Aleshkina Ekaterina V. — conservator of oil paintings of the 1st category; the State Research Institute for Restoration, Head of the Department of Scientific restoration of easel oil paintings
E-mail: ales-katya@mail.ru

Grebenschikova Aleksandra B. — conservator of oil paintings of the 1st category; Interregional Scientific and Restoration Art Department, conservator of art
E-mail: shuuusha@yandex.ru

Ivanova Yulia — Ph.D., The State Research Institute for Restoration, Leading Researcher.
E-mail: vostrapeppa@gmail.com

Removing of lipid-containing layers from paintings that have weakened and / or degraded paint layers, without preliminary consolidation is described. We propose a new method of cleaning easel oil painting and fresco-tempera wall painting by using aqueous solutions of different composition loaded in gels. Utilization of the system composed of carrying gel / cleaning solution avoids preliminary overall stabilization of painting, i. e. the process in which both the painting layers and contaminations are fixed and stabilized thus complicating subsequent cleaning. As an example we present results of a pilot cleaning of oil painting and fresco-tempera wall painting utilizing water solutions of detergents loaded in polyvinyl alcohol cryogels. We analyze advantages and disadvantages of the cleaning complex “water solution / gel” and outline probable ways of improving this technique.

Cleaning of painting, conservation, degraded paint, delivery systems, detergents, gels, lipid-containing layer.

Voronina Marina M. — conservator of oil paintings of the 1st category; the State Research Institute for Restoration, Department of Scientific restoration of easel oil paintings
E-mail: marinavoronina190@gmail.com

Aleshkina Ekaterina V. — conservator of oil paintings of the 1st category; the State Research Institute for Restoration, Head of the Department of Scientific restoration of easel oil paintings
E-mail: ales-katya@mail.ru

The painting Peter the Great, a copy from the original by Jean-Marc Nattier, was in a deteriorated state when it arrived at the Department of Scientific Restoration of Easel Oil Paintings at the State Research Institute for Restoration. The absence of a stretcher and prolonged storage in a rolled-up position caused extensive damage, including numerous tears in the canvas and significant losses in the paint layer and ground. A breakthrough discovery was made during physico-optical studies in the infrared spectrum — an author’s signature and date hidden beneath surface layers. This unexpected find provided valuable insight into the painting’s origin and historical context. The restoration process was particularly challenging due to the ruined condition of the canvas, which had lost structural integrity. Both the front and back surfaces were covered in powdery dirt, and large areas of the paint layer were peeling. To consolidate the ground and paint layers, a mixture of plant- and animal-based glues was applied. A low-pressure table — without heating — was used to simultaneously eliminate canvas deformations, remove surface dirt, and secure the fragile paint and ground layers. Tears in the original canvas were mended thread-by-thread before being lined onto a new woven base and mounted on a exhibition stretcher. Darkened varnish layer was thinned and surface dirt removed, the painting's original colors were restored, and the author’s signature became visible again. Large areas of loss were filled with a colored ground and carefully in painted, ensuring a partial yet accurate reconstruction of the original image.

Attribution, consolidation, funori, image reconstruction, physico-chemical research, physico-optical research, protein and non-protein adhesives, restoration.

Denisov Denis V.  — MA in Art History; The State Research Institute for Restoration, Research Engineer at the Department of Scientific Restoration of Easel Tempera Painting; State Central Andrey Rublev Museum, Head of the Methodology and Research Section
E-mail: denisov_dionisii@mail.ru

Nikitina Tatyana L. — The State Museum-reserve “Rostov Kremlin”, a Head of the Ancient Russian Art section of the Art Department
E-mail: tnikitina@yandex.ru

The purpose of this article is to synthesize and enrich existing knowledge on the history of the wall paintings in the three churches of the Rostov Metropolitan House — of the Resurrection of Christ, of St. John the Theologian, and of the Savior 'na Senyakh' — which were built and decorated under the unified vision of their eminent patron, Metropolitan Jonah Sysoevich. The discussion traces the history of this unique mural ensemble, examining its phases, the damage and losses sustained in the XVIII – XIX centuries, and the large-scale repainting campaigns of the 1860s, undertaken to reopen the Kremlin churches for worship. It also addresses the restoration efforts carried out under the stewardship of the Rostov Museum, which has been occupying these sacred spaces since the late XIX century. For the first time, archival evidence is introduced concerning the artists who renewed the murals in the 1860s, and the characterization of the Kremlin Commission’s work in documenting restoration activities during the 1880s – 1890s is expanded with new data. This study is part of a research program launched in 2024 to investigate the technical and material characteristics of the Rostov Kremlin mural ensemble. Accordingly, particular attention is given to source-based information on painting techniques and materials, as well as to prior analytical studies, especially the selective chemical analyses of pigments and primers conducted during earlier restoration campaigns in the XX – XXI centuries.

