2012 - Conservation and Restoration of Cultural Heritage

Transcription

Oranienbaum Summer School 2012
Conservation of the Anti-Chambre
The Royal Archives The Hague
Ph. C. B. Maarschalkerweerd
Director
Postbus 30412
2500 GK Den Haag
koninklijk.huisarchief@dkh.nl
Kulturstiftung DessauWörlitz
Dr Thomas Weiß
Director
Schloss Großkühnau
06846 Dessau-Roßlau
www.gartenreich.com
photo Aafke Weller
Acknowledgements
After a successful first summer school in 2011 a second summer school was initiated for august 2012. Just
like the previous year the summer school was organised by Claudia Hörster, keeper of the art collection at
the Royal Archives in The Hague and Dr Wolfgang Savelsberg, head of Department Palaces/ Collections
Kulturstiftung DessauWörlitz. The summer school lasted for four weeks and was held from 6-31 of august. A
total of 9 students participated (five Dutch students and four German students). They all had different
background in conservation; three paintings conservators, a modern art conservator, four mural paintings
conservators and a metal conservator all in different BA/MA years.
Again like the previous year the summer school was started with guidance from Prof Anne van Grevenstein.
The first few days she ensured to maintain the same conservation strategy as was set out during the initial
summer school. Next to Anne van Grevenstein the contribution and participation of Prof Dr Werner Koch
(Wall Paintings Dept, FH Potsdam), Prof Roland Lenz (Wall Paintings Dept, ABK Stuttgart), Prof Thomas
Danzl (Wall Paintings Dept. HfbK Dresden), Roos Keppler (private conservator of Historic Interiors and
project based teacher for the historic interiors program at the University of Amsterdam) and Dr Jan Raue
(private conservator of wall paintings and advisor of the Kulturstiftung DessauWörlitz) made this second
summer school a successful conservation project. Equally important for the success of this summer school
and an immense source of information and technical support was the stucco expert Dimitri Reibestein from
the Dessau based company Hersel Restaurierung. The project would not have been possible without the
commitment and generosity of the colleagues of Kulturstiftung, Annette Scholtka, Robert Hartmann, Dr
Ingolf Pfeifer, Dr Wolfgang Savelsberg and many others.
The Kulturstiftung DessauWörlitz and the other participants are extremely pleased by the generous
contribution and donations by the Royal House of The Netherlands, namely the Royal Archives in The Hague.
All of us appreciate very much the commitment of the Ernst von Siemens-Kunststiftung, Prof Dr Joachim
Fischer, to the Summer School. In the same way, the project owes a lot to the University of Amsterdam for
moral, personal and financial support. We appreciate a lot the donation of a bus by the Autohaus Heise
GmbH Dessau for the period of the conservation.
On behalf of all teachers and ourselves we would like to thank Aafke Weller, Heleen van Santen, Henriette
Hesse, Johannes Jacob, Laura Averbeck, Lilli Birresborn, Marya Albrecht, Melissa Daugherty and Zuhura Iddi
for their dedicated and fine conservation work on the historic interior. We happily are looking forward to a
third Dutch-German Summerschool in Oranienbaum to the mutual benefit of our institutions and the
students.
Oranienbaum and The Hague, September 2012
Ph. C. B. Maarschalkerweerd,
The Royal Archives The Hague
Dr Thomas Weiß,
Kulturstiftung DessauWörlitz
Impressum
Directors of the Institutions:
Ph. C. B. Maarschalkerweerd, The Royal Archives The Hague
Dr Thomas Weiß, Kulturstiftung DessauWörlitz
Coordinators of the Project:
Claudia Hörster, The Royal Archives The Hague
Dr Wolfgang Savelsberg, Kulturstiftung DessauWörlitz
Management, Coordination and Supervising of Conservation and Restauration:
Claudia Hörster, The Royal Archives The Hague
Annette Scholtka, Kulturstiftung DessauWörlitz
Robert Hartmann, Kulturstiftung DessauWörlitz
Teaching:
Prof Thomas Danzl, Hochschule für Bildende Künste Dresden
Prof Anne van Grevenstein, University of Amsterdam
Roos Keppler, Restorer of Historic Interieur Amsterdam
Prof Werner Koch, Fachhochschule Potsdam
Prof Roland Lenz, Akademie der Bildenden Künste Stuttgart
Dr Jan Raue, polychromie | Büro für Restaurierung Berlin
Authors of the Report:
The Students
Roos Keppler
Jan Raue
Aafke Weller
Photographs:
by the participants of the summer school (excpt. press cuttings)
Editors of the Report:
Roos Keppler
Jan Raue
Publishers:
Ph. C. B. Maarschalkerweerd, The Royal Archives The Hague
Dr Thomas Weiß, Kulturstiftung DessauWörlitz
Table of Contents
1. The Anti-Chambre of Oranienbaum Palace ...................................................................................8
1.1. Historical and art technological context .................................................................................8
1.2. Overview of the historical phases .........................................................................................9
2. Description of the anti-chambre ................................................................................................ 12
2.1.General description:............................................................................................................ 12
2.2 Description of individual walls: ............................................................................................ 12
3 Condition of the anti-chambre .................................................................................................... 15
3.1 Overall impression .............................................................................................................. 15
3.2. Surface dirt ....................................................................................................................... 15
3.3 Condition of the stucco ....................................................................................................... 16
3.4 Condition of the paint and varnish layers ............................................................................. 18
5 Decision making ........................................................................................................................ 22
6 Treatment ................................................................................................................................. 24
6.1 Removal of surface dirt on the cornice and the bamboo imitation .......................................... 24
6.2 (Re)filling holes and damages ............................................................................................. 24
Removal of old fillings: ............................................................................................................. 25
6.3 Preparing and placing missing stucco elements .................................................................... 26
6.4 Consolidating loose gypsum profiles .................................................................................... 27
6.5 Cleaning of the wainscoting and isolating the fillings ............................................................ 27
6.6 Removing tape ................................................................................................................... 28
6.7 Consolidating flaking paint layers ......................................................................................... 28
6.8 Retouching........................................................................................................................ 29
6.9 Treatment of the big crack in the cornice ............................................................................. 30
6.10 Treatment of the closet door ............................................................................................. 30
6.11 Treatment of the stove area .............................................................................................. 31
7 Tests and analysis ..................................................................................................................... 33
7.1 Aqua sporca ....................................................................................................................... 33
7.2 Removal of overpaintings: ................................................................................................... 34
7.3 Re-saturation of old overpaintings ....................................................................................... 34
7.4 Quick tests with hydrogen chlorine ...................................................................................... 35
8 Prognosis and preventive conservation ....................................................................................... 36
9 Future treatment and conservation proposal ............................................................................... 36
Literature..................................................................................................................................... 36
Appendices .................................................................................................................................. 37
I Overview of the room before treatment............................................................................... 37
II Overview of the room after treatment ................................................................................ 40
III Mapping ......................................................................................................................... 42
IV Recipes ........................................................................................................................... 46
V Data sheets of the materials used ...................................................................................... 47
VI Selection of photographs .................................................................................................. 55
VII Press coverage: newspaper cuttings / internet etc. .......................................................... 60
Participants in the Oranienbaum Summer School 2012 August 6 – 31
Students:
Aafke Weller
Heleen van
Santen
Henriette
Hesse
Johannes
Jacob
Laura
Averbeck
Lilli Birresborn
Marya
Albrecht
Melissa
Daugherty
Zuhura Iddi
Modern and
Contemporary
Metal
University of Amsterdam
August 6–31
August 6–24
Painted Surfaces
Fachhochschule Potsdam
August 6–31
Painted Surfaces
Academy of Arts, Stuttgart
August 6–31
Painted Surfaces
August 6–31
Painted Surfaces
Hochschule für Bildende
Künste Dresden
Paintings
August 6–24
Paintings
August 6–24
Paintings
August 6–24
August 6–31
Teaching:
Emeritus Hoogleraar Anne van
Grevenstein
Professor Roland Lenz
August 6–8
Academy of Arts Stuttgart
August 6, 7, 23
Professor Thomas Danzl
August 7
Professor Werner Koch
Hochschule für Bildende Künste
Dresden
August 7, 23-24
Restorer historic interiors Roos Keppler
August 8-17
Dipl.-Restaurator Dr Jan Raue
Büro für Restaurierung Berlin
August 15, 21 and
28–31
Introduction
In the first edition of the summer school the “Chambre” was documented and treated as can be read in the
2011 report ‘Summerschool Oranienbaum 2011; Conservation of the Chambre in Chinoiserie Style’.
The 2012 summer school concentrated on the “Anti-Chambre”. The main goal of the conservation treatment
was to restore the visual unity and overall balance in the room. This aspect was lost due to large stucco
losses, discoloration of the painted surfaces and the considerable darkening of the walls due to surface dirt,
dust and soot. During the project it became apparent that an initial plan always should be flexible and that
the visual experience in the room is the most significant feature. This visual aspect constantly changes and
shifts whilst working. This means that constant evaluation of the work and understanding the total concept
is a necessity. It is this aspect which is of great importance that students learn during such a large-scale
treatment.
The students participated in all the different steps of the conservation treatment, in this way they learn all
these different steps and even more important they learn how to communicate and link all these steps
together. Of great value during a project like this is the variety in background of the students because they
learn how to connect their own opinions and ideas to others. Learning to communicate in difficult
circumstances is the essence of the practice of conservation and restoration. We owe a lot to Aafke Weller
for her valuable input into the documentation.
For the second year in a row the Dutch-German co-operation was a success and we again wish it a long life
for the benefit of the students and the cultural heritage of both countries. On behalf of the teaching part and
the students we would like to thank the director of the foundation, Dr Thomas Weiß, and his staff, Dr
Wolfgang Savelsberg, Dr Ingolf Pfeifer, Annette Scholtka and Robert Hartmann, among many others for their
great hospitality and generosity.
Last but not least we would like to thank the hard working students without whom this project would have
never been possible: Aafke Weller, Heleen van Santen, Henriette Hesse, Johannes Jacob, Laura Averbeck,
Lilli Birresborn, Marya Albrecht, Melissa Daugherty and Zuhura Iddi.
Amsterdam and Berlin, September 2012
Roos Keppler
Jan Raue
1. The Anti-Chambre of Oranienbaum Palace
1.1 Historical and art technological context
In 1789 Fürst Leopold III. Friedrich Franz von Anhalt-Dessau commissioned the redecoration of several
rooms of Schloss Oranienbaum in chinoiserie style after Sir William Chambers’ (1723-1783) “Dissertation on
Oriental Gardening” of 1772. These chinoiserie rooms are situated on the ground floor of the corps de logis
to the left of the main staircase. They encompass two private rooms that form a stylistic unity: a chambre
and an anti-chambre (see figure 1).
Both rooms share the same art and technological context as introduced by Professor Anne van Grevenstein
in the 2011 report:
“The two ‘Chinoiserie’ rooms situated to the left of the main entrance on the bel-étage, were
decorated in the same style as two similar rooms in Wörlitz. Both locations were commissioned by
Fürst Franz (1740-1817) in 1789 […] A description of the Chinese rooms in Wörlitz palace that can
be dated at approximately the same period as the ones in Oranienbaum, can be found in the work of
August von Rode (1751-1837). In his "Beschreibung des Fürstlichen Anhalt-Dessauischen
Landhauses und Englischen Gartens zu Wörlitz" (1814-1818, ed. Mitteldeutscher Verlag 2008. p.22),
where he says:
"Die Tapete besteht aus länglich viereckigen Feldern, abwechselnd mit Peking und mit Chinesischem
bemalte Papiere bekleidet. Zwischen diesen Feldern, und unter denselben rings in Zimmer umher,
läuft eine dem Holz völlig ähnliche Einfassung von braunroth gemalten, erhabenen, ineinander
greifende Ringeln aus Stuk. In dem Raume unter den Fenstern ist jedoch diese Verzierung wirklich
von Holtze, weil sie daselbst Thüren bekleidet."
Von Rode describes very accurately the spatial concept of the room: painted rectangular fields of
Chinese and Peking wall-paper, fitted into a framework of red/brown painted wood imitation on
stucco. The painted wood imitation and parts of the room executed in "real wood" are
complementary and form a tonal unity.
This tonal unity and similarity in style and materials can be clearly recognized in Oranienbaum: the
doors are made of wood and decorated with thin rectangular profiles, following the same patterns as
those on the stucco wall that replicate with red/brown paint the texture and color of the wood.”
Fig. 1:
Plan of the ground floor, corps de logis of
Schloss Oranienbaum. The chinoiserie rooms
of 1789 are marked in red, the anti-chambre
is indicated with a darker red.
Image Source: Raue, Jan (Ed.)
“Oranienbaum Summer School 2011:
Conservation of the Chambre in Chinoiserie
Style” published by The Royal Archives The
Hague and the Kulturstiftung DessauWörlitz.
September, 2011: p. 7.
1.2 Overview of the historical phases
Throughout the history of the Oranienbaum palace, both its interior and exterior architecture have been
subjected to a number of renovations. Some were accompanied by specific alterations, damages or losses to
both the chambre and anti-chambre. This paragraph gives a chronological overview of the different building
phases and their significance for the condition of the chambre and anti-chambre. In the period of 1995 until
1997, the Kollegium der Restauratoren Berlin inspected the condition of the chinoiserie rooms. Part of their
survey is a detailed summary of these different building phases. The following overview is based on their
report and the report of the 2011 Summerschool:
Phase
I
16831698
The erection of
Schloss
Oranienbaum
commissioned by
Fürstin Henriette
Catharina von
Anhalt-Dessau.
Phase
II
1752
Alterations to the
windows,
staircases and
chimneys as
commissioned by
Fürst Dietrich von
Anhalt-Dessau.1
Phase
III
17661790
Redecoration of
the palace and the
palace garden
commissioned by
Fürst Leopold III.
Friedrich Franz von
Anhalt-Dessau.
Phase
IV
18501860
-
1
2
3
Both the anti-chambre and chambre were incorporated in
the original layout of the palace. A door connected both
rooms. The ceilings of both rooms were probably
decorated with wooden panels that were possibly painted.
The walls were most likely covered with wooden
wainscoting with painted marble-imitation. The floor
consisted of unpainted pinewood.
There are no original doors left from this period.
The original plasterwork from this phase is not conserved.
During this phase alterations were made to the windows
and doors. The rooms remained as during phase 1.
Around 1789 both the chamber and anti-chambre were
redecorated in chinoiserie style. The ceilings were
plastered and decorated with gypsum stucco
ornamentation.2 The walls were decorated with gypsum
profiles and painted with shellac varnish in ‘bierlasur’3 to
resemble wood. Above the wainscoting the walls were
plastered with gypsum, polished and painted with a
graphic representation of a bamboo framework. Several
chinoiserie paintings on the walls and wooden doors were
executed. The doors in both rooms were replaced with
oak doors ornamented with pear wood. Ornamental
wooden floors replaced the unpainted pine floors. Both
rooms were decorated with chinoiserie furniture, lanterns
and a chinoiserie stove. In the anti-chambre a closet was
built in the wall facing the windows.
