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124mc08-AL-2017_Turin, Royal Palace, F. Bolgiè, Angoliera with musical instruments, inv. 10264
Turin, Palazzo Reale, F. Bolgiè, Angoliera with musical instruments, inv. 10264 - before restoration
Turin, Palazzo Reale, F. Bolgiè, Angoliera with musical instruments, inv. 10264 - before restoration
Turin, Palazzo Reale, F. Bolgiè, Angoliera with musical instruments, inv. 10264 - before restoration
Turin, Palazzo Reale, F. Bolgiè, Angoliera with musical instruments, inv. 10264 - during the restoration
Turin, Palazzo Reale, F. Bolgiè, Angoliera with musical instruments, inv. 10264 - during the restoration
Turin, Palazzo Reale, F. Bolgiè, Angoliera with musical instruments, inv. 10264 - UV analysis
Turin, Palazzo Reale, F. Bolgiè, Angoliera with musical instruments, inv. 10264 - after restoration
124mc08-AL-2017_Palace_Royal_Bolgiè_corner
Restoration sheet

124mc08-AL-2017_Turin, Royal Palace, F. Bolgiè, Angoliera with musical instruments, inv. 10264



Facilitated description: 

 

The corner table is a painted wooden furniture, decorated with leaves, flowers and musical instruments. Francesco Bolgiè made the angler in 1789.
The corner is kept at the Royal Palace of Turin.
The La Venaria Reale Conservation and Restoration Centre restored the corner in 2017.
The restorers have placed the angler in an anoxic chamber, a chamber without oxygen that serves to eliminate insects that feed on wood.
They cleaned the corner cabinet from dust and non-original golden decoration.
They glued the detached parts and filled the missing wooden parts with putty (plaster and glue layer). They colored the putty with watercolors.
In the end they painted the corner to protect it from the sun's rays and dust.

 

 

 

 

Abstract of the intervention:

 

Restoration carried out on the occasion of the exhibition on display Genius and mestria. Furniture and cabinetmakers at the Savoy court between the eighteenth and nineteenth centuries (Reggia di Venaria, Sala delle Arti 17 March - 15 July 2018). 

Restoration

The surgery began with treatment in an anoxic chamber for a period of three weeks to eliminate any symptomatic attacks. The surface was then cleaned by removing the layer of micaceous gold on the golden surface with cotton swab and demineralized water and the additions in purple with scalpels. Inconsistent powders and deposits, on the other hand, were removed with soft rubbers. The wax residues on the legs were then eliminated and the marble top was cleaned with aqueous solution. The detached parts of the leaf were then glued with vinyl glue and the most obvious gaps were plastered (lower register near the breakages of the sleepers and adjacent decorative apparatus, central carving of the door and flat perimeter mouldings). Finally, chromatic integration was carried out with watercolour colours and micacea powder and protective varnish was applied to the golden parts. 

 

Bibliography

C. Accornero, Sheet 41, in Genius and mestria. Furniture and cabinetmakers at the Savoy court between the eighteenth and nineteenth centuries (catalogue), edited by S. De Blasi, Turin, Allemandi, 2018, pp. 256-257.