PRESERVATION OF WALLPAPERS AS PARTS OF INTERIORS

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Task of conservation. Case studies Figure 135. Each strip and segment was remounted to its original location. Figure 136. Poorly retouched and over-painted areas and needed to be improved. 251
Task of conservation. Case studies shimmer of the wallpaper could best be imitated with acrylic paint. Although acrylic is considered inappropriate for conservation treatment, it was used to improve the aesthetic appearance of the object. To minimize the intervention, the paint was applied only to in-filled and damaged areas. After remounting the strips and fragments of wallpaper, it became clear that there were three larger missing areas, which could not be retouched satisfactorily enough to hide the loss and imitate the embossed surface. Thus it was necessary to find a suitable method of reconstruction. The original wallpapers had been produced with the aid of either engraved metal plates, blocks, rollers or pairs of negative and positive forms. Since less than 1 m 2 of the original wallpaper needed to be reconstructed, ordering an embossed copy of it was considered to be financially and temporally unreasonable. A method of reconstruction was suggested by two painting conservators, Simona Predescu and Ioan D. Popa, from the Theodor Aman Museum. A cast reconstruction with the aid of a sculptors silicone mould was prepared. (Fig. 137) The mould, covering four pattern repeats, was taken from a wellpreserved strip of wallpaper, which had been covered with two layers of gelatine to protect the original. The reconstructions consisted of two layers, a thin Japanese tissue (9 g/m 2 ) and an adhesive from Henkel 426 mixed with gouache to add some colour. Wet tissue was gently tapped into the mould with soft brushes and covered with a layer of glue. (Fig. 138) After the glue had dried, the reconstruction was cut to form, following the shape of the missing areas, and attached to the wall, leaving the surface covered by the Japanese tissue on top. The reconstructions were hand-painted with acrylic paint in situ. (Fig. 139) Besides the wallpaper, a historic oven had been dismantled and was kept in the cellar of the museum. Since the surface behind the oven had never been papered, it was decided to cover the missing area with a paper in a neutral colour to mark the 426 Henkel, Product Categories, Moment Raw Parket Adhesive, accessed February 26, 2013, http://www.henkel-cee.com/1820_2847_CEE_HTML.htm. 252
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Kadri Kallaste PRESERVATION OF WALL
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Kadri Kallaste Preservation of Wall
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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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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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