No alterations were made to the rooms.
Reinhard, Alex. “Schloss Oranienbaum wird restauriert und erhält eine neue Nutzung.” in Vinissage, Die Zeitschrift zur Ausstellung. Nr.
16/03 2003: 26–28. Print.
The term stuccowork generally refers to a finishing technique of a pliable material whether lime, gypsum or a combination of the two.
In this report the term is used as such. In all other cases those terms have been used that directly refer to the materials and
tehniques employed such as: gypsum lime mortar, gypsum stucco, lime stucco or gypsum plaster. ‘Plaster’ is used as a verb rather
than a substance and refers to the technique of covering a surface with gypsum, lime or a mixture of the two.
Bierlasur is the German term for a wood imitation technique. Pigments (most common Van Dyck brown, red sienna and ochre) were
mixed in beer (generally one tablespoon of pigment in one liter of beer) and applied on the surface with a brush or sponge.
(Edwards Lynn, Lawless Julia, Naturfarben Handbuch, Staufen: Ökobuch Verlag GmbH, 2005: 56. Print. Cited in:
Littmann, Klaus and Uta Mengel. Werkstoffkunde der Anstrich – und Belegeverfahren. Hannover: Institut für Berufswissenschaften
im Bauwesen, 2005: 17. Pdf.)
Phase
V
18901905
-
In the report it is mentioned that during this building
phase the painting of the wainscoting was renewed. This
remark is neither clarified nor specified.
Phase
VI
19201930
Schloss
Oranienbaum
functions as a
dependence of the
Anhaltische
Gemäldegalerie.
Renovations under
guidance of
Hinnerk Scheper. 4
The report states that during this phase all paintings in
both chambre and anti-chambre were renewed, the
background of the wood-imitation was retouched and
varnished. Inner window shutters were placed and both
rooms were prepared for use as a museum. A photograph
taken in 1927 illustrates the state of the room during this
phase (see figure 2)
Fig. 2:
Condition of the room in 1927.
Image: Brandenburgisches Landesamt für
Denkmalpflege, Messbildarchiv
published in Reinhard Alex: “Schloss Oranienbaum
wird restauriert und erhält eine neue Nutzung.” in
Vinissage, Die Zeitschrift zur Ausstellung.
Nr. 16/03 (2003): 20.
Phase
VI
19301947
During the second
world war the
palace was used to
house refugees
and later it became
a center of
command of the
Soviet Army.5
There is no information in the report about this period. It
is likely many of the damages found in the room today
originated during the war.
Phase
VII
19471995
In 1947 the state
archive moved into
the palace. 6
All the chinoiserie furniture was removed and relocated to
different museums in Germany. Electric wiring was applied
over the original plasterwork. The chinoiserie stove was
replaced with a modern stove. The chambre served as a
storage space and the anti-chambre was used as an office
space (see figure 3).
4
5
6
Reinhard, Alex. “Schloss Oranienbaum wird restauriert und erhält eine neue Nutzung.” in Vernissage, Die Zeitschrift zur Ausstellung.
Nr. 16/03 2003: 28. Print.
Idem: 18.
Idem: 18.
Fig. 3
Anti-Chambre as documented in the 1995-1997
report of the Kollegium der Restauratoren Berlin.
On the picture one sees wall 3 with in the right
corner the modern stove.
Phase
VIII
19952003
Survey of the
condition of the
chinoiserie rooms.
Phase
IX
2002-start
of the
summer
school
2012.
Relocation of the
archive to the
center of Dessau.
Re-opening of the
palace for the
public (2003).
Restoration of the
chambre by the
summer school of
2011.
The condition of the anti-chambre in 1995-1997 as
described in the report is as follows (summarized):
All elements and the paint in general are well preserved.
Over the years a great amount of dust and other dirt
accumulated on the surface. The wood-imitation on
stucco has been heavily overpainted and reworked. The
varnish has darkened severely. Parts of the gypsum
profiles are missing.
The tempera-paintings over the doors are well preserved.
Some pear-wood profiles in the doors are missing.
Damage in the painted surfaces mainly occurred at low
heights, due to mechanical action.
The electric installation was removed. The installation of
electric wiring has caused damages.
There is no information about the floor.
Treatment of the chambre in 1995-1997:
The paintings above the door have been consolidated.
Treatment of the chambre in 2011:
•
Surface dirt removal on the whole decorative
stucco paint surface.
•
Partial removal of the disturbing old fillings.
•
Removal of discolored overpaintings.
•
Removal of the very disturbing dark drippings of
the non-original surface coating.
•
Retouching of small losses with aquarelle.
•
Retouching of the large new fillings with acrylic
paint.7
•
In the chambre several cleaning tests were
carried out and some samples were taken.
1.
7
A more detailed description of the treatment can be found in the report of the summer school of 2011: Oranienbaum Summer School
2011: Conservation of the “Chambre” in Chinoiserie Style.
2. Description of the Anti-Chambre
2.1 General description
All the walls are covered with a wainscoting made of stucco painted in wood imitation to resemble wood
paneling. Above the wainscoting the walls are plastered with a layer of polished gypsum on which a
graphical representation of a bamboo framework was painted. Just below the ceiling there is a cornice that
is also made of stucco and decorated with a geometrical pattern of gypsum profiles painted to resemble
ebony. Vertical gypsum profiles painted to resemble rosewood or Chinese redwood extend from the
wainscoting over the plastered walls to the cornice and thus divide every wall in vertical sections.
2.2 Description of individual walls
To aid orientation, the individual walls have been assigned a number. The walls are numbered clockwise;
starting with the south wall. The following numbers will be used throughout the report.
Wall 1
The first wall holds two windows with windowsills of pear
wood on either side of a central mirror. The design of the
wainscoting is slightly adapted to these architectural
elements. The windows divide the wall in three sections of
which the upper areas show the above-described bambooimitation that is typical for the anti-chambre.
On the central axis of the wall a large mirror is incorporated
in the wainscoting. The mirror is framed in a wooden frame,
which in turn is framed by gypsum profiles. Similar gypsum
profiles form a rectangular frame isolating a part of the
polished gypsum wall surface as a monochrome plane of a
greyish white. In contrast to the adjacent chambre, there
are no inside shutters for the windows. Instead blinds and a
curtain rail have been installed.
Fig. 4:
Wall 1 before treatment.
Wall 2
This wall consists of 10 vertical sections. Nine of these 10
sections are of equal width (46-47 cm). The doorway is
situated in the left side of the wall and gives access to the
chambre. The doorframe is made of wood. The door itself is
missing. Above the doorway there is a chinoiserie painting
on plaster. It is framed between the vertical gypsum
ornaments and of equal width as the doorway.
Fig. 5:
Wall 2 (detail)
The chinoise paintings in the anti-chambre, as well as those
in the chambre and in the chinese tea house, have to be
understood as scenes from the life of Confucius. The
painting on wall two depicts a scene set in a landscape with
a table on which several books are placed. Seven people are
gathered behind the table.
Fig. 6:
Detail of wall 2.
Wall 3
The third wall consists of ten vertical sections of equal width
(51-52 cm). The second and third section (from the left)
comprise the door of a closet. This door measures 220 x 111
cm. Contrary to the rest of the room; the paneling on the
door is made of wood, which is painted to match the wood
imitation on stucco of the wainscoting.
Fig. 7:
Wall 4
The fourth wall is a mirror image of wall 2. Just as in wall 2,
there is a chinoiserie painting on plaster above the doorway.
The doorframe is made of wood, and carries a wooden door
decorated with geometrical patterns in wood matching the
wood-imitation in the rest of the room.
Fig. 8:
Wall 4 (detail)
The painting on wall 4 is one of a series of paintings
depicting scenes from the life of Confucius. It is a scene set
in a mountainous landscape with an architectural element in
the foreground.
Fig. 9:
Detail of wall 4.
Ceiling
The ceiling is plastered. It contains four iron hooks from
which the lanterns would have been suspended. Each hook
is situated in the corner of a central imaginary square.
Around every hook there is a geometrical decoration of
gypsum profiles. These decorations are painted golden.
On the picture of 1927 one can see the original construction
of the lighting: each lantern could individually be raised and
lowered by means of a cord guided through a pulley and
secured on hooks attached to the vertical corner profiles
(see figure 2). The holes of the screws used to fasting these
hooks are still present in the gypsum corner profiles.
Fig. 10:
Ceiling
Floor
As a preventive measure, the floor is covered with cardboard
throughout the summer school.
-
3 Condition of the Anti-Chambre
In June 2012, restorer specialized in historic interiors, Roos Keppler, made an initial description of the
condition of the anti-chambre shortly before the start of the summer school. On the 6th of August Professor
Roland Lenz photographically documented the condition of the room. Each individual wall was photographed
in a setting with daylight lamps as well as in a setting with Ultraviolet (UV) lighting. All photographs can be
found in appendix II. Detailed visual analyses of the room by daylight and a study of the photographs taken
with UV-light resulted in a detailed graphic representation of the condition of each wall. These maps were
improved and supplemented during treatment. All the maps can be found in appendix IV of this report.
3.1 Overall impression
The overall impression of the anti-chambre is that of a room that has witnessed and been through many
different phases of use and disuse. There are manifold traces of intensive use, restoration and repair. Some
traces can be considered damages; others can be categorized as wear due to normal use and aging.
Makeshift restorations such as disproportionate overpaintings and coarse fillings together with damages such
as cracks, loss of material and lacunae left by missing gypsum profiles, disrupt the strong lines of the stucco
ornamentation and the tonal unity of the interior design. Over the years the room has accumulated a
considerate amount of dirt, dust and soot, which have given the room a fairly uniform greyish hue. The
paintings in tempera on plaster above the doorways seem to be in a remarkably good condition, but a
thorough study of their condition was not conducted because of the limited time and resources available.
3.2. Surface dirt
3.2.1
Overall
The surfaces of the walls and ceiling are
covered with a dark layer of soot and dust.
Dust has mainly accumulated on the horizontal
gypsum profiles of both cornice and
wainscoting. Furthermore, dust is stuck in the
craquelure of the varnish of the wainscoting.
Fig. 11:
Surface dirt on the bamboo imitation. The left
half of the wall in the photograph is cleaned
with a soft brush. On the right half the dirt
layer is still present.
3.2.2
Window recess
Overall the surface dirt, dust and sooth have
left a uniform shade. On the sides of the
window recess however, fingerprints and
abrasions probably due to regular contact with
curtains, window screens or shutters have left
an irregular greyish layer.
Fig. 12:
Surface dirt on the window recess.
3.3 Condition of the stucco
3.3.1
Crack in the cornice
In the cornice of wall 2 there is a big crack. It
starts in the left corner above section 1 and
ends in the cornice above section 9 (see map
of wall 2 in appendix IV). Some of the stucco
around the tear is loose.
Remains of an old filling can be found in
several spots that concentrate in the right part
of the crack. The left part of the crack (above
sections 1-2) appears to be of a more recent
date and does not contain old fillings. The fact
that this part is more recent can also be
deduced from the condition of the room as
photographed in 1927 in which the left part is
absent (see figure 2).
Fig. 13:
Crack in the cornice.
3.3.2
Loss of adhesion
Throughout the room, parts of the stucco
profiles are missing.
Figure 14 show lower pieces of missing
vertical and horizontal gypsum profiles.
Judging by the look of the traces of the lime
gypsum mortar, the losses are likely to be the
result of loss of adhesion. Aided by mechanical
forces the loose parts fell off. None of them
have been kept in reserve.
Several gypsum parts were still at their place,
but had (partly) lost adhesion. These could be
moved when gentle pressure was applied.
Fig. 14:
Missing gypsum profiles.
3.3.3
Traces of cables, light fixtures, piping
etc.
Installation of electricity has left its traces in
the stucco such as holes from nails or screws
used to attach electrical devices and wiring.
In several areas of the room woodblocks have
been inserted in the plaster. These blocks
probably served as a support to secure
electrical devices.
Because of the expansion and contraction of
the wood, the surrounding, rigid fillings have
started to crumble.
Fig. 15:
Wooden anchor integrated in the stucco.
Fig. 16:
Old filling with traces of a wall socket.
3.3.4
Holes as a result of nails or other spikes
There are numerous round and deep holes in
the plaster of the wainscoting and the
bamboo. Likely due to nails or other spikes.
Fig. 17:
Hole in wainscoting due to a nail.
3.3.5
Old fillings
There are only few old fillings and if, in a
rather coarse manner. This is due to the
humble use of the anti-chambre during the
last say 50 or more years. Mostly you’ll find
them next to the doors and in combination
with aged electrical installation. (fig. 16)
3.4 Condition of the paint and varnish layers
3.4.1
Non original paint, retouching or
overpaintings
In the wood imitation there are old
retouches visible. They are darker then the
original and surrounding paint layers. There
is a visible difference in gloss between the
retouches and the original paint. Some of the
retouches are even more apparent because
they have been painted over a coarse filling.
Fig. 18: Non-orginal paint
Judging from the bad quality of these
overpaintings they are not likely to be a part
of the conservation treatment carried out
around 1925 (see phase VI in the overview
of historical phases). Because the paint does
not seem to have aged dramatically it is
likely it has been applied coarsely and
without much consideration for tonal unity
from the beginning. This might have been
the case during the archive period, say in the
1970s- 80s.
3.4.2
Discoloration of the bamboo imitation
Judging from the findings as shown in the
illustration, the bamboo imitation has
darkened considerately. This is partly due to
the accumulation of dust, dirt and soot.
Fig. 19:
Original color of the bamboo-imitation
revealed by removing an old filling.
3.4.4
Craquelure:
Due to contraction and expansion of the
wood the paint layer on the closet door
shows craquelure.
.
Fig. 20:
Craquelure on the left panel of the wooden
door.
3.4.5
Flaking paint (wainscoting)
3.4.6
Powdery paint (bamboo imitation)
3.4.7
Discoloration of varnish
Picture of the test done in 2011!
3.4.8
Test area
Are there any pictures made of the test area
underneath the right window?
3.4.9
Drippings on the bamboo imitation
Different parts of the bamboo imitation on
wall 3 show a distinct pattern of tidelines
resulting from to the spillage of an unknown
fluid.
Fig. 21.
Drippings on bamboo imitation.
3.4.10
Non-original varnish
A colored varnish has been applied on top of
the original varnish. It now feels soft, sticky
and appears to have darkened. Large
drippings of this vanish can be found that
follow the pattern of cracks in the stucco.
Samples of a similar phenomenon found in
the chambre were analyzed during the
summer school of 2011. The analysis pointed
toward an aged oil that could have been
mixed with resin and a small amount of
binder.8
3.4.11
Fig. 22:
Non-original varnish.
Cleaning window in the bamboo
imitation
On wall three a square measuring about 40
cm² is cleaned.
