El Barco^®, as head of the conservation of the Casa de America, has done the work to install the two portraits of the Marquis, in the former office of the Marquis on main floor (room Bartolomé de las Casas). The paintings were made by the painter Francisco Pradilla y Ortiz.

Works, in collaboration with the Museo del Prado owner of the paintings, have consisted of the withdrawal of the earlier decoration and preparation of holes in the panelling of oak. We have used to clean the room varnishes.

Plates have also been made at the suggestion of the Museo del Prado.

The works have lasted a week, within the plan of preventive conservation, that the institution has contracted with El Barco^® for 25 years.

 

Have begun them works of restoration of the Hall of audiences, with interventions punctual in the boudoir and cornice, equally is have led to out interventions of urgency in the painting mural that decorates the ceiling.

This room, richly decorated of style Empire, with woods of mahogany in walls and high relief carved in wood and Golden with gold fine and technical “to the water”, think corresponds to the time in that D. Manuel Godoy was owner of said Palace, since by the style decorative coincides with them tastes of their time, also is has interpreted the iconography of the Lunette of the trumeau as the bust of D. Manuel Godoy receiving the Crown ducal own of its title “Duke of Alcúdia”.

The intervention, has undergone a meticulous protection of all the elements that would not be tapped and have occupied an important part of the project.

Highlights from the condition were unfortunate previous interventions masking qualities of the original decorations.

The carvings missing were with plaster, Golden and repainted with glitter, wood of mahogany with patinas that obscured the joint.

The intervention consisted in:

•             Disassembly of all the high relief
•             Wooden cloths clean, hydrated and varnished French with gomalaca
•             Cleaning and removal of repaints and glitters in gold
•             Replacement of carvings lost with wood
•             Restoration of gilded with technique to water and 23 ¾ k Gold

Intervention in the mural painting has been in:

•             Removal of salts
•             Consolidation of support
•             Consolidation of the coat painting
•             Reintegration chromatic

This Lounge is located between them more representative of the heritage art of the Headquarters General of the Army.

 

Taller de Restauración el Barco, S.L. is collaborating with the administration of United States in a project pilot for optimize the restoration of their heritage artistic.

Firstly we have participated in the elaboration, by means of tabs, a complete project which specifies the condition and described the necessary interventions for restoration.

Is a form of work practice and rigorous, that is giving excellent results.

The project is at an advanced stage and restoration of artistic heritage is proving to be much appreciated by the administration. Learn of all and we like participating in a project as practical as rigorous.

 

The 30 of August began them works of decoration of the Hall main of the residence of the Ambassador of France in Spain.

Them works consisted in the realization of Golden and painting of the decorations of the Hall.

These works are part of the division of work of high decoration, made by our company for exclusive clients.

 

One of the most unknown treasures of our artistic heritage are the work of “stucco volume” who treasure the “Casitas” that King Carlos IV is build in El Pardo, Aranjuez and El Escorial. In this project we will try the roof of “stucco volume” of the room of silks from the House of the Prince of El Escorial.

According to the documentation, Juan Bautista Ferroni begins the work of decoration and design in 1789. In 1795 the Plasterers José Ginés continues the work of decoration, aided by a team of officers other than the employee by Ferroni.

These ceilings stand is made of stitched with lime-sand brick vault, subsequently carries a plaster of lime-sand brick crushed and topped with ornaments made in plaster.

The arrangement of decorations consists of four ornate themes in limes with cameos, representing allegories. All this in the vaulted area. The flat central area houses two cameos and performances of high relief with scrolls, wreaths, and human figures. The mouldings are made of lead and gold to the armhole in two tones of fine gold. The carving is very fine and each item is different. All this is modeling and then emptied and placed. We have also found that many of the elements are carved “in situ”. The work is an extraordinary smoothness and delicate.

The alterations that have suffered these ceilings, are caused by leakage of water from lead covers. We have found that these problems have been happening is regularly in time, since the roof is involved at different times and by different hands.

Previous interventions are made in plaster and are very rough, as compared to the original. As the preparation of plaster with water have produced sales repeated leaks, which has led to the loss of decorations, since plasters were altered and very dusty. Pearl ornaments and leads are repainted glitter with volume loss.

The intervention of restoration begins with a map marking the different alterations: lack of volume, sales, cracks, purplish inadequate previous speeches, sample, etc.

Then proceeded to clean up everything that was in bad state, reaching the support of brick. Elimination of sales. Reconstruction of all the missing elements, using moulds and in many cases completing molding “in situ” as the original did. Complete the decorations with rigor and perfectly documented has been the purpose of this intervention, which is very delicate and requires the best team of specialists in “gypsum stucco”.

We believe very interesting disclosure of this type of works of our artistic heritage of great beauty, true works of relief sculpture, and that because of the difficulty of viewing, since they are in small rooms and low ceilings, few people know.

National heritage has been doing in the last twenty years a real effort in the rigorous restoration of their artistic heritage that many times we do not know in depth by its complexity and magnitude.

 

One of the causes of degradation of the decorations are produced because of the ascension by capillary moisture. Three rooms on the ground floor of the Royal Palace of la Granja have been intervened by the Dry Kit, TRS114 formulation system and we have really found the capillarity effect has disappeared. Obviously, the damage produced by this rise of humidity in the decorations. Salts that carried water dissolved, leaving abroad increase volume, which leads to a rupture of the plaster and fall decorations and support.

