Melnik Oksana P. — Restorer of metal works of the first category; The State Vladimir and Suzdal museum-reserve
E-mail: melnik@vladmuseum.ru

The article is devoted to the restoration of the kiot (large) of the icon “Our Lady of Korsunskaya” with the number B-6300/2806, in particular to one of its detail which is a stamped stripe with an inscription decorated with blue enamel. The decoration of the icon “Our Lady of Korsunskaya” has undergone significant changes in its long history in terms of icon framing and kiots, which is reflected in written sources. In 2024 the large kiot was taken over for restoration. After removing the metal from the wooden base, the condition of the metal (old — new) became clear. This information made it possible to correlate historical information about early restoration interventions with the actual condition of the metal and verify the accuracy of the information. For a deeper study of the object, a study of metal and decorative materials was conducted at the State Research Institute for Restoration. In this article we propose to consider the detail of the decoration of the kiot — the embossed stripe, and specifically — the inscription. Until recently, the strip was not given due attention, all sources reported only that the script was embossed on a kanfarenny (dented) background. However, upon closer examination, it turned out that the letters were decorated with dark blue enamel, although they were not visible due to heavy contamination. After dismantling the metal of the kiot, we were able to study the embossed strip, its front and back sides separately, both visually and with the help of special equipment. Based on the research results, a plan of restoration was developed, according to which restoration work was carried out. Natural science research and its results, carried out on special equipment in a specialized institution, multiply the information base of the object and significantly facilitate the preparation of a restoration plan.

Kiot (large), XVI century, losses, enamels, natural science research, conclusions, restoration, reconstruction.

Metik Sofya A. — Restorer of museum storage metal works of the third category; International Restoration Center, Restorer of metal works of the metal works restoration workshop
E-mail: info@gaukmcr.ru

In this publication, the author offers to get acquainted with his experience in the restoration of four museum objects created in the period from the second quarter of the XVIII to the end of the XIX centuries. By the example of the presented objects, the information is provided on approaches and techniques for the restoration of enamel, ferrous, non-ferrous, precious metals and coatings. It describes such problems as study of museum objects in the absence or inaccuracy of attribution, as well as the search and systematization of the data obtained. The results of a comparative X-ray fluorescence analysis of enamel coating performed in a variety of techniques are presented. The main defects of enamel and metal, identified when describing the condition of objects, and possible causes of their appearance, both at the manufacturing stage and during their use, are described. The influence of destructive processes on related materials and the dependence of these processes are considered. The author focuses on the selection of restoration methods, the order of restoration measures and the choice of restoration materials and tools for correcting defects in the metal base, consolidating the enamel coating, and filling the losses. Special attention is paid to the issue of the permissibility of using irreversible materials in practice during enamel restoration, alternative materials allowed for use are considered, in accordance with restoration principles.

Enamel, metal, museum restoration, attribution, research, methodology, restoration, X-ray fluorescence analysis.

Pak Vera F. — PhD in Art History; the State Museum-reserve “Rostov Kremlin”, Head of the Miniature on enamel (finift) Sector of the Art Department
E-mail: dyumon_pak@mail.ru

The State Museum-reserve “Rostov Kremlin” has the richest collection of the Rostov miniature on enamel in terms of volume. The question of its studying and preserving stands on the first place. After noticing the appearance of plaque on some works of the second half of the twentieth century, the museum addressed to the famous artist-technologist and experimenter, Honorary Artist of Russia A. G. Alekseyev, who sent the samples to the head of the scientific research sector of the main funds of the Fersman Mineralogical Museum L. A. Pautov. They suggested possible reasons and gave recommendations: to place the objects in vacuum or to put the material named “ascarit” in the display cases. The first recommendation is very expensive, and the second one, because of its novelty, must be tested and approved for use in museum practice. Studying the archival materials, we noticed that as early as 1906, Rostov received paints made for porcelain decoration. Previously, it was believed that paints from the Dulevo porcelain factory appeared in Rostov only after the World War II of 1941 – 1945, but according to the archival data given in this article, paints were purchased from Dulevo already in the 1920s. In the 1950s turpentine oil was replaced with non-drying mineral (turbine) oil M 8. It is quite possible that this circumstance further contributed to the appearance of plaque on the enamel. New archival information can help to find rational and effective ways to solve in the future the range of problems arising in the preservation of the Rostov miniature on enamel.

Rostov miniature on enamel, painting on enamel, degradation, new archival records, Dulevo porcelain manufacture in Rostov paints, L. A. Pautov's research, experience of the People's Artist of the Russian Federation A. G. Alekseev.

Fedorova Marina M. — candidate of cultural studies; Yaroslavl Museum-Reserve, custodian of museum items
E-mail: yarkremlin.yaroslavl@yarregion.ru

The article deals with the issues of changes in the first quarter of the XX century in the technology and materials used in the art craft — Rostov miniature on enamel. The subject of the study are works of painting on enamel of this period from the collection of the Yaroslavl Museum-Reserve, as well as modern sources and literature. The article reflects the activities of state and local authorities aimed at preserving the crafts. Special attention in the article is paid to the work of ceramics specialists at the crafts — the activities of technologist A. M. Sokolova and artist S. V. Chekhonina. A. M. Sokolov, a Professor at the St. Petersburg Practical Technological Institute, studied the technology, equipment and materials used in the fishery. He proposed to develop enamel primer for painting and to organize a training workshop in Rostov, which would have special ovens for enamel firing and supply masters with necessary materials. Established in 1912, the training and office school was run by S. V. Chekhonin from 1914 to 1917 by appointment of the Ministry of Agriculture. The result of his activities were the works of students of the school, presented in the article. On the basis of published reports, compiled by persons interested in the problem, and visual analysis of works made by pupils of the Rostov educational and demonstration miniature on enamel school, preliminary conclusions are made about the changes in technology and materials that took place in the craft in the late tens and early twenties of the XX century.

Rostov miniature on enamel, enamel painting, icon, educational and demonstration school, craft, artisanal committee, Professor A. M. Sokolov, artist S. V. Chekhonin.

Chernykh Maria V. — Restorer of decorative and applied art items made of metal of the second category; Solvychegodsk Historical and Art Museum-Reserve, Restorer of metal works of the Department of Storage
E-mail: mult8@yandex.ru

The collection of the Solvychegodsk Museum-Reserve contains church utensils dating back to the 18th century, made using the hot enamel technique with silver inserts — lamps, frame parts, and an icon. Presumably they were made by craftsmen from Solvychegodsk or Veliky Ustyug. The items have a similarly condition: cracks and chips in the enamel, loss of silver overlays, weak adhesion of copper to enamel, deformations and corrosion of copper alloys. Together with restorers from the metal restoration department of the State Research Institute for Restoration, a basic method for restoring the items was determined, which was successfully applied when performing restoration work with some individual modifications for each item. As a result of the work, research was conducted on the history of the existence of objects, technological manufacturing techniques used by 18th century craftsmen, including the manufacture of a copper base, the application of enamel, the fusing of overlays, and the firing of objects. It was determined that the base was made using the punching technique, then the object was covered with enamel. In the penultimate firing, the overlays were fused, and in the last firing, transparent colored enamel was applied to the overlays. Methods have been developed for correcting deformations of objects with enamel coating, complicated by the fragility of the enamel coating, cleaning from dirt and oxides, using acids and salts that react little or do not react with enamel coatings; strengthening of enamel and silver overlays, conservation of objects and their further storage.

Copper alloy, lamps, enamel, restoration, research, technology, preservatione.