Fig. 23:
Wall 3 with the cleaning window above
section 5 counted from left to right.
.
8
The analysis were carried out by Prof. Roland Lenz and Dr. Anna Schönemann in the Laboratory for Archeometry and Conservations
Sciences of the Staatliche Akademie der Bildende Künste Stuttgart. Their report can be found in the report of the 2011 Summerschool.
3.5
Traces of the stove
In the right corner of wall 3 and wall 4 there is
a concentration of different kinds of traces due
to the stove(s) that used to be present:
-
Missing elements of the gypsum
profiles.
-
Scorching and other chemical
alterations in both the paint and
varnish layer due to heat.
-
Discoloration of paint and varnish
layers due to heat and soot.
-
Difference in discoloration
between areas covered by the
stove and adjacent areas that
have been exposed to light.
-
Absence of retouching’s and nonoriginal varnish where the
wainscoting has been shielded by
the stove.
On the pictures from the archival period the
current condition is already visible (see figure
3). It seems the current condition is largely
the result of the installation and use of the
former chinoiserie stove, although the extend
of the damage in 1995/1997 cannot be
estimated exactly.
Fig. 24:
Traces of the stove.
5 Decision making
The overall impression of the anti-chambre was that of a room that had been subjected to intensive use,
provisional restoration and a certain extent of neglection in the past. As stated in the condition report the
makeshift restorations, such as disproportionate overpainting and coarse fillings, together with damages
such as cracks, loss of material and lacunae left by missing stucco elements, disrupt the strong lines of the
stucco ornamentation and the tonal unity of the interior design. This tonal unity is characteristic of the
chinoiserie rooms (see paragraph on the art historical context of the rooms) and thus it was the explicit wish
of the Kultur Stiftung to re-establish the visual integrity of the anti-chambre.
Last year’s summer school (2011) had successfully re-established the visual unity of its counterpart: the
chambre. The condition of the anti-chambre however, was more severely deteriorated than that of the
chambre before restoration. Besides, there were locations that required special attention such as the large
crack in wall 2 and the extensive damage caused by the stove. In addition to these damages, there was
more soot in the anti-chambre due to the former stove. The summer school of 2012 would have four weeks
to complete the treatment, which would not be sufficient to achieve a result similar to the chambre.
Compelled by necessity, the 2012 summer school might propose a temporary situation as its aim, which
would allow further treatment in the future.
Evaluating the condition of the room, it was concluded that the available time was insufficient to remove
enough dirt, dust and soot to restore most of the original brightness and intensity of the colors. Since
cleaning only part of the room would result in an unacceptable different in brightness, it was decided to only
remove the surface dirt from the bamboo imitation, the wainscoting and the cornice in order to restore some
of the original brightness and optical characteristics of the design while preserving the tonal unity of the
room. Although the overpaintings could be removed relatively easy and safely (see paragraph 7), the
decision was made not to touch the overpaintings as there would probably be insufficient time restration of
the stucco.
After intensive discussion amongst the spokesmen of the Kulturstiftung, professors and students, the
decision was made to restore the tonal and graphical unity of the anti-chambre with minimal
intervention. Since ‘aqua sporca’ turned out to be too subtle to effectively tone down the exposed plaster
(see paragraph 7.1) the decision was made to restore the stucco ornaments by addition of newly prepared
stucco elements, using traditional techniques and materials that are consistent with the original. These
additions would be retouched to restore the tonal unity. Notches, holes and lacunae that clearly distract the
eye and disrupt the unity of the surface would be filled or retouched with acrylic paint. Smaller disturbances
would be retouched with reversible watercolors. Consistent with the general idea of re-establishing an even
surface of the substrate (stucco), non-original and untidy fillings would be removed, refilled and retouched.
The traces left by the stove presented a dilemma. On the one hand they could be considered valuable
remains of an important phase in the history of the anti-chambre and the palace and this reminder of the
stove could serve as an explanation for the amount of soot left on the walls of the anti-chambre. On the
other hand, the traces could be considered damages that are disruptive and aesthetically undesirable.
Moreover the suggestion that the traces are actually interesting as remnants of the room’s turbulent history
is debatable. Finally it was decided that the stove area would be left untouched. In the course of the
treatment however, it became apparent that this area could not remain in this condition, because its
appearance was too disruptive. During treatment it was decided to at least supplement the stucco profiles.
With regard to the crack a similar conclusion was made. Initially it was decided to leave the crack until the
most urgent restorations had been completed and a new visual context had presented itself. In the course
of treatment this decision was reconsidered because the crack, being in such a prominent location in the
room, would distract the eye of the visitor. Finally, it was decided to fill and retouch the crack in the cornice
(see paragraph 6.9).
6 Treatment
6.1 Removal of surface dirt on the cornice and the bamboo imitation
Both the cornice and the bamboo imitation have been cleaned with a very soft nylon powder brush in
combination with a vacuum cleaner. The bamboo imitation was cleaned in both diagonal and vertical strokes
following both the pattern of the design and the brushstroke of the paint layer.
The density of the surface dirt differed: becoming denser toward the middle of individual sections and
becoming denser from wall 1 toward wall 3 (the location of the stove). The result was a subtle difference in
brightness that nonetheless enlivened the 3 dimensionality of the bamboo imitation.
The surface dirt was cleaned off on the polished gypsum framed above the mirror with a moist Blitzfix®
sponge regularly rinsed in clean tap water.
6.2 Re-filling holes and damages
All the stuccowork was carried out under expert guidance of the stucco worker Dimitri Reibestein from the
Dessau based company Hersel Restaurierung. In the period before the summer school he had prepared
negative silicone molds of the stucco ornaments.9 During the summer school all students were invited to join
him in his workshop were he gave an excellent demonstration of the techniques used to create the gypsum
profiles needed to supplement the stucco ornamentation in the chambre. The stuccowork entailed the
removal of old fillings, filling, the casting of profiles and the attachment of the profiles.
Filling smaller holes and notches:
Technically the holes were divided in small holes and notches that can be filled with a a mixture of lime and
gypsum (2:1) and bigger holes that require a coarser mortar of gypsum, lime and fibers.
Typical smaller holes were those created by nails. The small holes were pre-wetted using tap water or a tap
water-ethanol mixture (1:1) to prevent the substrate from extracting moisture from the gypsum (burning of
the gypsum). Immediately after the pre-wetting, the filling was applied using a fine spatula. A minimal
surplus of filling was applied to accommodate the following step (sanding).
The workability of the initial lime gypsum mortar was not perfect for it cured rather fast. To slow down the
curing a splash of methylcellulose was added to each batch of newly prepared mortar. This slightly reduced
the curing rate. Only on painted surfaces the filling did not sufficiently adhere to the substrate, exposed
plaster however was filled without difficulty. The fillings were left to cure over night.
9
Silicon material used by dentists. Silico MS, silicone par Mascherine, Simed, Via Monte Spulga 28, Barabzate, Italy.
Fig. 25:
Filling of smaller holes and notches.
Pre-wetting the substrate
Applying the filler with a spatula
Sanding the filling after curing
Filling larger holes:
Large holes were pre-wetted and filled in two steps: the first step concerned applying the base and bulk of
the filling with a coarser and stronger filler of lime mortar, gypsum and hemp fibers. This filling was left to
cure overnight. The second step concerned the application of the top layer with a finer mixture of lime and
gypsum (2:1). The surface was sanded down to even out the fillings.
Removal of old fillings:
Underneath the windows there were a few wooden elements (like wooden pins) sticking out of the surface.
These were probably placed as anchors for the attachment of devices (see figure 15). These were removed
and the gaps were refilled. On left side of the left window, there was a wooden block (10 cm x 5 cm) that
could not easily be removed. This block was cut down and the filling was applied over it.
In the bamboo section just underneath the cornice, there was an apparent, fairly coarse filling around a tube
(diameter appr. 1,5 cm) slightly protruding from the surface.10 The filling was removed and the tube was cut
back and a new filling of mortar mixed of lime and gypsum was applied.
Sanding:
The final stage concerned the sanding down of the fillings in order to even them out and smoothen their
surface. Sanding was done using different grades of sanding paper and very fine wire gauze used by
electricians (ABRANET® by MIRKA grade P180). The advantage of the latter was that the gypsum did not
clutter as it did on the sanding paper from which the gypsum had to be brushed of regularly.
Cleaning:
After sanding down the surplus of the filling a white haze of gypsum remained as a halo around the filling.
The bulk was brushed away with a soft brush and the remaining haze could be removed using a Wishab®
sponge. Experiments with vinegar diluted in tap water in different concentrations and applied with a cotton
swap were unsuccessful. The vinegar solution either removed the varnish or insufficiently reduced the white
haze.
The Wishab® sponge proved to be successful for most cases. Polishing of the surface or gain in gloss was
not observed. There were however spots were the haze could not be removed because the gypsum either
accumulated in the cracks of the craquelure of the varnish or had reacted with the varnish causing
discoloration.
10
The metal looks like brass or tin. The inside is lined with wat is probably isolation material for electric cables.
Fig. 26 and 27:
White haze due to entrapped gypsum and lime in
the craquelure of the varnish.
6.3 Preparing and placing missing stucco elements
Due to loss of adhesion, parts of the gypsum profiles fell off. None of these fragments were kept in reserve.
Dimitri Reibestein had prepared negative silicone molds of the ornamental gypsum profiles shortly before the
summer school started.11 These molds were used to cast new gypsum details which could be cut to size.
The following steps show the manufacturing of the casts:
1. Sprinkle the dry, powdery gypsum into a little bowl with water until a part of the powder
stays at the surface. Let the mixture settle for a while before stirring it with a spatula until it
becomes a smooth and easily pourable blend.
2. Pour the stirred gypsum into the negative forms and spread it and skim the surface. For
fragile ornaments it is advisable to use enforcement like a piece of string. Rattle the form
smoothly until all bubbles have come to the surface.
3. When the gypsum starts to cure, take off the excess gypsum and etch the surface of the
ornament to guarantee a better adhesion of the cement.
4. Let the gypsum cure for about 20 minutes.
5. Take the ornament out of the silicone-form and handle it carefully until it’s completely driedout.
11
Silicon material used by dentists. Silico MS, silicone par Mascherine, Simed, Via Monte Spulga 28, Barabzate, Italy.
Before the gypsum profiles could be attached, the wall needed to be prepared. This entailed removing the
original mortar. Well-secured original mortar was not removed. Than the substrate and remains of the
original mortar were etched to ensure a good grip of the new lime gypsum mortar. The backside of the
ornaments was etched for the same reason. Both ornament and substrate were pre-wetted with an ethanol
and tap water mixture (1:1). Than a layer of the gypsum and lime mixture with a splash of methylcellulose
(2:1, consistency of thin yoghurt) was added on both sides and the profile was pushed on the substrate with
considerate force shortly moving it up and down a few times to distribute the cement and to release air
bubbles. This had to be done quickly. Immediately after, the superfluous mortar was removed from the
edges and the profile was left to cure.
Fig. 28:
Replacing gypsum profiles.
Etching the substrate.
Pre-wetting the substrate
with a tap water and
ethanol mxture (1:1).
Placing the profile: push
with considerate force
and move up and down.
Removing superfluous
mortar.
Applying the mortar on
the profile.
Applying the mortar on
the substrate.
6.4 Consolidating loose gypsum profiles
Loose profiles had to be taken off and placed back using the steps described above (preparing the wall,
removing original mortar, scratching the surface of the profile and the wall, pre-wetting profile and wall,
adding the gypsum and lime mixture, pushing the profile on the substrate).
If the profile was loose but not loose enough to be taken off it was necessary to pre-wet the edges of the
profile and then press the gypsum and lime mixture between the profile and the wall using a little spatula.
Superfluous mortar had to be removed with a spatula and the wall cleaned with a Wishab sponge.
6.5 Cleaning of the wainscoting and isolating the fillings
With the fillings completed, the whole wainscoting was cleaned and the newly applied fillings and ornaments
were isolated with a varnish of turpentine-oil and linseed oil (2:1) applied with a broad hog’s hair brush.
When this isolation layer turned out to be insufficient in some places (still soaking too much), it was decided
to apply a second layer of a solution of 20 % Lascaux Medium 2 (matt) in tap water, a pure acrylic resin
emulsion.12 The choice for an acrylic medium was motivated by the desire to stay within one paint-system
(since we would use acrylic for the retouching of the stucco).
The cleaning was done in the following steps:
1. Brushing off surface dirt, lime and gypsum with a soft nylon powder brush in combination
with a vacuum cleaner.
2. Cleaning the whole surface with a Wishab® sponge.
3. Brushing off the crumbles of the Wishab® sponge with a soft nylon powder brush in
combination with a vacuum cleaner.
4. Cleaning the surface of the wainscoting with a damp Blitzfix®-sponge cut in a sharp wedge
to clean the profile edges.
5. Spots that were difficult to reach were cleaned with a cotton swap and saliva.
6.6 Removing tape
Old tape was mechanically removed with a scalpel.
6.7 Consolidating flaking paint layers
Where flaking paint was apparent Mowiol13 mixed with water was applied. To ease the flowing of the
Mowiol/water solution ethanol was applied first. Both steps were done with a small soft brush.
12
13
Datasheet in appendix VI
Datasheet in appendix VI
6.8 Retouching
Retouching the stucco ornaments and fillings turned out to be a time-consuming task when the colors were
mixed individually. It was decided to design a retouching system of base colors and subsequent layers of
glancing, a system not too far from to the original ‘bierlasur’ technique. The paint used was a mixture of
tube colors (Schmincke PRIMAcryl® finest artist’s acrylics)14 mixed with binder15 and a matting agent
(PRIMAL® and Lascaux Medium 2 Matt)16 and pigments to further reduce gloss. The formula for the base
colors and glazing can be found in appendix V.
First the base color was applied on the stucco, than the glazing (diluted in tap water) would be applied, layer
after layer (leave to dry in between applications) until the desired tone was almost achieved. The final layer
was applied in watercolor with a minimal overlap on the original paint surrounding the filling to hide the
edges and integrate the retouching.
Fig. 29:
Retouching the gypsum profiles.
Applying glazing over
the base layer.
State before final retouching / glazing
Base recipes for colors
acrylic base colors with primal and matt medium
Red color: tubes: Lasur oxyd brown and payne grey (Schminke PTRIMAcrylics) pigments: sienna,
English red, (in the glazing also very dark burnt umber)
Base yellow color: pigments: golden ochre, burnt sienna, ochre avana
Greenish base color: pigments: gold ochre, Veronese green earth, green umbra, charcoal black and
chalk
14
Manufacturer’s information in appendix VI.
Normally you wouldn’t mix tube paint with additional binder. If we did, only in case we added a lot of pigments to achieve sufficient
binding power.
16
Datasheets in appendix XI.
15
6.9 Treatment of the big crack in the cornice
The crack seems to be caused by the movement of the beams in the ceiling and can be considered an
inherent vice of the construction that demands ongoing maintenance. The crack is already apparent on a
photo taken in 1927 (see figure 2). Compared to the condition in 1927, the current condition is more severe.
