PRESERVATION OF WALLPAPERS AS PARTS OF INTERIORS

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Task of conservation. Case studies 2nd infantry regiment. In 1924 the heirs of Johann Post sold the house to the Estonian National Museum (Eesti Rahva Muuseum). By the end of the same year, the library, bibliography files and folklore collection of the museum had been moved to Vanemuise Street 42 (previously Aia 42/44). The collection and the archival library were kept in the building until the early 1940s. In 1943 the house was temporarily emptied out for the use of the German army. In January 1945, the building was returned to its former owner, the Estonian National Museum and the collection was returned to its former position. 447 Three annexes have been added to the original structure: in 1964 by the architect I. Jaagus 448 , in 1986 by the architect P. Madalik (RPI Eesti Projekt), 449 and in 2012 by the architect Indrek Saarepera (Arhitektuuribüroo Visuaal OÜ). Vanemuise 42 was added to the national heritage list in 1965. 450 The original structure of the building houses several well-preserved representative rooms, such as a main hall in Neo-Renaissance style, 451 a dining room with a dark coffered wooden ceiling and two polychromic ovens, and two boudoirs: one with a ceiling of painted stucco and another with a ceiling painting and historic wallpapers. 452 5.5.2. Situation preceding conservation Research on the decorative layers carried out in 2010 revealed that, in one of the boudoirs adjacent to the main hall, a large amount of historic wallpaper had survived. Since the room had been used as a storage room for prohibited literature (newspapers and magazines published in 1918–1940 in Estonia, periodicals published during the German occupation in 1941–1944 and foreign Estonian publications) starting in 1947 453 , it was heavily 447 Mari Nõmmemaa, Muinsuskaitse eritingimused Eesti Kirjandusmuuseumi hoone rekonstrueerimise ja laiendamise projekti koostamiseks, ARC Projekt OÜ arhiiv töö nr 2010-042 (2010). 448 Tartu linna ja maakonna turismiinfo. Aadlielamu Vanemuise 42, accessed December 17, 2012, http://www.visittartu.com/49804?set_lang_id=1. 449 Nõmmemaa, Muinsuskaitse eritingimused, 2010. 450 Ibidem. 451 Oleg Kotšenosvki, “Elamu, nüüd Kirjandusmuuseum Vanemuise 42” in Eesti Arhitektuur 4. Tartumaa, Jõgevamaa, Valgamaa, Võrumaa, Põlvamaa, ed. by Villem Raam (Tallinn: Valgus, 1999), 64. 452 Estonian Literary Museum, accessed December 18, 2012, http://www.kirmus.ee/. 453 Merike Kiipus, e-mail message to author, December 18, 2012. 273
Task of conservation. Case studies furnished with high bookshelves and accessible only by special permission. (Fig. 154) Closer examination revealed that the wallpaper was the first decorative layer of the room and had probably been applied at the beginning of the 1890s, when the building was erected. After the removal of the shelves it became apparent that 90% of the wallpaper was in good condition. Since the room is the best preserved and largest of its kind in Estonia, it was decided to reconstruct the missing areas to unify the representative appearance of the object. The reconstructions were made by Kristiina Ribelus. The general condition of the object, various types of damages and exact details of the conservation process are provided in the documentation form. 5.5.3. Conservation concept and treatment It was decided to conserve the wallpaper in situ, since it had survived almost intact and its condition was stable. Moreover it is the only known monument of its kind that has survived to such an extent in Estonia. Thus it was not reasonable to destroy its unity and the original method of mounting. If there is any need for additional treatment later on, the wallpaper can be removed and treated more thoroughly. During the process of conservation it became apparent that the greatest damage was caused by misunderstanding and the lack of co-operation between different responsible parties. Besides detailed research on an object and historical materials available in archives and libraries, it is important to communicate with long-term employees working in a historic building, as well as with representatives of different parties involved in the preservation project. Communication may reveal essential information about the object and prevent further damage. In the case of the Estonian Literary Museum, the most extensive damage was caused by careless handling and lack of communication. It would have been possible to avoid the damage if there had been an open discussion and all of those involved had been thoroughly informed. To avoid mishandling, there is a 274
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Kadri Kallaste PRESERVATION OF WALL
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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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Krista Kodres, Mart Kalm and Elo Lu
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Directory, 1997. Accessed September
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