Abstract:
Реставрація:
1) Ікона «Св. Варвара», автор невідомий, кін. ХІХ ст., дерево, олія; 44,5х34х2 см; Національний центр народної культури «Музей Івана Гончара» інв. № НДФ-1060; Вх. НАОМА 3485.
Очищено від забруднень; видалено цвях; відновлений зв’язок між основою, ґрунтом та живописом; доповнено втрати основи; потоншено лаковий шар; підведено реставраційний ґрунт; доповнено втрати живопису; нанесено захисний шар.
2) Невідомий автор. «Літній натюрморт», поч. ХХ ст. Полотно, олія, 121 х 80 см; приватна збірка А. О. Брема (Київ). Вх. № НАОМА 3370 (Виконано спільно з Позняковською Є. В.).
У процесі реставрації Є.Позняковська встановила авторство та час створення: Забегліцький, Алоїз (Zabehlicky, Aloiz)(1883 – 1962). Австрія. Перша половина ХХ ст.
Усунуто деформації основи; відновлено зв’язок між фарбовим шаром, ґрунтом та основою; очищено зворотній бік; виконано дублювання на нову полотняну основу; розтягнуто на підрамок музейного типу; підведено реставраційний ґрунт у місця втрат; видалено поверхневі забруднення; нанесено ізоляційний шар лаку; виконано реставраційні тонування; нанесено захисний шар лаку.
Restoration:
1) «Saint Varvara» icon, author unknown, late 19th century, oil on wooden panel; 45,5х34х2 cm (painting); Collection of the National Center of Folk Culture “Ivan Honchar Museum” іnv. № НДФ-1060. Entrance №. NAFAA 3485.
Surface grime was removed; a nail was extracted; the bond between the support, ground, and paint layer was restored; the losses of the wooden base were filled; the varnish layer was thinned; restoration ground was applied in areas of loss; the paint losses were retouched; a new protective varnish layer was applied.
The connection between the paint layer, soil, and veneer was restored. Dust contamination and traces of insect activity were removed from the board, and losses were supplemented. The veneer was duplicated onto the board, the restoration primer was applied, dirt was removed from the front side, and the varnish was thinned. In the areas of the restoration primer, where necessary, engraving and chasing were imitated, an insulating layer of varnish was applied, restoration tinting with conditional reconstruction of losses was performed, and a protective layer of varnish was applied.
2) Unknown author. “Summer Still Life”. Early 20th century . Oil on canvas, 121 x 80 cm; private collection of A. Brehm (Kyiv). Inventory no. No. NAOMA 3370 (executed jointly with Ye. Pozniakovska).
In the course of the restoration, E. Pozniakowska established the authorship and time of creation:
Zabehlicky, Aloiz (1883-1962). Austria. “Summer Still Life”. The first half of the twentieth century
Deformations of the base were eliminated; the connection between the paint layer, soil and base was restored; the reverse side was cleaned; duplication was performed on a new canvas base; stretched on a museum-type stretcher; restoration soil was applied to the places of loss; surface contamination was removed; an insulating layer of varnish was applied; restoration tinting was performed; a protective layer of varnish was applied.