The right part of the crack contains old fillings. The left part of the crack is more recent and does not
contain old fillings. Due to movement, the fillings have partly been crumbled or pushed out.
The crack is in a prominent place in the room and one of the first damages that catches the eye. The Kultur
Stiftung by voice of Robert Hartmann clearly expresses their wish to tone down the current appearance of
the crack and re-establish the visual unity of the cornice. Together with conservators Roos Keppler and Jan
Raue several options were discussed:
•
•
•
•
Consolidation of the crack by means of a (colored) facing with Japanese paper.
Cleaning the crack and retouching the fractured surface.
Filling the crack with a mortar of gypsum and lime.
Filling the crack with an elastic filler.
The option of a facing was ruled out because the removal of the facing could damage the original either due
to the adhesion of the glue or due to the extensive use of water. An elastic filler could be a more durable
solution, but this would require some research after a suitable formula and for this there was no time.
Eventually it was decided on filling the crack with a mixture of gypsum and lime, a material corresponding to
the original material of the cornice and a treatment that is consistent with the treatment of the wainscoting.
First the old fillings and loose parts of the original plaster were removed. These loose parts of original
material were kept aside. The crack was brushed and vacuumed to remove surface dirt after which it was
pre-wetted with a mixture of ethanol and water (1:1). Some original parts could be replaced and fixed with a
filler made of a mixture of gypsum an lime (2:1) in water. The crack was than filled with the same filler. The
filling was left to cure for about 40 minutes after which it was sanded down. Finally the cornice was cleaned
with a Wishab® sponge.
6.10 Treatment of the closet door
Condition:
The plaster around the door was cracked and crumbled either due to the stress caused by the friction when
opening and closing the door and probably due to the suspension and contraction of the wooden doorframe
underneath the plaster.
The plaster next to the upper right upper corner of the door contained a coarse non-original filling that
partly covered the original bamboo imitation.
Some parts of the ground lime mortar as well as the gypsum top layer had lost adhesion to the underneath
plaster.
Treatment:
Around the door frame, the loose plaster was removed. A reinforcement (a corrosion proof metal grid) was
placed inside the hole over which a coarse fiber-mortar mixture was applied up to half a cm below the
surface. On top of this, a finer mortar was applied (2 parts gypsum, 1 lime). The cracks were filled with
gypsum-lime mortar (2:1)
The old filling was removed with a hammer and chisel and the filling on top of the bamboo imitation was
removed with a scalpel. The hole was filled according to the above described procedure.
The loose parts were removed and reattached with the fine mortal. Some parts were attached with a thin
layer of lime mortar reinforced with some PRIMAL ® to enhance the adhesion.
The loose parts of the gypsum top layer were consolidated with the gypsum lime mortar injected with a
syringe.
6.11 Treatment of the stove area
In the course of the project it was decided to supplement the stucco ornamentation and thus fully restore
the three-dimensionality of the substrate layer. With the fillings completed, the stove area was cleaned and
the newly applied fillings and ornaments were isolated with a varnish of turpentine-oil and linseed oil (2:1)
applied with a broad hog’s hair brush. The white of the new stucco elements however was considered too
white and too disruptive and the decision was made to tone down the white. When this isolation layer
turned out to be insufficient in some places (still soaking too much), it was decided to apply a second layer
of a solution of 20 % Lascaux Medium 2 (matt) in tap water, a pure acrylic resin emulsion with added yellow
ochre and umber pigments. Thus mended, the stove area will remain until an opportunity to resume
treatment presents itself
following pages:
sample photographs of the conservation of one detail of wall 3
- condition before treatment
- condition in between
- final condition after treatment
7 Tests and analysis
7.1 Aqua sporca
To visually tie the room together with minimal intervention an experiment with the technique ‘aqua sporca’17
was carried out on the exposed white plaster in the wainscoting. The aim was to tone down these white
spots and areas in order to restore the visual unity of the wood imitation.
The plaster was pre-wetted with water and colored with extremely diluted watercolor with a hue of brownish
grey. We tried for one color that would work with all the shades of the wood imitation and would appear to
move away rather than toward the viewer.
During the test we found that the different plaster surfaces showed dissimilar absorption behavior. Besides
these differences between layers, the pigments were not evenly absorbed within individual layers. On the
17
The technique was introduced by Césare Brandi in his influential Theory of Restoration (1963) and encompasses the filling of lacunae
with the most neutral tint possible. In practice this tint resembles dirty water, hence the name ‘aqua sporca’ (Italian for soiled
water).
substrate underneath the sizing the pigments were barely absorbed. When ox gall was incorporated in the
‘aqua sproca’ the surface tension was slightly reduced and a subtle hue of color could be reached.
The overall result was insufficient. The ‘aqua sporca’ was irregular and too subtle to effectively tone down
the exposed plaster. Besides, the method turned out to be more laborious than expected and desired. After
evaluation of the test results the option was discarded.
7.2 Removal of overpaintings
The wood imitation of the wainscotings is at places overpainted. These overpaintings have been applied
coarsely and have darkened considerably. The cleaning effect of ethanol, ethanol & water, isopropanol and
acetone were tested. Two cleaning methods were tested; one using a cotton swab with mechanical action
and another using a compress. Both were equally effective, but since the use of the compress made it
impossible to see what was happening to the paint layer underneath, the use of the cotton swab was
considered safer. Of the solvents tested, acetone proved to be most effective. All solvents inadvertently
removed some of the patina the paint layer had developed over the years. This patina is considered a
valuable part of the so-called ‘age-value’ of the anti-chambre. Nevertheless, retouching the cleaned spot with
watercolor could easily re-establish the uniformity of the patina layer.
Fig. 30: Removal of overpainting.
Condition before cleaning.
Condition after cleaning.
Condition after retouching with
watercolors.
7.3 Re-saturation of old overpaintings
Some overpaintings on the wainscotings were strikingly matt. To locally re-saturate the paint or varnish layer,
a commercial paint varnish was applied on the matt spot (Rubens Zwischenfirnis)18.19 During curing, the
18
Datasheet can be found in appendix VI.
“The gloss of a surface is mostly a function of its roughness. Smooth surfaces are glossy due to a high degree of specular reflection.
Microscopic and larger surface imperfections cause a reduction of gloss due to diffuse reflection (scattering) of light at the surface. Paint
surfaces in general show a combination of specular and diffuse reflection.
Reflection occurs at each interface between media of different refractive indices. The greater the difference between the refractive
indices of the two layers the larger the amount of reflected light at the interface. In the case of a smooth paint surface the amount of
reflected light is small compared to the amount of light penetrating the paint layer, and reflection is largely specular. A paint surface
showing microscopic roughness, however, has a greatly increased surface area which increases the amount of reflected light and causes
it to be diffused. One cause of roughness in paint layers is pigment particles protruding from the paint surface. Incidentally, this effect
can be enhanced in paintings that have been frequently cleaned, due to leaching of the binding medium. The scattered light from a
rough paint surface is white light (or at least of the same color as that of the light source), since it does not penetrate the coloring
layer.* Light that penetrates the paint layer is returned by it as colored light due to selective absorption in pigment particles. The mixing
19
varnish was manipulated with a dry brush to achieve the desired level of gloss. At spots the re-saturation
effectively integrated the matt surfaces, other areas of overpaintings did not respond as well. Overall the
results of the treatment were too variable and unpredictable and it was decided to drop the experiment.
7.4 Quick tests with hydrogen chlorine
The main components of the stuccowork are gypsum (CaSO3) and lime (CaCO3). To quickly discern the two,
samples can me immersed in a 10 % solution of hydrogen chloride (HCl) in water. Both substances show
distinct solubility behavior: lime will immediately exhibit a fizzing reaction in which the acid dissolves the
lime and CO2 (g) escapes according to reaction 1:
1)
CaCO3 (s) + 2HCl (aq) → CaCl2 (aq) + CO2 (g) + H2O (l)
When gypsum dissolves in water, sulfur dioxide escapes according to reaction 2:
2)
CaSO3 (s) + 2HCl (aq) → CaCl2 (aq) + O2S (g) + H2O (l)
Contrary to reaction 1 however, reaction 2 is not exothermic. Gypsum will not readily react with hydrogen
chloride unless the last is heated.
Fig. 31:
Tests with hydrogen chloride.
Wall/ substrate:
Immediately after contact with the hydrogen chloride, the sample
starts to dissolve exhibiting the fizzing due to the escaping
dioxide gass (A). After a few seconds no solid chunks of the
substance are left (B). It is likely that the walls are made of lime.
A
B
A
B
Sizing/ mortar:
Contrary to the sample taken from the wall, the sample (A) taken
from the mortar does not fully dissolve. It exhibits some fizzing
(B and C) indicating the presence of lime, but solid chunks of the
substance remain, indicating the presence of gypsum (C). To
establish the ratio of gypsum and lime more elaborate testing is
required.
C
of scattered white light with the colored light causes a desaturation of the color. Smooth paint surfaces will, therefore, have not only
higher gloss but also more saturated colors than rough paint surfaces. The desaturation caused by a rough surface will be most
noticeable in dark areas because the amount of scattered light will be proportionally high. Application of varnish over a rough paint
surface produces a smoother surface and, therefore, higher gloss and more saturated colors. The colors will also appear darker because
all pigment particles are embedded in either medium or varnish, which have a higher refractive index than air.” (De la Rie, 1987: 5-6.)
8 Prognosis and Preventive Conservation
•
•
•
Maintenance planned in the coming years is likely to exert forces to the cornice that could cause the
crack to re-open (upper south side).
Dust will continue to accumulate on the profiles of the wainscoting and will eventually clog and affix
itself to the surface if not regularly removed. It is advised to periodically (say, at least once a year)
dust the wainscoting with a soft brush in combination with a vacuum cleaner.
The area around the door will remain a vulnerable area due to the friction and stress caused by the
opening and closing of the door. It is advised not to use the closet and to discourage the visitor from
trying to open the door. The same advice is given for the doors in the chambre.
9 Future Treatment and Conservation Proposal
The following notes are only suggestions made by the participants of the 2012 summer school. In general all
measures of this kind are to be outlined and planned by the conservators of the Kulturstiftung, Annette
Scholtka and Robert Hartmann.
•
•
•
•
•
•
•
Further treatment of the stove area. Best would be to try and replace the original stove or find an
almost similar one due to historic photographs of this and other rooms in the palace. If this is not an
option we would advice retouching the hole area.
Further cleaning soot of the room and ceiling.
Further treatment of the crack on the south side cornice: the filling has been integrated in the
cornice with a retouch. This retouching was chosen deliberately too light and allows final retouching
to fully integrate the filling. The matt areas around the filling could be re-saturated with a varnish of
turpentine-oil and linseed oil (2:1). This should however be tested first. In the long run a filling with
an elastic material could present a more durable solution. This requires research into a suitable filler.
Since the disproportionate and dark overpaintings can be removed easily and safely it is advised
to do so in a later stage.
Cleaning of the window frame: Due to lack of time the window frames have not be cleaned. It is
advised to clean them and aim for a similar result as has been archived in the chambre.
Conservation of the paintings (cleaning, fixing loose or powdery paint flakes a. o.)
Re-installation of (replica’s of) the pulleys suspending the lanterns.
Literature
-
De la Rie, René. “The Influence of Varnishes on the Appearance of Paintings” Studies in
Conservation 32; 1 (Feb. 1987), p. 1-13. Print.
-
-
-
Edwards, Lynn and Lawless, Julia. „Naturfarben Handbuch“, Staufen Ökobuch Verlag GmbH,
2005. Print.
Keppler, Roos. “De restauratie van decoratief stucwerk in het interieur: onderzoek en
restauratie van de stucplafonds in de Koepel van Fagel en in de koninklijke wachtkamer van station
Hollands Spoor te Den Haag.” Sral Maastricht 2001-2007. Pdf.
Littmann, Klaus and Mengel, Uta. “Werkstoffkunde der Anstrich- und Belegeverfahren“.
Hannover: Institut für Berufswissenschaften im Bauwesen, 2005. Pdf.
Raue, Jan (ed.) “Oranienbaum Summer School 2011: Conservation of the Chambre in
Chinoiserie Style” published by The Royal Archives The Hague and the Kulturstiftung DessauWörlitz.
September, 2011. Pdf.
Alex, Reinhard. “Schloss Oranienbaum wird restauriert und erhält eine neue Nutzung.” in:
Vernissage, Die Zeitschrift zur Ausstellung. Nr. 16/03 (2003). Print.
Alex, Reinhard. „Schloss Oranienbaum – Nutzung, Bauforschung und Restaurierung“, in:
Ausstellungs-Katalog Oranienbaum – Huis van Oranienbaum, Kulturstiftung Dessau-Wörlitz 2003, S.
40-47. Print.
Appendices
I Overview of the room before treatment
Wall 1:
Day light lamps
(photo R. Lenz)
Wall 1:
UV-light
(photo R. Lenz)
Wall 2:
Day light lamps
(photo R. Lenz)
Wall 2:
UV-light
(photo R. Lenz)
Wall 3:
Day light lamps
(photo R. Lenz)
Wall 3:
UV-light
(photo R. Lenz)
Wall 4:
Day light lamps
(photo R. Lenz)
Wall 4:
UV-light
(photo R. Lenz)
II
Wall 1:
Day light lamps
(photo J. Raue)
Wall 2:
Day light lamps
(photo J. Raue)
Overview of the room after treatment
Wall 3:
Day light lamps
(photo J. Raue)
Wall 4:
Day light lamps
(photo J. Raue)
Oranienbaum Palace, Anti-Chambre, Mapping of the damages – WALL 1
III
Mapping
IV
Recipes/ Rezepte
Grobputz: Konfektionierter Mörtel, Kalkmörtel mit Zusatz an pflanzlichen Fasern
Feinputz: Stuckgips und Kalkglätte im Verhältnis von 2:1 (VT)
Stuckteile: reiner Modellgips
Ergänzungs- und Füllmasse: wie beim Feinputz
Isolierung:
- erste Isolierung: Balsamterpentin und Leinölfirnis 1:2
- zweite Isolierung: Medium 2 (Lascaux) mit 20% Mattmedium, Primal 10%ig und
Wasser im Verhätnis 2 : 1 : 10 (VT)
Retusche auf den ergänzten Stuckteilen und den Kittungen:
Bindemittel für die Retuschen auf den Kittungen und Stuckergänzungen: 2 Teile Medium für Konsolidierung
von Lascaux, 1 Teil Primal und 7 Teile Wasser (VT)
Grundtöne
Rot (Vertikale Stuckleisten)
Gold – Grün (fischförmige Stuckornament und alle horizontalen Stuckleisten)
Braun für die Fondflächen der Vertäfelung
Rot für die Flächen im Bereich der Hohlkehle/Cornice
Lasuren
1. mit Schmincke-Acrylfarben und in Wasser angeteigten Pigmenten
Schlussfirnis: partill auf zu matten Flächen mit dem gleichen Material wie für die erste Isolierung
Die Retuschen auf den Bestandsflächen wurden mit Aquarellfarben ausgeführt.