17th-century murals, Church of St John the Theologian in Rostov, Church of the Resurrection of Christ in Rostov, Church of the Savior ‘na Senyakh’ in Rostov, churches of the Rostov Kremlin, restoration of monumental painting, technological study of monumental painting.

Ermakova Nina V. — Candidate of Historical Sciences; The State Research Institute for Restoration, leading specialist of Department of Scientific Restoration of Works of Applied Art
E-mail: nvl-ermakova@mail.ru

The article discusses the problems of storing museum objects made of artificial and synthetic fibers. An important role in the degradation of polymer materials is played by both the internal structure formed as a result of synthesis from many different components using complex and aggressive technologies, as well as many external factors: light, humidity, air composition, pollution, biological and mechanical effects. Sometimes the standard parameters of the microclimate of museum storages allow extending the durability of exhibits of this group, but most polymer fibers, due to their instability, need to create special storage modes. To develop individual recommendations, it is necessary to determine the causes, degree and type of degradation of materials in order to exclude the adverse influence of the main factors of destruction. Unfortunately, it is not always possible to create conditions that slow down the aging process of chemical fibers, and it is important to be realistic about their future and to be in time to capture the memory about artifacts that lose their original function in a material or aesthetic sense. Several solutions have been proposed by the curators and restorers to preserve the socio-cultural and historical information contained in the objects of this group.

Chemical fibers, degradation, polymers, regenerated threads, socio-cultural and historical information, storage, synthetic materials.

Mikhaleva Maria G. — PhD in Physics and Mathematics; FRCCP RAS, Senior Researcher of the Laboratory of Chemical Physics of Biosystems
E-mail: maria.mikhaleva@chph.ras.ru

Zanin Anatoly M. — PhD in Chemistry; FRCCP RAS, Senior Researcher of the Laboratory of Chemical Physics of Biosystems
E-mail: anatolyi.zanin@chph.ras.ru

Vedenkin Aleksandr S. — FRCCP RAS, Researcher of the Laboratory of Chemical Physics of Biosystems
E-mail: vedenkin@chph.ras.ru

Politenkova Galina G. — FRCCP RAS, Researcher of the Laboratory of Chemical Physics of Biosystem
E-mail: alina.politenkova@chph.ras.ru

Sobolev Mikhail I. — FRCCP RAS, Expert of the Laboratory of Chemical Physics of Biosystems
E-mail: smi828@yandex.ru

Maslennikova Nadezhda P. — Archive of Russian Academy of Sciences, Senior Researcher; The State Research Institute for Restoration, Paper Conservator of Department of applied arts
E-mail: nadine@bk.ru

Lotsmanova Ekaterina M. — Federal Center for Document Conservation, The National Library of Russia, Leading Researcher
E-mail: incunabula.fcc@mail.ru

Kashcheev Alexey A. — Archive of Russian Academy of Sciences, Senior Researcher
E-mail: alexka27@mail.ru

Stovbun Sergey V. — Doctor of Physics and Mathematics; FRCCP RAS, Head of the Laboratory of Chemical Physics of Biosystems
E-mail: s.stovbun@yandex.ru

