaged parts had previously been mended ded — probably in the 19th century — with a thick cotton thread. Those repairs were incorrect and caused additional damage to the original fabric. The lace and sequins were very dirty as well, blackened, oxidized and, in many spots, ripped away from the satin. The threads fastening the sequins were frayed or broken as a result of which the latter got detached. Prior to the proper conservation proceedings photographs were taken of the whol« dress and its details so as to depict its condition and damages. In the course o f conservation further documentary photographs and slides were taken, illustrating the more interesting fragments of the proceedings involved. Moreover, the dress as such was subject to detailed measurements and described. Patterns of its respective parts were duly made. Throughout conservation the respective stages of the work done were daily recorded in greater detail. A searching analysis of all the possibilities of cleaning and preservation of the fabric and metal thread lace was carried out and the method chosen, most appropriate for the given kind of fabric and yarn. Next, some parts of the dress were detached, in the spots where that was necessary for a correct execution of cleaning and preservation. Nevertheless, a number o f original seams remained intact. This applies to those o f the bodice, the seams of upper sleeves (unsewn but over the length o f 8 cm), the seams o f inner sleeves and five seams of the skirt. The respective parts of the dress were cleaned with distilled water with an addition o f a decoction o f soap-root (radix saponariae), due attention being paid to all the descriptions and measurements made previously. The metal lace was cleaned as well and so were the sequins adorning the lace and the metal thread border. The fabric properly dried and steamed, the operation of its doubling was taken up, however, only with regard to the destroyed, frayed or worn parts o f the gown. Cotton batiste of linen weave was used as underiayer. A thin silk thread was used in doubling and the cotton and flax ones in stiching the parts of the dress together. Direct dyes were used for dyeing the conservation materials. Apart from doubling the satin and taffeta the proceedings discussed also embraced repairing and conservation o f the damaged lace and sequins.
    Źródło:
    Ochrona Zabytków; 1977, 3-4; 145-151
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-6 z 6

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