Material für die Hinterfüllungen (wenige, an den Randbereichen von Rissen und Aufbruchstellen im Putz, zur
Sicherung) und zum Ankleben von losem Bestandsmaterial:
hydraulischer Kalk (NHL 3,5 von Otterbein), Kreide, Wasser im Verhältnis 1:1:1 nach Volumenteilen (lime
coulis, Rezept von Roos Keppler)
V
Data sheets of the most important materials used
Lascaux Mediums
These fluid mediums increase the
transparency of the colours while
increasing adhesion of strongly diluted
colours. Use
alone or mix into Lascaux Acrylic
colours to impart gloss, satin or matte
sheen to paint. Lascaux Mediums are
transparent,
flexible and with good adhesive
properties. All Mediums are thinnable
with water.
Lascaux Medium 1 / 2 / 3
Composition
Pure acrylic resin emulsion. Mediums
2 and 3 also
contain silicic acid
Properties
lightfast and age resistant
colourless
Applications
mix with acrylics to create glazes in
various sheens
mix with paints to increase
transparency while
extending volume
use in collage for gluing lightweight
materials
colours can be mixed into the
medium to slow down
drying time
Directions
For glazing, the acrylic colours are
either thinned with
water or mixed with mediums. Diluted
only with water,
they can be used like watercolours;
however, strong
dilution lowers the binder
concentration and reduces the
brilliance of the colours. To maintain
the original binder
and brilliance level, the dilution should
be made with
Lascaux Medium (e.g. Medium diluted
1:10 with water).
All Lascaux Mediums can be mixed
together. The choice
depends on the degree of gloss
desired. Medium 2 matt
and Medium 3 satinmatt can be
adjusted with Medium 1
gloss to achieve specific results.
Lascaux Mediums should not be used
below the
temperature of +8°C (+46°F).
Medium 1 gloss
dries to a waterproof, clear gloss
film
Lascaux Medium 1 gloss is added to
acrylic colours
in either diluted or undiluted form.
Undiluted, it
improves adhesion of the colours on
smooth and only
sligthly porous supports.
Medium 1 gloss may be diluted with
water in a ratio
of up to 1:10 for use as a sealing coat
on supports
for exterior painting
can be used as final gloss varnish
for protecting
artwork on flexible supports: use of
Lascaux Medium
1 or 3 diluted with approx. 25 %
water is
recommended. The dry film will be
waterproof,
colourless and lightfast.
Lascaux Medium does not dissolve
dry acrylic paint
films. Lascaux Mediums dry to a softer
film than
Lascaux Acrylic Transparent Varnish.
Medium 2 matt
dries to a waterproof matt film
modifies the gloss of Lascaux acrylic
colours
due to its relatively large particle
size, this medium is
not suitable as a colourless matt
varnish: the coarsegrained
dry surface is not scratch-resistant,
and the
colour appears duller
ideal for glazes on concrete, and
can be tinted with
acrylic colours as desired
may be used alone as colourless
sizing or primer for
canvas and paper
Medium 3 satinmatt
dries to a waterproof transparent,
satin gloss film
when added to Lascaux Artists
Acrylic Colour will not
change sheen of paint
can be used as final satin gloss
varnish for protecting
artwork on flexible supports
Health and Safety
Physiologically and toxicologically safe
in conventional
usage. Medium 1, Medium 2 and
Medium 3 conforms to
ASTM D-4236. "Non toxic. No health
labeling required".
Sizes
85 ml, 250 ml and 1 litre bottles, 5
litre plastic bucket.
Lascaux Aquacryl Medium
Composition
Pure acrylic resin dispersion
Properties
dries to a matt transparent film
remains water-resoluble once dry
lightfast and age resistant
Application
Medium for Aquacryl Colours
Medium for Sirius Watercolours or
Gouache
_______________________________
_______________________________
__
Disclaimer:
The information provided above is
given to the best of our knowledge
and is based on our current research
and experience. It does not absolve
the artist from
the responsibility of first testing the
suitability of our products for the
substrate and specific use conditions
he or she has in mind. This technical
sheet will
become invalid with any revised
edition. The latest update is always
found on our website.
Sicherheitsdatenblatt
gemäß 91/155/EWG - ISO 11014-1
Druckdatum: 24.02.2004 überarbeitet
am: 10.02.2004
DR
1 Stoff-/Zubereitungs- und
Firmenbezeichnung
. Angaben zum Produkt
. Handelsname:
Rubens Zwischenfirnis
. Verwendungszweck:
. Verwendung des Stoffes / der
Zubereitung
Zum Übermalen getrockneter RubensKünstlerölfarben
. Hersteller/Lieferant:
DAW Stiftung & Co. KG
GB Nerchau Mal- und Künstlerfarben
Wurzener Str. 38
D-04685 Nerchau
Tel. 034382/7040 Fax. 034382/704-16
oder -18
. Auskunftgebender Bereich: Abt.
Entwicklung, Tel. 034382/704-51, -56
oder -58
. Notfallauskunft: Giftnotruf Berlin
Tel.: 030 19240
2 Zusammensetzung/Angaben zu
den Bestandteilen
. Chemische Charakterisierung
. Beschreibung:
Rubens Zwischenfirnis enthält
nichtgilbendes Harz und Lösungsmittel
.GefährlicheInhaltsst
offe:
CAS: 8006-64-2
EINECS: 232-350-7
Terpentinöl
Xn, N; R 10-20/21/22-36/38-4351/53-65
>50 - 75%
. zusätzl. Hinweise: Siehe auch
Abschnitt 8.
3 Mögliche Gefahren
. Gefahrenbezeichnung:
Xn Gesundheitsschädlich
N Umweltgefährlich
. Besondere Gefahrenhinweise für
Mensch und Umwelt:
Die Zubereitung enthält organische
Lösemittel. Einatmen, Hautkontakt
und Verschlucken von Lösemitteln
sowie Bildung leichtentzündlicher
explosionsfähiger Dampf-Luftgemische
vermeiden.
R 10 Entzündlich.
R 20/21/22 Gesundheitsschädlich
beim Einatmen, Verschlucken und
Berührung mit
der Haut.
R 36/38 Reizt die Augen und die Haut.
R 43 Sensibilisierung durch
Hautkontakt möglich.
R 51/53 Giftig für Wasserorganismen,
kann in Gewässern längerfristig
schädliche Wirkungen haben.
R 65 Gesundheitsschädlich: kann beim
Verschlucken Lungenschäden
verursachen.
4 Erste-Hilfe-Maßnahmen
. Allgemeine Hinweise:
Bei Auftreten von Symptomem oder in
Zweifelsfällen ärztlichen Rat ein-holen.
Bei Bewußtlosigkeit keine
Verabreichung über den Mund.
. nach Einatmen:
Frischluftzufuhr, Betroffenen in
Ruhelage bringen und warm halten.
Bei
unregelmäßiger Atmung oder
Atemstillstand künstliche Beatmung
einleiten Bei
Bewußtlosigkeit stabile Seitenlage
anwenden und ärztlichen Rat einholen.
. nach Hautkontakt:
Beschmutzte und getränkte Kleidung
sofort ausziehen. Benetzte Haut
gründlich mit Wasser und Seife
reinigen oder geeignetes
Reinigungsmittel
benutzen. Keine Lösemittel oder
Verdünnungen verwenden.
. nach Augenkontakt:
Augenlider geöffnet halten und
mindestens 10 Minuten lang reichlich
mit
sauberem, fließendem Wasser spülen;
ärztlichen Rat einholen.
(Fortsetzung auf Seite 2)
D
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gemäß 91/155/EWG - ISO 11014-1
am: 10.02.2004
Handelsname: Rubens
Zwischenfirnis
(Fortsetzung von Seite 1)
DR
. nach Verschlucken:
Bei Verschlucken sofort Arzt
konsultieren! Betroffenen ruhig
halten.
Kein Erbrechen einleiten!
5 Maßnahmen zur
Brandbekämpfung
. Geeignete Löschmittel:
Schaum (alkoholbeständig),
Kohlendioxid, Pulver, Sprühnebel
(Wasser)
. Aus Sicherheitsgründen
ungeeignete Löschmittel:
Wasserstrahl
. Besondere Gefährdung durch
den Stoff, seine
Verbrennungsprodukte oder
entstehende Gase:
Bei Brand entsteht dichter, schwarzer
Rauch. Das Einatmen gefährlicher
Zersetzungsprodukte kann ernste
Gesundheitsschäden verursachen.
. Besondere Schutzausrüstung:
Ggf. Atemschutzgerät erforderlich.
Geschlossene Behälter in Nähe des
Brandherdes mit Wasser kühlen.
6 Maßnahmen bei
unbeabsichtigter Freisetzung:
. Personenbezogene
Vorsichtsmaßnahmen:
Von Zündquellen fernhalten und Raum
gut lüften. Dämpfe nicht einatmen.
Schutzvorschriften (siehe Kapitel 7
und 8) beachten.
. Umweltschutzmaßnahmen:
Nicht in die Kanalisation gelangen
lassen. Bei der Verschmutzung von
Flüssen, Seen oder Abwasserleitungen
entsprechend den örtlichen
Gesetzen die jeweils zuständigen
Behörden in Kenntnis setzen.
. Verfahren zur
Reinigung/Aufnahme:
Ausgetretenes Material mit
unbrennbarem Aufsaugmittel (z.B.
Sand, Erde,
Kieselgur, Vermiculite) eingrenzen und
zur Entsorgung nach den ört-lichen
Bestimmungen in den dafür
vorgesehenen Behältern sammeln.
Vorzugsweise
mit Reinigungsmittel säubern,
möglichst keine Lösemittel benutzen.
7 Handhabung und Lagerung
. Handhabung:
. Hinweise zum sicheren Umgang:
Die Bildung entzündlicher und
explosionsfähiger Lösemitteldämpfe in
der
Luft und ein Überschreiten der MAKGrenzwerte vermeiden. Das Material
nur an
Orten verwenden, bei denen offenes
Licht, Feuer und andere Zündquellen
ferngehalten werden. Das Material
kann sich elektrostatisch
aufladen. Funkensicheres Werkzeug
verwenden. Kontakt mit den Augen
und der
Haut vermeiden. Dämpfe und
Spritznebel nicht einatmen. Bei der
Ar-beit nicht
essen, trinken, rauchen. Persönliche
Schutzausrüstung siehe unter
Abschnitt 8.
Gesetzliche Schutz- und
Sicherheitsvorschriften befolgen.
. Hinweise zum Brand- und
Explosionsschutz:
Lösemitteldämpfe sind schwerer als
Luft und breiten sich über dem Boden
aus. Dämpfe bilden zusammen mit
Luft ein explosives Gemisch.
. Lagerung:
. Anforderung an Lagerräume und
Behälter:
Elektrische Einrichtungen müssen den
Normen entsprechend
explosionsgeschützt
sein. Böden müssen elektrisch
leitfähig sein. Behälter dicht
geschlossen halten. Rauchen
verboten. Unbefugten Personen ist
der Zutritt
untersagt. Geöffnete Behälter
sorgfältig verschließen und aufrecht
lagern, um
jegliches Auslaufen zu verhindern.
. Zusammenlagerungshinweise:
Von stark sauren und alkalischen
Materialien sowie Oxidationsmitteln
fernhalten.
D
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DR
. Weitere Angaben zu den
Lagerbedingungen:
Stets in Behältern aufbewahren, die
dem Originalgebinde entsprechen.
Hinweise auf dem Etikett beachten.
Lagerung zwischen 5 und 20°C an
einem
trockenen und gut gelüfteten Ort. Vor
Hitze und direkter Sonneneinstrahlung
schützen. Von Zündquellen fernhalten.
. Lagerklasse:
. VbF-Klasse: A II
8 Expositionsbegrenzung und
persönliche Schutzausrüstung
. Technische Schutzmaßnahmen:
Für gute Lüftung sorgen. Dies kann
durch lokale Absaugung oder
allgemeine
Abluft erreicht werden. Falls dies nicht
ausreicht, um die
Lösemitteldampfkonzentration
unter den MAK-Grenzwerten zu
halten, muß ein
geeignetes Atemschutzgerät getragen
werden.
.Bestandteilemitarbei
tsplatzbezogenen,zuü
berwachendenGrenzw
erten:
8006-64-2 Terpentinöl (>50 75%)
MAK (Deutschland) 560 mg/m!, 100
ml/m!
H; DFG
. Zusätzliche Hinweise:
Als Grundlage dienten die bei der
Erstellung gültigen Listen.
. Persönliche Schutzausrüstung:
. Atemschutz: Nur beim Spritzen
ohne ausreichende Absaugung. Filter
A/P2.
. Handschutz:
Schutzhandschuhe aus Nitril mit einer
Schichtstärke von mindestens 0,4 mm
verwenden. Die Durchbruchzeit liegt
bei diesen Handschuhen größer 480
Minuten.
Die einzusetzenden Schutzhandschuhe
müssen den Spezifikationen der
EURichtlinie
89/686/EWG und der sich daraus
ergebenen Norm EN 374 genügen,
z.B.
KCL Camatril, Artikel-Nummer 730
oder vergleichbare Produkte. Die
genannten
Durchbruchzeiten beruhen auf
Labormessungen von KCL nach EN
374 und sind nur
für diesen KCL-Artikel maßgebend.
Diese Empfehlung gilt nur für das von
uns gelieferte Produkt und den
angegebenen Verwendungszweck.
Bei längerem oder wiederholtem
Kontakt: Schutzcremes für die Hautflächen, die
mit dem Produkt in Kontakt kommen.
. Augenschutz: Zum Schutz gegen
Lösemittelspritzer Schutzbrille tragen.
9 Physikalische und chemische
Eigenschaften
. Allgemeine Angaben
Form: flüssig
Farbe: farblos
Geruch: lösemittelartig
. Zustandsänderung
Siedepunkt/Siedebereich: 154 170°C
. Flammpunkt: ca. 35°C (DIN
51213)
. Zündtemperatur: 220°C
. Explosionsgrenzen:
untere: 0,8 Vol %
obere: 6,0 Vol %
. Dampfdruck
(Lösemittelkomponente) bei
20°C: 5,35 mbar (Terpentinöl)
. Dichte bei 20°C: ca. 0,94 g/cm3
. Löslichkeit in / Mischbarkeit mit
Wasser: nicht bzw. wenig mischbar
. pH-Wert: nicht anwendbar
D
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Zwischenfirnis
DR
. Viskosität:
kinematisch bei 20°C: 4mm Becher
18 s (DIN 53211/4)
10 Stabilität und Reaktivität
. Thermische Zersetzung / zu
vermeidende Bedingungen:
Bei Anwendung der empfohlenen
Vorschriften zur Lagerung und
Handhabung stabil
(siehe Abschnitt 7).
