Indexering ESCI / Scopus
René Hoppenbrouwers: De Stichting Restauratie Atelier Limburg. Conservering, restauratie, onderzoek en restauratie-opleiding. Angélique Friedrichs: De verfdwarsdoorsnedc bij het onderzoek van de historische binnenruimte. 'Persbrokaat' op steen. Elsbeth Geldhof: Samenhang in het interieur: de restauratie van de ontvangstkamer van de pastorie te Kockengen. Nico van der Woude: Oud-Amelisweerd. Doornroosje gerestaureerd. Edwin Verweij: Het Hodsonhuis in Haarlem, onderzoek aan de achttiende-eeuwse Blauwe Zaal. Mariël Polman en Mathijs de Keijzer: Duikers kleur- en materiaalgebruik. Het kleurpalet van de Derde Ambachtschool vergeleken met Cineac, Zonnestraal en Gooiland.
Gepubliceerd:
2000-10-01
Artikelen
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The Stichting Restauratie Atelier Limburg (Limburg Conservation Institute) in Maastricht is a provincial conservation studio founded in 1988 in the monastery of Rolduc in Kerkrade. From 1990 onwards, the main activities of the SRAL take place in Maastricht, after 1995 in the Wiebengahal. The SRAL is divided in two departments, the school of conservation and a conservation studio for paintings on panel and canvas, polychrome sculpture, historic interiors and work on paper.
The foundation's clients are museums, other public collections and churches. Conservation and...
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In order to examine the paint layers on architectural structures or decorations, tiny paint samples are prepared into paint cross sections for microscopic analysis. This technique has been developed within the field of conservation of paintings and polychromed sculpture. By studying paint cross sections under a stereomicroscope conclusions concerning the painting technique and painting materials can be drawn: the composition and build up of grounds, paint layers, metal leaf, glazes or varnish layers can be analysed.
By using ultraviolet radiation some binding media has been...
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The Stichting Restauratie Atelier Limburg (SRAL) has taken care of the conservation of the reception room at Kockengen Roman Catholic vicarage. This front room is characterised by its painted wall-hangings. The wall-linings represent imaginative panoramic views of the typical Dutch polder landscape.
Little is known about the history of the house and the successive inhabitants. Around 1800 a wealthy merchant, Martinus de Bruyn Jansz, owned the house. The front room was his formal drawing room. This merchant ordered the wall-linings from the Utrecht painter Henrick van Barneveld....
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The typically Dutch country estate Oud-Amelisweerd is situated on the river Kromme Rijn between Utrecht and Bunnik. This mansion was built in 1770 and has remained unchanged ever since. The house has an interior finishing with Chinese export wallpaper and painted linen wall linings.
In 1993 the SRAL examined the condition of the wall coverings and also studied the historical finishing of the paintwork on the wainscotting. In 1997 the linen wall-linings in two rooms were treated in the studio of the SRAL, one room with Chinese wall paper was conserved in situ. When treating the...
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During the colour research of the Blue Room in the late eighteenth century Hodshon house in Haarlem it appeared that the colour combination found in 1996 does not match the original colour scheme. Through stratigraphical and sample research the original appearance in 1796 was mapped. Besides Prussian blue, used for the dark-blue stucco fields and overdoors, an unusual pigment was analysed for the light-blue colour on the other walls: ‘blue verditer’.
The possibilities of conserving the interior were examined, as well as the options for making the colour scheme visible again...
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Even in the case of recent 'historic buildings', the original use of colour can often be hidden beneath later finishes. When the Derde Ambachtsschool (The Hague, 1930, by architect Jan Duiker in collaboration with Bernard Bijvoet) was restored, a special investigation looked into the use of colour and materials, with surprising results.
It is often unjustly assumed that buildings of the Modern Movement were white, black and grey. This is probably the consequence of so many black and white photographs. But in recent years is has been increasingly recognised that the Modern...
