Give advice on technology Restoration
 

Dear forum members
Need advice on restoration technology
Picture- h.m . located on the restoration of the Russian Museum by reason of partial loss , swelling and a slight darkening of the paint layer
After the restoration work proposed to be met with a thin layer of fresh paint
Is it necessary ? " Can I do without varnish ?
PSRestavratory argue that the technology covered by all the pictures

When restoration of paintings, in most cases varnish. Because the coatings may subsequently change (yellowing, darkening) and eventually they have to be replaced by new ones, top coats should be legkoudalyaemy. Should not therefore use varnish made from solid resin and fatty oils. Best restoration varnishes are prepared from resin mastic and Damaris, dissolved in volatile solvents. From the cover of varnishes are best known and disseminated paints, manufactured by the Leningrad paint and so-called Viberovskie, firms Lefranc. With access to the resin, the restorer without difficulty can itself produce varnishes. It is much safer than buying paints little tested, not tested.

In applying the varnish removed zhuhlost, leveled excessive brilliance of individual spots, and the overall picture becomes a moderate sheen. Excessive gloss produces an unpleasant impression. True, gloss lacquered surface with the passage of time fades away under the influence of the environment and comes back to normal, but still heavily lacquered painting should not be.
With operations covering lacquer paintings play an important role: the room temperature - it should be normal, better even slightly increased, humidity - the air must be dry, otherwise moisture penetrates the varnish film and, finally, the purity, which is a mandatory requirement. If the room is dusty or proximity are some sculptural materials (gypsum, alabaster), poorly insulated, the small particles that bear in the air will settle on the sticky surface of the varnish.
Paint coatings can be local (retouch individual sites) and general, when covered with the whole picture.

"technique of restoration of paintings" EV Kudryavtsev, Moscow 2002

http://www.art-con.ru/node/120

Elena Prekrasnaya, I advise to listen to the opinions of professionals.

in "Russian" is not bad advise ...
Usually there is covered with a mixture of mastic varnish pinene 1x3 (this mixture gives high gloss) - I think this procedure is very useful not only from the aesthetic side, but also for conservation.

Thank you very much for your answers . It was important to hear the views of disinterested parties . During the restoration there was another question related to possible duplication of edges .
As options are:
Duplicate edges and to achieve the perfect tension of the canvas .
Do not duplicate , and leave some strain relief .

Which is preferable ?
Do not scare potential buyers duplication .

As a buyer I can say that I am personally bringing canvases in order ( including overlapping edges ) are not deterred , and the only attraction. As a minimum , this means that after purchasing the work you already do not have " piles " of restoration, to carry to a job (and they are big and awkward to carry ), etc.
One point - if you plan to make the expertise - it is better to do it before the restoration . And yet it is desirable to keep photographs of works before the restoration .

Attribution carried out, also have the original picture before restoration work .
And how important it is to have documentary evidence of the works ( restoration card, passport) ?

It is so important - as far as You is important : ;) >
Better to have , of course , especially given the value works .
By the way , making a correct restoration of the passport respectable " heavier " the cost of service restoration .
In general - the last word is always the client .

Added after 7 minutes
In the Russian Museum are good conservators.

Trust them, not bad advice.

Canning must without fail. It can not even be discussed. Any item after restoration (no matter how the restoration was complete-partial) must be preserved.

As correctly pointed out above, conservation of paintings held reversible varnish, lacquer that is easy to remove if necessary in the future.

The paint layer under the paint will inevitably-by-step to take (absorb) the dust from the air. If conservation is, the dust enters the lacquer film and dirt in the future be removed easily with a top layer of lacquer. Without the varnish film dust "eats" in the paint layer. And the dust - neizbzhna. And the collector's home and we have a restoration workshop and a museum on display.


That simple little illustration.

http://reicon.ru/images/stories/painting.gif

And the scheme is made up not of "old" painting, and in general for any oil /canvas. That is pollution from the air, I see everywhere. It is strange that you are considering without conservation is a mandatory part of the intervention in the work of art.

And pollution is everywhere and always, the only question the admissibility of their volume. Sorry for copyrights on the scheme - a necessary measure.