. Zu vermeidende Stoffe:
Von stark sauren und alkalischen
Materialien sowie Oxidationsmitteln
fernhalten, um exotherme Reaktionen
zu vermeiden.
. Gefährliche
Zersetzungsprodukte:
Bei hohen Temperaturen können
gefährliche Zersetzungsprodukte wie
z.B.
Kohlendioxid, Kohlenmonoxid, Rauch
entstehen.
11 Angaben zur Toxikologie
Es sind keine Angaben über die
Zubereitung verfügbar. Das Einatmen
von
Lösemittelanteilen oberhalb des MAKGrenzwertes kann zu
Gesundheitsschäden
wie Reizung der Schleimhäute und
Atmungsorgane, Nieren- und
Leberschäden sowie der
Beeinträchtigung des zentralen
Nervensystems
führen.
Anzeichen und Symptome:
Kopfschmerzen, Schwindel, Müdigkeit,
Muskelschwäche,
betäubende Wirkung und in
Ausnahmefällen Bewußtlosigkeit.
Längerer oder wiederholter Kontakt
mit dem Produkt beeinträchtigt die
natürliche Hautrückfettung und führt
zum Austrocknen der Haut.
Lösemittelspritzer
können Reizungen am Auge und
reversible Schäden verursachen
Kann beim Verschlucken
Lungenschäden verursachen.
. Akute Toxizität:
. Sensibilisierung: Durch
Hautkontakt Sensibilisierung möglich
12 Angaben zur Ökologie
Es sind keine Angaben über die
Zubereitung verfügbar.
Nicht in die Kanalisation, Gewässer
oder ins Erdreich gelangen lassen.
13 Hinweise zur Entsorgung
. Produkt:
Bei Sammelstelle für
Altfarben/Altlacke abgeben.
Darf nicht zusammen mit Hausmüll
entsorgt werden. Nicht in die
Kanalisation
gelangen lassen.
.EuropäischesAbfallve
rzeichnis
08 01 11 Farb- und Lackabfälle, die
organische Lösemittel oder andere
gefährliche Stoffe enthalten
. Ungereinigte Verpackungen:
. Empfehlung:
Nur restentleerte Gebinde zum
Recycling geben. Gebinde mit Resten
bei
einer Sammelstelle für Altlacke
abgeben.
14 Angaben zum Transport
. Landtransport ADR/RID und
GGVS/GGVE
(grenzüberschreitend/Inland):
. ADR/RID-GGVS/E Klasse: 3
Entzündbare flüssige Stoffe
. Ziffer/Buchstabe: 31c
. UN-Nummer: 1263
. Verpackungsgruppe: III
. Gefahrzettel 3
. Bezeichnung des Gutes: Farbe
(Terpentin)
. Sondervorschrift: (Fortsetzung auf Seite 5)
D
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gemäß 91/155/EWG - ISO 11014-1
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Handelsname: Rubens
Zwischenfirnis
DR
. Seeschiffstransport
IMDG/GGVSee:
. IMDG/GGVSee-Klasse: 3.3
. Seite: 3372
. UN-Nummer: 1263
. EMS-Nummer: F-E,S-E
. MFAG: 313
. Richtiger technischer Name:
paint (turpentine)
. Lufttransport ICAO-TI und
IATA-DGR:
. ICAO/IATA-Klasse: 3
. UN/ID-Nummer: 1263
15 Vorschriften
. Kennzeichnung nach EWGRichtlinien:
Das Produkt ist nach EGRichtlinien/GefStoffV eingestuft und
gekenn-zeichnet.
. Kennbuchstabe und
Gefahrenbezeichnung des
Produktes:
Xn Gesundheitsschädlich
N Umweltgefährlich
. Gefahrbestimmende
Komponenten zur Etikettierung:
Terpentinöl
. R-Sätze:
10 Entzündlich.
20/21/22 Gesundheitsschädlich beim
Einatmen, Verschlucken und
Berührung mit
der Haut.
36/38 Reizt die Augen und die Haut.
43 Sensibilisierung durch Hautkontakt
möglich.
51/53 Giftig für Wasserorganismen,
65 Gesundheitsschädlich: kann beim
verursachen.
. S-Sätze:
2 Darf nicht in die Hände von Kindern
gelangen.
16 Von Zündquellen fernhalten - Nicht
rauchen.
23 Dampf/Aerosol nicht einatmen.
29 Nicht in die Kanalisation, Gewässer
oder ins Erdreich gelangen lassen.
37 Geeignete Schutzhandschuhe
tragen.
51 Nur in gut gelüfteten Bereichen
verwenden.
62 Bei Verschlucken kein Erbrechen
herbeiführen. Sofort ärztlichen Rat
einholen und Verpackung oder dieses
Etikett vorzeigen.
. Nationale Vorschriften:
. Klassifizierung nach VbF: A II
. Wassergefährdungsklasse (D):
WGK 2 (VwVwS): wassergefährdend.
16 Sonstige Angaben:
Die Angaben in diesem
Sicherheitsdatenblatt entsprechen
unserem gegenwärtigen
Wissensstand und genügen der
nationalen sowie der EGGesetzgebung.
Die gegebenen Arbeitsbedingungen
des Benutzers entziehen sich
jedoch unserer Kenntnis und
Kontrolle. Das Produkt darf ohne
schriftliche
Genehmigung keinem anderen, als
dem in Abschnitt 1 genannten
Verwendungszweck zugeführt werden.
Der Benutzer ist für die Einhaltung
aller notwendigen gesetzlichen
Bestimmungen verantwortlich.
Die Angaben in diesem
Sicherheitsdatenblatt beschreiben die
Sicherheitsanforderungen
unseres Produktes und stellen keine
Zusicherung von
Produkteigenschaften dar.
Ersetzt Datenblatt vom:25.08.2000
Änderungen in Punkt: 1-3, 8, 12, 13,
15 und 16
D
Seite: 6/6
gemäß 91/155/EWG - ISO 11014-1
am: 10.02.2004
Handelsname: Rubens
Zwischenfirnis
DR
. Relevante R-Sätze
10 Entzündlich.
20/21/22 Gesundheitsschädlich beim
Einatmen, Verschlucken und
Berührung mit
der Haut.
36/38 Reizt die Augen und die Haut.
43 Sensibilisierung durch Hautkontakt
möglich.
51/53 Giftig für Wasserorganismen,
65 Gesundheitsschädlich: kann beim
verursachen.
Artists´ Acrylic
Finest
Feinste Künstler-Acrylfarben / Sorte
13
Finest artists´ acrylic colours / Series
13
Brillanz in neuer Dimension
A new dimension in brilliance
23
• Unübertroffenes Titanweiß:
höchste Pigmentierung,
Deckkraft und Ergiebigkeit für
brillante Mischungen
• Griffige Farbe: hoher
Fließwiderstand bei bester
Vermalbarkeit
• Elastische, konturenstabile
Trocknung
• Nahezu keine Farbverschiebung
von nass zu trocken
• Wasserfest und höchst
beständig nach Trocknung
• Ausschließlich 4 und 5 Sterne
Lichtechtheit
• Qualitätssortiment Made in
Germany
• Unmatched titanium white:
highest pigmentation,
opacity and high spreading rate
for brilliant mixtures
• High solids content: high flow
resistance with
excellent painting properties
• Elastic but still solid structures
after drying
• Almost no colour shift after
drying
• Waterproof and highly resistant
after drying
• Exclusively 4 and 5 star rating
for lightfastness
• Quality assortment made in
Germany
PRIMAcryl®
Feinste Künstler-Acrylfarben –
Finest Artists´ Acrylic colours
PRIMAcryl®
Brillanz in neuer Dimension
Die Viskosität der PRIMAcryl®:
Unterschiede und Anwendungen
Das Viskositätsverhalten einer Farbe
bestimmt die Art der
Verarbeitungsmöglichkeit
und somit ihr Einsatzgebiet in der
Malerei.
Die griffige PRIMAcryl® hat mit einer
hohen Viskosität (d.h. einer erhöhten
Pastosität) ein geringes
Fließverhalten, ist äußerst
konturenstabil und eignet
sich neben allen gängigen
Acryltechniken auch ideal für
- das Anlegen von erhabenen
Konturen und Strukturen,
- für Spachteltechniken sowie
- für pastose und texturreiche
Darstellungen.
Die PRIMAcryl® Fluid hat ein
wesentlich stärkeres Fließverhalten
(geringe Viskosität) und dient
insbesondere
- dem Anlegen feiner und ebener
Konturen
- dem Anlegen großer Bildflächen
sowie
- Darstellungen mit flacher Textur.
Wichtig ist: Trotz der
unterschiedlichen
Viskositäten der
PRIMAcryl®-Varianten ist die
Qualität beider Varianten aufgrund
gleicher Konzentration
an Bindemittel und Pigment
identisch.
Beide PRIMAcryl®-Varianten
können mit Wasser (und
gegebenenfalls
Acryl-Bindemittel)
so verdünnt werden, dass sich
die Viskosität bis zu einem gewissen
Grad verändern lässt.
Dies ermöglicht dann auch die
Applikation mit der AirbrushPistole und eröffnet zahlreiche
zusätzliche Verarbeitungstechniken.
Um ein Gefühl für die
unterschiedlichen Viskositäten
und deren Wirkung und Anwendung
zu bekommen, sind
Vorversuche unerlässlich.
The viscosity of Finest Artists’
Acrylic:
Distinctions and applications
The viscosity of a paint determines
the processing options and therefore
their application range in painting.
Through its high viscosity (increased
pastiness) the Finest Artists’ Acrylic
performs with a low flow rate and
extremely high contour stability and is
perfect for all usual techniques and
ideal for
- creating raised contours and
structures,
- spatula techniques and
- paste-like creations that are rich in
texture.
Finest Artists’ Acrylic Fluid has a
much higher flow rate (low viscosity)
and is particularly suitable for
- creating delicate and even contours
- creating large image areas and
- creations with a flat texture.
Important: despite the different
viscosities of the Finest Artists’
Acrylic type variations, the quality
of both variations is identical,
due to the same concentration
of binder and pigment.
Both types of Finest Artists’
Acrylic can be diluted with
water (and if desired, acrylic
binder), so that the viscosity
can be changed to a certain
degree. This also facilitates airbrush
gun application and opens
up many additional application
techniques. In order to get a feel
for the different viscosities and
their effect and application,
preliminary
tests are essential.
Feinste Künstler-Acrylfarben
PRIMAcryl®, die griffig-pastosen
Premium-Acrylfarben von Schmincke,
beinhalten eine reiche und
ausgewogene Palette von 84 feinsten
Farbtönen
in einer großen Gebindevielfalt (35 ml, 60 ml- und 120 ml-Tuben
sowie 237 ml- und 474 ml-Tiegel). Als
PRIMAcryl® Fluid bieten wir zusätzlich
36 farblich identische Töne in bester
weich-fließender Konsistenz an,
bei denen die gleichen feinsten
Künstlerpigmente in gleicher,
maximaler
Konzentration eingesetzt werden (250
ml-Flasche).
Im PRIMAcryl®-Sortiment vereinen
sich alle Vorteile, die eine
anspruchsvolle
Premium-Acrylfarbe überhaupt bieten
kann: PRIMAcryl® verfügt
über eine Auswahl moderner, bester
und beständigster Pigmente und
der überdurchschnittlich hohe
Pigmentgehalt verleiht allen Tönen
eine
Brillanz und Ausdrucksstärke in neuer
Dimension. Das unübertroffene
Titanweiß sucht seinesgleichen. Durch
höchste Pigmentierung, Deckkraft
und Ergiebigkeit sorgt es für
außergewöhnlich brillante
Mischungen.
Die griffige PRIMAcryl® garantiert bei
einem hohen Fließwiderstand
beste Vermalbarkeit. Durch den
extrem hohen Festkörperanteil der
PRIMAcryl® ist eine elastische und
konturenstabile Trocknung
gewährleistet.
Die PRIMAcryl® Fluid ist aufgrund der
geringeren Viskosität deutlich
flüssiger.
Bei PRIMAcryl® kommt es nahezu zu
keiner Farbverschiebung zwischen
nasser und getrockneter Farbe. Die
von Schmincke-Farben gewohnten
höchsten Lichtechtheiten von
ausschließlich 4-5 Sternen zeichnen
diese
Spitzenacrylfarben aus. PRIMAcryl®
ist angenehm im Geruch. Alle
Farben sind gilbungsfrei und die
getrockneten Farbschichten sind
dauerhaft,
flexibel und wasserunempfindlich.
PRIMAcryl® kann direkt aus
der Tube und die PRIMAcryl® Fluid
direkt aus der Flasche pur – beide
aber auch mit Wasser verdünnt –
verwendet werden. Das umfangreiche
Hilfsmittelsortiment mit einer Vielzahl
von Pasten und Effektgelen bietet
weitere kreative Möglichkeiten.
84 Farben in 35 ml und 60 ml
84 colours in tubes 35 ml and 60 ml
36 Farbtöne in 120 ml-Tuben, 237
ml-Tiegeln und als PRIMAcryl®Fluid
in 250 ml-Flaschen
36 colours in tubes 120 ml, jars 237
ml/8 fl.oz. and Finest Artists´
Acrylic Fluid in bottles 250 ml
Schwarz / Weiß in 474 ml-Tiegeln
black/white in jars 474 ml/16 fl.oz.
A new dimension in brilliance
Preisgruppe/Price group
Farbnummer/Colour number
Sortenname/Series name
Farbname/Colour name
Gebindegröße/Size
Um Sie bestmöglich über die
Eigenschaften der
PRIMAcryl® – feinsten KünstlerAcrylfarben zu informieren,
wird jeder Farbton wie folgt
beschrieben:
Zeichenerklärung
To inform you in the best possible
way about
Finest Artists’ Acrylic colours the
following
descriptions are used:
Classification symbols
Lichtechtheit/Lightfastness
H H H H H höchst
lichtbeständig/extremely lightfast
H H H H hoch lichtbeständig/good
lightfastness
Gruppe der Colour Index Namen/
The group Colour Index names
PW = Pigment white PB = Pigment
blue
PY = Pigment yellow PG = Pigment
green
PO = Pigment orange PBr = Pigment
brown
PR = Pigment red PBk = Pigment
black
PV = Pigment violet
Farbton/Colour
lasierend/transparent
halbdeckend/semi-opaque
halblasierend/semi-transparent
deckend/opaque
Deckkraft und
Lasureigenschaften/
Opacity and glazing properties
Finest Artists´ Acrylic
Finest Artists’ Acrylic, the high
viscosity premium acrylic colours by
Schmincke, consist of a rich and wellbalanced assortment of 84 premium
shades in a wide range of containers
(35 ml, 60 ml and 120 ml tubes as
well as 237 ml / 8 fl.oz. and 474 ml /
16 fl.oz. jars). For Finest Artists’
Acrylic
Fluid there are an additional 36
identical shades with a gently-flowing
consistency, for which the same
premium artists’ pigments, in the
same
maximum concentration are used
(250 ml bottles).