The restoration in the wall paintings in tempera, consisted in the removal of salts, through “dark” of demineralized water; later recovery of the plaster of gypsum, taking profiles and completing volumes and finally restoration of the paint layer to the temple and hatched in fine gold.

The restoration of the marble stucco plaster, has required a particular intervention, since it has been necessary to reproduce with the same technique all the framed stucco that had the lower parts of the room. The technique of execution to match these Jaspers, requires the expertise of the plasterer, which should equal tones and the design of the marble playing. This technique consists in use: plaster, animal glue, mineral pigments and a little lime. These elements together and working skillfully manage to recreate Marbles that can exist in nature or that are pure fantasy. The problem lies in matching tones and designs of others, for mimetizarlos in the whole.

Another of the elements to restore, have been the filigrees of stucco volume in the mouths of doors and balconies of the Palace. These watermarks are very representative of Baroque decorations, van made of plaster using a run-on dies, which sit spot and then Brown in fine gold to the armhole.

 

The Ministry of Justice engages the service of preventive conservation for all the artistic elements of its heritage furniture.

There are already more administrations that put resources for the conservation of its historic-artistic heritage, with the hiring of a rigorous and professional service that ensures controlled, and not sporadic, its rich artistic heritage.

Policy-makers and managers of some administrations, have seen this service a coherent tool to respond to the conservation of all the assets that possess.

These contracts included in the preservation of institutional buildings, and for which we have created the “immediate response service”, are valued at working hours. Thus the hiring of small repairs is immediate, and they are only billed hours which have been used to perform the required work. It includes coverage of inquiry in which advises those responsible in each institution for the preservation of its artistic heritage. This practice, which we have been doing more than 20 years, confirms that where applicable, the awareness of the value of its assets increases, cares more and better. Caring for our heritage is a thing of all.

 

We want to break a lance in favor of the effort involved private artistic heritage conservation today. Specifically we will discuss what is happening we in a speech that we are making in Galicia, is the “cervigón House”, built in the 1930s by D. Emilio Cervigón careers for their children. This House designed by the architect Jordi Tell Novelles, is considered to be of Cultural interest and is representative of what is coming to call the “modern movement”, that no modernist.

The current owners are having serious problems of humidity that have altered rich inlaid wood floors, realized in fine wood: mahogany, boxwood, Lemongrass, roots, etc. The entire House is richly decorated in wood, both floors and walls and ceilings. Intervention posed today is if they are preserved and restored these soils or on the contrary make new. It is surprising the property interest in the original, is retained even though the cost may be higher. The reflection we why the public patrimony, which is a ‘good for all’ is not managed in the same way? Why currently building dclarado Bien de interés Cultural, retains only the facade and the rest is demolished? We are attending rehailitaciones in which to enter a building with a facade of old, what you find inside is a “time tunnel” that takes you back to, as I call the “style Moneo” all decorations, all the aesthetics of the time has gone.

At the moment we are complicit in the ownership of the “House Cervigón” and believe that the effort to preserve the interior decoration, is as important as the effort to preserve the facade. I think that it is an example to follow and all those involved in the preservation of our rich artistic heritage must be rigorous and professional. Tolerance zero with the destruction of our architectural and cultural heritage.

 

Begin the restoration work of the altarpiece of our Lady of Pilar, belonging to the convent of the Descalzas real of Madrid.

This altarpiece is situated in the cloister of the convent, made of carved and polychromed wood. The altarpiece is the second third of the 17TH century, is made up of body main and penthouse. The main body is divided into three areas, with two Solomonic columns on the sides.

The condition presents an overlay and blackened by a thick patina of bitumen of Judea. There are losses volume and size.

The restoration is consisting of the removal of the coating layer, the consolidation of the polychrome and the replacement of the first phase of the volumes.

 

The work carried out by El Barco in Mihrab Al-Uwayna of Wadi Bani Khalid, in Oman, have aroused great interest among cultural elites of the country.

The initiative promoted by the Sultanate of Oman, to restore and preserve your assets using the experience of pioneering companies in the catering sector, as it is the case of Taller de Restauración el Barco, has aroused great interest in the local media and Omani national, that are giving many broadcasting to the project.

It is undoubtedly an ambitious project, because the condition in which the Mihrab was is very delicate and the move could compromise the integrity of the decorations. Despite the difficulty, a team of experts has moved there to be able to undertake the difficult task of the transportation of the mihrab to the National Museum of Oman, where there will be a space with the right conditions to preserve the originality of this work of art from the 16th century.

It is the first time that moves a work of art made entirely in plaster. Being so corruptible material, protection measures must exercise to get the work to the Museum in optimal conditions. The technical resources used in the project are impressive and about it treated the press reports omani.

OMANI NEWSPAPERS LINKS WITH THE NEWS:
EL BARCO AND THE STARTER WORKS AND POSITIONING OF THE MIHRAB.

• http://omandaily.om/?p=202533
• http://motaded.net/show-5312751.html
• https://twitter.com/wejhatt
• http://www.azamn.com/?p=199003

 

El Barco S.L. signs a contract with Acciona Producciones y diseño S.A. to make the move to the National Museum of Oman of the mihrab “Masjid al-Uwajna” located in Wadi Bani Khalid. The mihrab, in lime stucco, is one of the most important pieces that will have the National Museum of Oman and corresponds to the religious art traditional omani from the 16th century.

The work, to develop for 4 months, will consist of start-up, transfer and placement of the mihrab in Muscat, city where the National Museum of Oman is being built.