PRESERVATION OF WALLPAPERS AS PARTS OF INTERIORS

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Task of conservation. Case studies Figure 132. Luxurious pattern of the embossed wallpaper. Figure 133. Conserved strips of wallpaper were handed over in a paper box. Figure 134. Since many wallpaper segments lacked proper numbering, a new system needed to be created. 249
Task of conservation. Case studies old repairs, and extensive tears and cuts) were not limited to one strip, but stretched over multiple pieces. As a result, if the wallpaper strips had been placed next to each other randomly in the wrong order, it would have broken the visual unity of the object and left an uneven outcome. The visual properties of damage become a part of a historic object. If it needs to be reassembled, they can be used as helpful means of guidance to complete the unity of the object. Since nothing was known of the original mounting method and a new one needed to be developed, decorative elements preserved in situ were observed carefully. As the wallpaper had been mounted above a shallow wooden dado, it was clear that there was not enough space for a shoji or similar system. Thus it was decided that the wallpaper would be mounted onto a lining applied directly to the plastered wall. To ensure the option of subsequent safe and easy removal, the lining system was a combination of a layer of cotton canvas and two layers of acid-free lining paper, which created an even surface for the wallpaper. (Fig. 135) These layers were attached to the wall using an adhesive, Metylan Extra by Henkel. If the object needed to be removed, it could be loosened from the wall together with the canvas, which would provide the necessary support and protection for the original. Areas of extensive loss and damage had been retouched or over-painted with an unknown paint (probably gouache) by the local conservator. Since the background and various details of the original were highlighted with metallic pigments, the appearance of the shimmering surface depended on the angle of the observer. As the over-painted and retouched areas were either too dark or matte in comparison to the original, they broke the visual unity of the object. (Fig. 136) Since removing the paint would have caused further damage, it was decided to hide the signs of the previous treatment with a layer of glazing. Large losses of over-paint were filled with streaking in neutral tones, and smaller losses were in-painted using matching neutral tones. After testing various paints, such as watercolours, gouache, gouache with acrylic binder, acrylic paint, crayons and pastels, it was decided that the texture and 250
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Kadri Kallaste PRESERVATION OF WALL
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Kadri Kallaste Preservation of Wall
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3. Discussing principles of conserv
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I am thankful to all the people and
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Introduction removed from its origi
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Introduction Kristel Kevvai (2008)
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Introduction CHOICE OF TOPIC The ch
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Introduction OBJECTS OF RESEARCH Ei
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Introduction STRUCTURE OF THE THESI
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Introduction HISTORIOGRAPHY AND SOU
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Introduction The material dealing w
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Historic types of wallpaper and dec
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Methods of wallpaper production and
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Kokkuvõte tapeetide säilitamine n
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Kokkuvõte Eestis ei ole aga muuseu
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Kokkuvõte lise väärtuse tõttu r
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Kokkuvõte rimislahenduse väljatö
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Kokkuvõte JÄRELDUSED Tapeetide re
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Kokkuvõte Tapeedi eemaldamine sell
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INTERVIEW Interview with Simona Pre
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Paccin - Preparation, Art Handling
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Collier, A., Wallpaper - In and Out
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Krista Kodres, Mart Kalm and Elo Lu
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Directory, 1997. Accessed September
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Stavenow-Hidemark, E., Textile desi
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