In the Finest Artists’ Acrylic
assortment, all possible benefits of
highdemand
premium acrylic paints are united:
Finest Artists’ Acrylic uses
a selection of modern, top-quality and
resistant pigments and the
exceptionally
high pigment content gives all the
shades a new dimension of
brilliance and expressiveness. The
titanium white is unparalleled. Its high
pigmentation, opacity and cover rate
enables incredibly brilliant mixtures.
Finest Artists’ Acrylic guarantees
best applicability with high flow
resistance.
Due to the extremely high solid
content of Finest Artists’ Acrylic,
elastic and contour-stable drying is
guaranteed. Finest Artists’ Acrylic
Fluid
is significantly more fluid due to its
reduced viscosity.
With Finest Artists’ Acrylic, there is
practically no colour shift between
the wet and dry states. The usual
highest light fastness level for
Schmincke
colours of either 4 or 5 stars indicates
the quality of these premium
acrylic paints. Finest Artists’ Acrylic
has a pleasant odour. All the
colours do not yellow and the dried
paint layers are durable, flexible
and water resistant. Finest Artists’
Acrylic can be used directly from
the tube, and fluid can be used
directly from the bottle, both either
undiluted or diluted with water. The
comprehensive assortment of painting
mediums with a wide range of pastes
and effect gels provides further
creative possibilities.
1
2
3
Kraft /Force
Titanweiß/Titanium white
Viskosität /Viscosity
Darstellung des unterschiedlichen
Fließverhaltens von PRIMAcryl® :
neu, alt, PRIMAcryl® Fluid
Illustration of the different flow rates
of Finest Artists’ Acrylic:
new assortment, previous assortment,
Finest Artists’ Acrylic Fluid
123
123
5
PRIMAcryl®
Zeichenerklärung / Classification
symbols 84 Farbtöne in 35 ml- und
60 ml-Tuben / 84 colours in tubes 35
ml and 60 ml
l 36 Farbtöne in 120 ml-Tuben, 237
ml-Tiegeln und als PRIMAcryl®Fluid
in 250 ml-Flaschen / 36 colours in
tubes 120 ml, jars 237 ml / 8 fl.oz.
and
Finest Artists´ Acrylic Fluid in
bottles 250 ml
Schwarz und Weiß in 474 ml-Tiegeln /
black and white in jars 474 ml / 16
fl.oz.
HHHHH höchst lichtbeständig /
extremely lightfast
HHHH hoch lichtbeständig / good
lightfastness
Preisgruppe / Price group
lasierend / transparent
halblasierend / semi-transparent
halbdeckend / semi-opaque
1 deckend / opaque
4
6
PRIMAcryl®
PRIMAcryl®
Weißausmischungen
Das PRIMAcryl®-Sortiment enthält
drei Weißtöne für unterschiedliche
Anwendungen
und Wirkungen. Neben der puren
Anwendung der Weißtöne
eignen sie sich auch hervorragend für
Mischungen mit unterschiedlichen
Resultaten. Anhand von 5
Standardtönen lassen sich diese
Unterschiede
im Mischverhalten gut darstellen:
Titanweiß hat die mit Abstand höchste
Aufhellwirkung, bei Zinkweiß bleibt
der Farbtoncharakter am stärksten
erhalten und das Strukturweiß sorgt
bei mittlerer Aufhellung für stärkere
Werkspuren.
Mischungsverhältnis jeweils 1:1
Zinkweiß (13 100): Halblasierendes
Weiß. Ideal zum dezenten Aufhellen
von
Bunttönen, da der Bunttoncharakter
erhalten bleibt.
Titanweiß (13 101): Unübertroffen
durch höchste Pigmentierung,
Deckkraft
und Ergiebigkeit. Reines Weiß mit
starkem Deck- und Färbevermögen.
Strukturweiß (13 102):
Konsistenzstützendes Reinweiß für
feine Reliefs,
halbdeckend, mit geringem
Färbevermögen.
Pigment/Farbtonklassifizierungen
Neben der rein coloristischen
Betrachtung von Farben lohnt auch
ein Blick
auf die entscheidende Komponente
einer Farbe – das Pigment. Die in
der PRIMAcryl® verwendeten
Pigmente sind organischen und
anorganischen,
synthetischen und natürlichen
Ursprungs in bester Künstlerqualität.
Die Farbpalette der PRIMAcryl®
basiert auf den klassischen sowie den
modernsten verfügbaren Pigmenten
und orientiert sich an den gängigen
professionellen Maltechniken. Die
eingesetzten Pigmente entscheiden
über den Farbton, die Deckfähigkeit
und die Lichtechtheit einer Acrylfarbe.
Die Pigmentklassifizierungen geben
Ihnen einen Überblick über die in
der PRIMAcryl® vertretenen Farben
der jeweiligen Pigmentklasse. So
enthält das PRIMAcryl® -Sortiment
beispielsweise 7 Kadmium-Töne, je 5
Töne mit Kobalt, Phthalocyanin,
Chinacridon usw. In der Rubrik
Farbtonklassen
sind die in der PRIMAcryl®
verwendeten historischen Farbtöne,
die Erd- sowie die Weißtöne und die
Grau-Schwarz-Reihe auf einen Blick
zusammengestellt.
Die folgende Abbildung zeigt eine
Auswahl von besonderen Pigmenten
und Farbtönen, die das
Gesamtsortiment (84 Farben)
beinhaltet:
Titanium white (13 101):
Unbeatable due to very high
pigmentation,
opacity and cover rate. Pure white
with great cover and tinting capacity.
Heavy body white (13 102):
Consistency-enhancing pure white for
delicate
reliefs, semi-transparent with low
tinting capacity.
Pigment /colour classifications
Along with the purely shade-related
view of colours, it is worth taking a
look at the key component of a colour
- the pigment. The pigments used
in Finest Artists’ Acrylic are of
organic and inorganic, synthetic and
natural
origin and are of top artist quality.
The Finest Artists’ Acrylic colour
selection is based on the classic as
well as the latest available pigments
and is designed for the most
commonly used professional painting
techniques.
The pigments used determine the
shade, the opacity and the light
fastness of an acrylic colour.
The pigment classifications provide an
overview of the available Finest
Artists’ Acrylic colours in the
respective pigment class. For
example,
this shows that the Finest Artists’
Acrylic assortment contains seven
cadmium colours, five shades each
with cobalt, phthalocyanine,
quinacridone
etc. The colour code section contains
the traditional shades used in
Finest Artists’ Acrylic plus earth
tones, white tones and the grey-black
series, summarized at a glance.
In the following we show a selection
of special pigments and colour
codes included in the assortment (84
colours):
White mixtures
The Finest Artists’ Acrylic
assortment contains three white
shades for
various applications and effects. In
addition to being used in their pure
form, the white shades are extremely
suitable for mixtures with a variety
of results. Based on five standard
shades, the differences in their
mixing characteristics can be clearly
displayed: Titanium white has by
far the highest brightening effect.
With zinc white, the shade’s character
is the most strongly preserved. Heavy
body white provides moderate
brightening for more pronounced
strokes.
Mixing ratio always 1:1
Zinc white (13 100): Semitransparent white. Ideal for subtle
brightening of
bright shades because the bright
shade character is preserved.
Titanweiß
Zinkweiß
Zinc white
Titanium white
Strukturweiß
Heavy body white
7
PRIMAcryl®
Das Malkasten-Sortiment
Painting set assortment
95 413 01.12/20
H. Schmincke & Co. GmbH & Co. KG ·
Feinste Künstlerfarben / Finest artists’
colours
Otto-Hahn-Str. 2 · D - 40699 Erkrath ·
Tel. / Phone +49 (0)211/ 25 09 - 0
www.schmincke.de ·
info@schmincke.de
Art.-Nr. / Art.-No. 73 515
PRIMAcryl® Finest Artists’ Acrylic
Holzkasten, 15 x 35 ml + 3 x
Malmittel + 2 Pinsel
Wooden set, 15 x 35 ml + 3 x
mediums + 2 brushes
Farben / Colours: 101, 205, 211, 212,
317, 322, 326, 433,
437, 439, 563, 566, 675, 679, 793
Malmittel / Mediums: 50 540, 52 550,
50 585
s
Acryl-Hilfsmittel-Broschüre /
Acrylic mediums brochure
Art.-Nr. / Art.-No. 73 208
Grundsortiment, Kartonset, 8 x 35 ml
Basic colour assortment, cardboard
box, 8 x 35 ml
Farben / Colours: 101, 205, 317, 326,
433, 563, 679, 793
s
Art.-Nr. / Art.-No. 73 002
Grundsortiment, Kartonset, 8 x 60 ml
Basic colour assortment,
cardboard box, 8 x 60 ml
Farben / Colours:
101, 205, 317, 326, 433, 563, 679,
793
Art.-Nr. / Art.-No. 73 001
Kartonset, 8 x 35 ml + 1 x 60 ml
Titanweiß
Öko-Pinselreiniger 50 052 + 2 Pinsel
cardboard box, 8 x 35 ml +
1 x 60 ml titanium white +
eco brush cleaner 50 052 + 2 brushes
Farben / Colours:
100, 209, 318, 328, 330, 439, 675,
792
ss
Aufgrund der großen Schmincke
Hilfsmittelvielfalt für die
Acrylmalerei gibt
es hierzu die Acryl-HilfsmittelBroschüre (Art.-Nr. 95 260), die
Sie bei Ihrem
Fachhändler oder von Schmincke
direkt erhalten können.
Alle Acrylfarben können ohne den
Einsatz von Hilfsmitteln verwendet
werden. Dennoch können Sie
einzigartige Effekte mit Hilfe von
AcrylHilfsmitteln erzielen. Schmincke hat
daher ein mit 33 Produkten sehr
umfangreiches
Acryl-Hilfsmittel-Programm für
folgende Produktgruppen entwickelt:
• Grundierung
• Verarbeitung / Gestaltung: Gele und
Pasten,
Malmittel und Additive
• Schlussbehandlung
Bitte fordern Sie unsere AcrylHilfsmittelbroschüre an!
Due to the large variety of
mediums for acrylic painting,
Schmincke offers a
detailed brochure for this topic
(Art-No. 95 260) which you can
obtain from
your retailer or directly from
Schmincke.
All acrylic colours can be used without
additional mediums but unique effects
can
be achieved with acrylic painting
mediums. Schmincke has thus
developed a comprehensive
acrylic painting mediums program for
unlimited creativity, comprising
Mowiol, zur Erhöhung der
Wasserfestigkeit beitragen.
67700 – 67790 Fa. Kremer
Mowiol
Eigenschaften und Einsatzgebiete
Die Mowiol-Typen bestehen aus
Polyvinylalkohole (PVAL) mit
unterschiedlichem Polymeristaionsund Hydrolysegrad. Polyvinylalkohole
sind wasserlösliche Polymere, die
durch Alkoholyse von Polyvinylacetat
hergestellt werden.
Die Eigenschaften der verschiedenen
Typen werden im wesentlichen durch
das Molekulargewicht und den
verbleibenen Anteil an Acteylgruppen
bestimmt. Man unterscheidet
zwischen teil- und vollhydrolysierten
Polyvinylalkoholen.
Die ausgeprägte Kohäsion und die
gute Adhäsion von PVAL zu Fasern,
Füllstoffen und Pigmenten bewirken,
dass alle Mowiol-Typen sich durch
hohe Klebkraft und gutes
Pigmentbindevermögen auszeichnen.
Diese Eigenschaften verstärken sich
mit steigendem Molekulargewicht, bei
Mowiol ausgedrückt durch die Angabe
der Viskosität der 4%igen Lösung in
der ersten Zahl der
Typenbezeichnung.
Ermöglicht wird das Adhäsions/Kohäsionsverhalten und durch eine
Reihe weiterer spezifischen
Eigenschaften die Herstellung von
ungefüllten bis hochgefüllten
Klebstoffen für verschiedene
Einsatzgebiete.
Eigenschaften von Mowiol-Filmen:
Die Eiegnschaften von Mowiol-Filmen
werden vor allem durch den MowiolTyp bestimmt.
Die Wasserfestigkeit der getrockneten
Filmen aus Mowiol steigt mit
zunehmendem Molekulargewicht und
Hydrolysegrad an.
Ducrh Wärmebehandlung eines, z.B.
bei einer Temperatur von 120° C
getrockneten Films, kann die
Wasserfestigkeit noch erhöht werden.
Eine weitere Möglichkeite besteht
darin, der Mowiol-Lösung Säuren wie
Orthophosphorsäure oder Salze wie
Ammoniumchlorid oder Natrium- bzw.
Ammoniumbichromat in einer Menge
von ca. 5% bezogen auf Mowiol
zuzusetzen. Auch Aldehyde, z.B.
Formaldehyd oder Glyoxal sowie
Harnstoff-Formaldehydharze und
Melamin-Formaldehydharze können in
Mengen von 10-20% bezogen auf
UV-Bestrahlung des getrockneten
Mowiol-Films begünstigt ebenfalls die
Wasserfestigkeit.
Weichmacher für Mowiol sind
Glycerin, Neopentyglykol,
Trimethylolpropan, Ethylenglykol, Diund Triethylenglykol sowie
Polyethylenglykole bis zu einem
Molekulargewicht von ca. 400 in
Mengen bis 30% bezogen auf Mowiol.
Mowiol als Klebrohstoff:
Mowiol wird, ähnlich wie die
Naturprodukte z.B. Casein und Stärke
und deren Abbauprodukte (Dextrin)
als Rohstoff zur Herstellung von
wässrigen Klebrohstofflösungen
verwendet.
Gegenüber Dextrinen und Casein zeigt
Mowiol den Vorteil einer chemisch
einheitlicheren Struktur und hoher
Klebkraft bei minimalem
Rohstoffeinsatz.
Wasseraktivierbare Klebstoffe:
Wiederanfeuchtbare Klebstoffe
werden vorwiegend in der
papierverarbeitenden Industrie
eingesetzt. Bekannte Einsatzgebiete
sind hier die rückseitige Gummierung
von Papieren (Briefmarken, Etiketten)
und die Ausrüstung der
Verschlussklappen von Briefkuverts
und Versandtaschen aller Art.
Aus dem Mowiol-Sortiment eignen
sich hierfür besonders die
teilhydrolysierten, niedrig- nis
mittelviskosen Mowiol-Typen, z.B.
Mowiol 4-88 (67760). Für die
Herstellung des Klebstoffes werden, ja
nach Anforderung an die Viskosität,
bis zu 30%ige Mowiol-Lösungen
verwendet, zweckmässigerweise unter
Zusatz eines Konservierungsmittels
und eines Entschäumers.
Durch Zugabe von Alkoholen oder
Kunstsoff-Dispersionen wie Mowilith
DMC 2 kann die Trocnung des
Klebstoffes beschleunigt werden. Die
Trocknungstemperatur muss
möglichst niedrig liegen und darf ca.