This paper describes the potential of using nanocellulose for restoration purposes, proposing effective methods for restoring paper documents. The paper discusses the properties and process of producing a nanosized cellulose fraction suitable for use in restoration. Nanocellulose, as a promising material, has a large specific surface area and is biodegradable and biocompatible. Pseudo-nanocellulose, obtained in laboratory conditions and used by us for restoration, is less energy-intensive to produce than true nanocellulose and consists of incompletely unwound microfibrils. This makes it an ideal candidate for restoration work that does not require large-scale production. A laboratory method for producing pseudo-nanocellulose is described, involving acid hydrolysis and ultrasonic treatment. The formation of a three-dimensional lattice of twisted nanocellulose fibers, which provides reinforcement for paper media, is described from a chemical physics perspective. The interpenetration of the pseudo-nanocellulose lattices and paper mechanically enhances the interaction between them, outperforming traditional synthetic consolidants. The practical feasibility of using nanocellulose for the restoration of paper-based documents is demonstrated. Pseudo-nanocellulose has been found to exhibit good adhesion to paper of various compositions and remains transparent on the paper after drying, without creating additional text obscuring. A pseudo-nanocellulose solution is shown to strengthen damaged paper with minimal visual changes, which is important for preserving the aesthetics of documents. The use of pseudo-nanocellulose simplifies the restoration of fragile, translucent documents with a high wood pulp content. Studies have shown increased fracture resistance and tensile strength after treatment with pseudo-nanocellulose.

Atomic force microscopy, fibrils, nanocellulose, paper, reinforcement, restoration, strength, suspension.

Sverdlova Sofya V. — tempera painting restorer of the highest category; The State Tretyakov gallery, senior researcher of the Department of Old Russian Art; Saint Tikhon's Orthodox University for the Humanities, Associate Professor of the Department of Restoration
E-mail: s_sverdlova@mail.ru

Pershin Dmitry S. — tempera painting restorer; State Tretyakov gallery, senior researcher of the Department of Old Russian Art; The State Research Institute for Restoration, Leading specialist of the Department of Scientific Restoration of Easel Tempera Painting
E-mail: pershindmitriy@yandex.ru

In 2021 – 2022, the State Tretyakov gallery carried out a comprehensive study of the icon Christ the Saviour Enthroned, with the Saints from the village Kresttsy of Novgorod region. Dated back to the last quarter of the 13th century and belonging to the group of icons with the red background, this icon has been firmly believed to have a close similarity to another one, Saint John Climacus, Saint George and Saint Blaise, which has the same provenance but more challenging past and is kept in Russian Museum in St Petersburg nowadays. Different versions of these two icons’ correlation were assumed — they could have been created by the same painter or by the painters of the same workshop or artistic association. However, the assumptions, based on the resemblance of the painting style, used to have no certain evidence. To compare the painters’ manners, the technique and technology research of these two pieces of art was undertaken. In the course of it, many important features were found out, that enabled us to compare all the stages of these two icons’ creation process, from the wooden panel to the final details of the painting technique. The results of the study ensure that both pieces were painted not only in the same workshop but by the same hand. Some existent differences are not fundamental and could have been caused by the artist’s dynamic manner of drawing and painting. These results enhance our knowledge of the painters and artistic associations of that age and therefore make more profound our understanding of the 13th-century Novgorod style formation.

Author of painting, Christ the Saviour Enthroned, creation process, Novgorod, Old Russian art of the 13th century, Saint Blaise, Saint George, Saint John Climacus, the technique and technology research, with the Saints.

Tskhai Anna A. — a highly qualified restorer of archival and library materials, the State Research Institute for Restoration, department of restoration of manuscripts and graphics, research associate
E-mail: Tskhay_anna@mail.ru

The article is dedicated to the study of Armenian manuscript bindings, which represent a synthesis of elements from Byzantine and Islamic bookbinding art. This is precisely what makes them unique. The work examines the technological features and traditional techniques used by Armenian masters in the creation of bindings. The method of sewing quires, the construction of the headband, the shape of the boards, and the binding itself were established by the 14th century and remained unchanged until the 18th century. Over the centuries, some changes can be traced in elements of blind (blitnovoe) embossing and applied metal elements, but the method of creating bindings for manuscript books did not change. Without knowledge of binding techniques, the peculiarities of technology and style, it is impossible to accurately recreate a lost binding or its elements. It is known that by examining the notches (marks or cuts) on the spine of the book block, one can infer how and how many times the binding was “repaired”. However, in the case of Armenian bindings, the difficulty lies in the fact that a restorer or researcher might attribute these cuts to the Greek group. This would mean that not only the sewing of the book block but also its shape and all other details would be considered Greek. The study of bindings is valuable not only for restorers but also for art historians and researchers of medieval art, as it aids in understanding the history of manuscript artifacts. The construction and decoration of bindings reflect the cultural connections and artistic trends of the era.

Binding, book block, headband, leather cover, manuscript, restoration, sewing, technology.