Slajd 1

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Consolidation, stabilisation and reinforcement of
polychromed wooden artefacts in Warsaw Academy
of Fine Arts, Faculty of Conservation and
Restoration
Elzbieta Jezewska, Krzysztof Chmielewski
Inter-academy Institute of Conservation and
Restoration of Works of Art, Warsaw Academy of
Fine Art
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• From our (conservators) point of view
  consolidation, stabilisation and reinforcement of
  wood is
• structural impregnation that is impregnation
  with resinous solutions (local, partial or total)
• transfers of paint layer to a new support
  (total/partial, temporary)
• inserts of new wood releasing stresses and
  defects filling (putties, wood)

What are we dealing with?

• bad state of condition (less harmful when the
  object is untouched by conservators
• previous conservations

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Reflected light
UV fluorescence
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After conservation
The layer of wax on the back side of the panel,
during conservation
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Fragments of the wooden polychromed ceiling from
the church in Boguszyce. Dark stains caused by
PVA retouches and glue.
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PRESENT DAY
Mostly methods of local or partial impregnation.
That is brushing, injections and partial
impregnation by immersion.
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The sculpture after conservation.
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1,08 m
Mother Mary and Child, Front and rear side of the
painting before conservation.
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Wooden support taken apart to separate planks
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After conservation
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Drastic examples
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Total transfers
Twelve Great Feasts, 19th century icon
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The back of the painting. One crossbeam is
missing.
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Saint Nicolaus russian icon from 19th century
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After facing with japanese tissue the paint layer
was detached from damaged wooden support.
Detaching of faced paint layer.
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After conservation. The paint layer transferred
to a new support. The backside of the original
painting with an inscription kept glued onto the
backside of the new support.
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Interventions on the backside of original support
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Ascension, 1st half of 18th century
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After conservation
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Minor interventions
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Thank you for your attention