130° C nicht überschreiten, da sonst
die Aktivierbarkeit der getrockneten
Beschichtung beeinträchtigt werden.
Die Offene Zeit des Klebstoffes ist
vom verwendeten Mowiol-Typ
abhängig. Mit steigender Viskosität
nimmt sie ab.
Bei einem Auftrag von ca. 10 g Mowiol
4-88 fest pro m2 lassen sich sehr gut
wiederanfeuchtbare Beschichtungen
herstellen, die folgende Vorzüge
aufweisen:
•
gute Planlage während des
Lagerns unter Einwirkung
wechselnder
Luftfeuchtigkeiten
•
farblos, flexibel
•
minimale Blockneinung,
auch bei hoher
Luftfeuchtigkeit
•
schnelles Abbinden nah
Reaktivierung
Nassverklebung:
Höherviskose und vollhydrolisierte
Polymerisate wie Mowiol 20-98
(67790), 28-99, 35-99 und 56-99
werden bevorzugt, wenn
kaltwasserbetsändige Verklebungen
erreicht werden sollen. Einsatzgebiete
sind hier die Herstellung von
speziellen Papierlaminaten (Pappen),
Spiralhülsen und
Verpackungsverschlüssen, wobei die
höherviskosen und vollhydrolierten
Mowiol-Typen gewöhnlich auch eine
höhere Nassklebrigkeit ergeben.
Wässrige Klebstoffe auf Basis Mowiol
können auch mit Füllstoffen wie China
clay gestreckt werden, wobei im Falle
der Spiralhülsenwicklung oder bei
Planverklebungen von Papier und
Karton selbst bei einem Verhältnis von
ca. 2 GT Füllstoff auf 1 GT Mowiol
noch feste Verbunde erzielt werden.
Modifizierung von
Dispersionsklebstoffen:
In Form seiner wässrigen Lösungen
kann Mowiol vorwiegend
Polyvinylalkohol-stabilisierten
Kunststoff-Dispersionen zugesetzt
werden, wodurch folgende Effekte zu
erreichen sind:
•
Verlägerung der Offenen
Zeit
•
Erhöhug der
Abbindegeschwindigkeit
•
Beeinflussung der Rheologie
Die Offene Zeit ist von grosser
Bedeutung, z.B. bei der
handwerklichen und maschinellen
Verklebung und Papier.
Bei einer Reihe von KunsstoffDispersionen wie Mowilith D wird
durch Zusatz von Mowiol-Lösung die
Abbindegeschwindigkeit teilweise
erheblich gesteigert. Bewährt haben
sich hierbei Zusätze bis zu 10% einer
ca. 15%igen Lösung von Mowiol zu
der Kunststoff-Dispersion.
Die Auswahl des Mowiol-Typs richtet
sich in erster Linie nach der
erforderlichen Viskosität des fertigen
Klebstoffs.
Wegen der besseren
Lösebedingungen sin im allgemeinen
die Mowiol-Typen aus der
teilhydrolysierten Reihe vorzuziehen.
Bei Dispersionsklebstoffen, die zur
Verarbeitung auf Anleimgeräten
mittels Tauchrad oder Walze geeignet
sind, wirkt sich der Zusatz von
Mowiol-Lösungen dahingehend
vorteilhaft aus, dass eine während der
Verarbeitung auftretende Hautbildung
weitgehend verhindert wird.
Die Kombination von Mowiol-Typen ist
auch mit cellulosestabilisierten
Polyvinylacetatdispersionen möglich.
Die Lagerstabilität ist zu prüfen.
Mowiol als Schutzkolloid:
Mowiol-Typen, vorzugsweise des
teilhydrolisierten Bereichs, werden als
Schutzkolloid bei der
Emulsionspolymerisation von
Kunststoff-Dispersionen eingesetzt.
Aufgrund ihrer Verankerungsfähigkeit
auf der Oberfläche der sich bildenden
Polymerpartikel begünstigen sie die
Stabilisierung der KunststoffDispersion bei und nach der
Polymerisation und beeinflussen
neben der Teilchengrössenverteilung
auch in weiten Bereichen die
anwendungstechnischen
Eigenschaften wie Viskosität,
Rührstabilität,
Frost/Tauwechselbeständgkeit,
Pigmentverträglichkeit,
Elektrostabilität, Offene Zeit u.a.
Mowiol als Bindemittel für textile
Schlichten
Gutes Penetrationsvermögen und
guite Adhäsionseigenschaften bei
Fasermaterialien aller Art sind
Grundlage für die Verwendung von
Mowiol als Binder in Schlichten. Die
ausgezeichneten Filmeigenschaften
wie hohe Kohäsion und Zähigkeit, die
geringe elektrolytische Aufladung und
die Wiederauflösbarkeit des
getrockneten Films in Wasser runden
das Bild ab.
Verarbeitung
Herstellung von Mowiol-Lösungen:
Mowiol wird im Klebstoffsektor wie in
den meisten Anwendungsbereichen
als wässrige Lösung verarbeitet. Sie
sollte in korrosionsfesten Behältern
hergestellt werden.
Zunächst wird Mowiol unter Rühren in
kaltes Wasser eingestreut und
anschliessend auf 90-95° C bis zur
vollständigen Lösung im Wasserbad
oder durch Einleiten von Wasserdampf
erwärmt.
Zur Vermeidung von Hautbildung ist
die Lösung unter Rühren abzukühlen.
Die teilhydrolysierten Mowiol-Typen
lösen sich in Wasser erheblich
schneller als die vollhydrolysierten. Mit
steigender Temperatur nimmt die
Geschwindigkeit des Lösevorgangs zu.
Mit zunehmender Molekülgrösse
(steigender Viskosität der 4%igen
wässrigen Lösung) sinkt die
Lösegeschwindigkeit sowohl im teilals auch im vollhydrolysierten Bereich.
Der Lösevorgang wird auch beim
Übergang zu höheren Konzentrationen
erschwert. Deshalb auch die
Herstellung einer höher
konzentrierten, z.B. 30%igen Mowiol
4-88-Lösung bei Temperaturen von
90-95° C vorzunehmen.
Beim Rühren von
Polyvinylalkohollösungen und während
des Transports in Rohrleitungen kann
sich Schaum bilden. Eine geeignete
Rührerform, z.B. ein lagsamlaufender
Ankerrührer, oder die Vermeidung von
Fallstrecken kann dies weitgehend
verhindern.
Als Entschäumer sin n-Octanol,
Tributylphosphat, ®Dehydran 132 und
®
Antispumin 450, die in Mengen bis
ca. 0,1% - bezuogen auf die Lösung eingesetzt werden, geeignet.
Längere Zeit gelagerte
Polyvinylalkohollösungen können
einen Viskositätsanstieg zeigen. Dies
gilt im besonderen für
vollhydrolysierte Typen bei höheren
Konzentrationen und niedrigen
Temperaturen. Durch Erwärmen und
Rühren kann die ursprüngliche
Viskosität wieder hergestellt werden.
Konservierung
Mowiol kann, wie jeder
Polyvinylalkohol in wässriger Lösung,
unter bestimmten Voraussetzungen
von Mikroorganismen befallen
werden. Im sauren pH-Bereich der
Lösung überwiegt die Vermehrung der
Spaltpilze, während Bakterien durch
neutrals bis schwach alkalisches
Medium in ihrem Wachstum
begünstigt werden.
Ein Befall durch Mikroorganismen
kann durch Beimischen eines
Konservierungsmittels verhütet
werden, z.B. CA 24 sowie die
®
Mergal-Typen K9N und K11. Die
Dosierung hängt von der
Konzentration der Lösung, der
Lagertemperatur sowie der
Infektionsart und -stärke ab. Im
allgemeinen genügen Mengen von ca.
0,01-0,2 Gew.-%. Verträglichkeit und
Wirksamkeit sind zu prüfen.
Es empfiehlt sich, das Ansetzen und
die Lagerung der Mowiol-Lösung in
sauberen Behältern vorzunehmen. Im
Hinblick auf die mögliche Resistenz
einiger Mikroorganismen gegenüber
den angewandten
Konservierungsmitteln sollten
insbesondere die Lösekessel samt
Abfüllvorrichtung (Rohre, Ventile,
Schläcuhe usw.) sauber gehalten
werden. Häute und Verkrustungen
sind zu entfernen, die Behältnisse von
Zeit zu Zeit mit verdünnter
Formaldehydlösung zu behandeln. Bei
Schwierigkeiten ist auch ein Wechsel
der Konservierungsmittel zu erwägen.
Gewisse Anwendungsgebiete für
Mowiol in Lösung (kosmetische
Präparate, Finderfarben und dgl.)
erfordern den Einsatz von
zugelassenen, physiologisch
einwandfreien Konservierungsstoffen.
Hier sind in jedem Falle die
entsprechenden gesetzlichen
Vorschriften zu beachten.
Lagerung
Mowiol ist in Originalgebinden ebi
sachgemässer Lagerung d.h. in
geschlossenen und trockenen Räumen
bei Raumtemperatur mindestens 2
Jahre lagerfähig.
VI
Selection of photographs on the site
Heaven is a place on earth?!
(the ceiling of the Chinese Tea House at Oranienbaum Palace)
VII
Press coverage: newspaper cuttings/ internet etc.
Internet presentation of the Summer School by Kulturstiftung DessauWörlitz/ all rights reserved
www.gartenreich.com/de/presse_bilder/.../summerschool12.html
Mitteldeutsche Zeitung MZ: Zweite Restaurations Summer School auf Schloss Oranienbaum
Zweite Restaurations Summer School von neun deutschen und holländischen Studenten in der Kulturstiftung auf
Schloss Oranienbaum: Aafke Weller und Roos Keppel. (MZ-FOTOS: THOMAS KLITSCH)
Neun Studenten und viel Gips
RESTAURIERUNG Summer School arbeitet im China-
Zimmer in Oranienbaum.
VON ILKA HILLGER
ORANIENBAUM/MZ - Das Holz ist schöner Schein. Schön freilich auch
nur noch an wenigen Ecken. Nach mehr als 200 Jahren hat der Zahn der
Zeit am Imitat aus Gips genagt. Wo an einer Stelle Bemalung eine
Holzmaserung vorgaukelt, klafft gleich daneben ein Loch, liegen
Gipsbruchstellen frei. Das chinesische Zimmer im Schloss Oranienbaum
braucht eindeutig eine Auffrischung - und bekommt sie in diesem Sommer.
Dieser Tage ist der Raum, gleich neben dem Schlossportal, in grelles
Schweinwerferlicht getaucht. Ein Baugerüst nimmt eine Wand ein. Leitern
stehen im Raum. Auf Gerüst und Leitersprossen sitzen und stehen junge
Frauen, andere hocken auf dem Boden - und alle haben identisches
Handwerkzeug in den Händen: einen Gipsnapf und Skalpelle. Die Summer
School der Kulturstiftung Dessau-Wörlitz ist bei der Arbeit. Neun
Studierende - darunter nur ein Student - aus den Niederlanden und aus
Deutschland nehmen seit dem 6. August und noch bis zum Monatsende an
dieser Restaurierungskampagne teil, die die Stiftung zum zweiten Mal
initiiert hat.
2011 nahmen sich Studenten bereits des ersten chinesischen Zimmers im
Schloss an. Jetzt ist dort ein improvisierter Schreibtisch aufgebaut. Am
Notebook entsteht die Dokumentation des aktuellen Projektes. Just in
diesem Zimmer saßen erst im Juni die niederländische Königin und der
Bundespräsident anlässlich ihres Besuches zur Eröffnung der Ausstellung
"Dutch Design". Studenten erzählten ihr damals von der Summer School.
"Die Restaurierung des Schlosses ist für die niederländische Königin von
größter Bedeutung", registrierte Wolfgang Savelsberg, Abteilungsleiter
Schlösser und Sammlungen bei der Stiftung. So arbeitet man nun im
königlichen Sinn: Ihre Majestät ist Schirmherrin der Schlossrestaurierung.
Eine andere Hoheit, Fürst Leopold III. Friedrich Franz von Anhalt-Dessau,
sorgte für das heutige Aussehen dieser unteren Räume im Schloss. Im Sitz
seiner Urgroßmutter Henriette Catharina gestaltete er diese Zimmer im
chinoisen Stil. "Es sind die einzigen Räume im Schloss, die vollständig
überkommen sind. Wir haben dafür sogar noch das originale Mobiliar",
berichtet Savelsberg. Das ist derzeit jedoch sicher verwahrt, denn die
Studenten, die Restauratoren werden wollen, brauchen Platz für ihre Arbeit.
"Bei der Summer School wird nicht nur gelernt, sondern auch Hand
angelegt." Gestern sind die Schadstellen am Stuck und den Bordüren fast
allesamt ersetzt.
Für Stuckateurin Henriette Hesse ist das fast Routinearbeit gewesen. "Teile
gießen, ankleben und nachbearbeiten habe ich gelernt", sagt die junge Frau,
die nun noch das Restauratorenhandwerk erlernt. Das Retouchieren, das in
den kommenden Tagen ansteht, mache einen großen Teil des
Restauratorenberufes aus. In Oranienbaum soll es ganz vorsichtig passieren.
Restaurator Robert Hartmann spricht von einer behutsamen farblichen
Anpassung der neuen Gipselemente an den Bestand. "Wir werden uns
Schritt für Schritt dem idealen Zustand nähern." Allzu neu soll es im ChinaZimmer nämlich nicht aussehen. Laut Savelsberg sei dies eine sich
durchsetzende Restaurierungsethik. "Wir wollen, dass die Studenten diese
Philosophie verstehen, aber auch am Ende ein Ergebnis sehen." Das indes
soll sich für den Betrachter so darstellen, dass die Spuren der Zeit noch
abzulesen sind. "Uns wurde geraten, nicht Zuviel zu machen und die
Einzigartigkeit in Oranienbaum zu bewahren", sagt Hartmann.
Zu viel kann man im Oranienbaumer Schloss ohnehin nicht machen, denn
dessen Restaurierung wird sich noch über Jahre ziehen und geht im
nächsten Bauabschnitt im Treppenhaus und am Altan weiter. Vielleicht
dann auch wieder mit einer Summer School. Wolfgang Savelsberg hofft,
dass es im kommenden Jahr eine dritte Auflage gibt. Spenden und die
Unterstützung durch Sponsoren, die es für diesen Sommer gab, braucht es
jedoch noch einmal, wenn Studenten erneut ins Schloss kommen sollen.
Mitteldeutsche Zeitung vom 16.08.2012#DES Seite 2 von 2
http://epaper.mz-web.de/epaper2/mz/forms/page.htm 17.08.2012
Super Sonntag Lokalanzeiger, 2012 August 19th, front page
Super Sonntag Lokalanzeiger, 2012 August 19th, front page, detail

2012 - Conservation and Restoration of Cultural Heritage

Transcription

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