V krabici plné všemožných rodinných dokumentů z otcovy strany – čítající listiny až z roku 1853, rakousko-uherský rybářský lístek, kresby ze školy, dopisy Československé televizi, pohlednice, známky a tak dále – jsem nalezl několik veršů a dopisů z roku 1941, které dával pradědovi Karlu Zlámalovi mladšímu z Dluhonic (1917–1994) jistý Lubomír Tejček. Již z oněch textů je jasné, že Lubomír Tejček, který se v několika případech i podepsal, pracoval…
My actual restoration project is mirror with gilt frame from castle Miroslavské Knínice in South Moravia. It’s the only piece of original mobiliar which survived. When I seen it for the first time, I noticed layer of secondary gold paint and some damages and missing parts. Most significant is missing part of angel’s head. According to my research, frame itself is made of softwood and covered…
This object of restoration was my final practical exam for diploma in study programme: 82-42-N/004 Conservation and Restoration of Furniture and Non-Polychromed Wood Carving. My supervisor was Bc. Zdeněk Holý, DiS. Description of the object The object (165 cm lenght, 60 cm height, 58 cm depth) is a carved chest with the Renaissance appearance. The front side is decorated with a carved relief of two…
This article is about my work on restoring of rocoque painting frame as part of studies. It’s an item from Kroměříž Archdiocesan Museum (i.n. 1171, w. 98cm, h. 120cm).
The frame is oval-shaped belonging to painting of John of Nepomuk. Surface is polychromed with gilding and gray paint. Form of the frame is typically oblique accompanied with stylised roses. The origin is unknown, however possible origin is Church of All Saints in Hradisko, near to Kroměříž.
In the original state the frame was highly damaged. Material was shrinked and twisted, which caused gaps in corner joints. Three layers of boards forming one solid body of the frame were debonded. Fourth layer forming upmost parts of relief was mostly lost. That caused an absence of important parts of this frame. Also significant part of the frame above painting was broken off and lost. Polychromy was also damaged and flaking off the frame’s surface.
Petr Grenar, my schoolmate, was helping during the restoration. The polychromy of the frame was re-bonded to the wooden surface before it fell into our hands. We carefuly began with debonding individual parts of the frame, because we considered injecting glue to the joints as a not good way. Joints would be weak because of dust and dirt.
The contact areas of these individual parts were cleaned with water. After this step we began with gluing these parts together. Due to the considerable shrinkage, we had to make a compromise in continuity of the shapes and surfaces to reduce steps between individual layers.
Next task was making the missing parts of the carving. Several big parts I carved out of the frame, some parts I glued directly to the frame and carved then. Reconstructing of missing parts showed as a difficult part of this task, because I had to base on preserved parts.
As I already mentioned, top part of this frame is missing. It propably constituted quarter of frame’s height, so I considered some research of possible look as very important. After a lengthy searching for the similar frame, I encountered a publication Olomoucké baroko (Olomouc Baroque) published for exhibition. That is where I found photos of two similar frames from church of Saint Giles in Dvorec (district Bruntál) dated to late 18th century with painting by Josef Ignác Sadler. According this frame I drawed a possible original look.
The biggest missing part was too difficult to made in time, so skilled woodcarver Petr Novotný helped and carved it.
My schoolmate tried one way of ebonising wood. I will show you the process and the result.
The main thing in this process is carbonisation of the wood in linseed oil without access of oxygen. During this process, water from the maple wood evaporate. Surprisingly, the result is still flexible. We think that oil maybe replaced moisture of wood. Despite the use of oil, gluing this wood is possible after oil dries.
Method of the iron ebonisation is based on the reaction between tanins and iron ionts.
In my case I used walnut wood (naturalyl full of tanins), iron wool, iron leavings and vinegar at the beginning. After some time I added the ferrous sulfate for acceleration of the reaction. I found out that slow reaction of the wood soaked only in the water with the iron is the best way, but it takes a longer time.
Another way is soaking wood in the broth of strong tea or in the solution with iron galls and after that in ferrous sulfate. It’s quick, but the shade of black is a little bit blue and the wood is blackened mostly only on the surface. The heartwood is very quickly black, but unsuitable for the soaking of solution, so it’s blackened only at the surface). The sapwood is easily colored trough very soon, but not stained black enough.
During my studies I participated on restoring of this eagle belonging to statue of St. John from 17th century altar originating in Moravian city Mikulov (Czech republic).
The eagle’s wings were lost and replaced with a paper ones during a history. When the paper have been removed, I noticed some signs of letters. My class, motivated by curiosity, began with separating each layers of paper. After some time, notes and the music sheets were discovered in it. My schoolmate Petr Kolář did some research with professors from the local university department of music history and they think it could be from ca. 1630.
Statue itself was consolidated by acrylic resin. I carved a right wing and foots, left wing was made by other schoolmate. Finally, wings and foots were mounted with the animal glue and the back of eagle, damaged by insects, was filled with the putty.