2008 - Staatliche Kunstsammlungen Dresden

Stud from the ruby garniture of the Grünes Gewölbe: Reverse
of the disassembled central stone (top left), side view of the
mount with holes for integrating the stone into the ‘lacing box’
and the corresponding number (bottom left), mounted stud
(bottom right)
work on paintings by Louis de Silvestre,
Ádám Mányoki and Andreas Möller was
carried out. The painting “Maria Theresia,
Erzherzogin von Österreich” (Maria Theresia,
Archduchess of Austria) by Andreas
Möller, which was produced in 1727, shows
the later Empress of Austria at the age of
ten. Prior to its restoration the varnish layers
on the painting were severely yellowed
and badly perished, so that the
coolness of the colours and the fineness
of the painting could no longer be discerned.
The top layer of varnish had been
patinated in earlier restorations. This affected
the wonderful nuances of the flesh
tones and the fresh blue shade of the
dress, in particular. Removing the old varnish
and overpainting not only restored
the beauty of the work but also revealed
important information about the history
of the painting.
grünes gewölbe
• The sapphire, ruby and emerald garniture
The ongoing conservation of the objects
in both Grünes Gewölbe exhibitions in
the Residenzschloss is a major focal point
of our restoration work. An extraordinary
restoration project concerned one of the
two delicate mid-18th century wax reliefs
signed by N. E. Cetto.
A larger project was the conservation
work on the three “coloured” jewel garni-
Eberhard Baldewein, Planetary Clock, 1563 – 1568, Marburg and Kassel,
Mathematisch-Physikalischer Salon
•
tures – the sapphire, ruby and emerald
garnitures. Here, the documentation is an
important component, since the disassembly
of individual items revealed
pricked markings, as in the case of the
stud from the ruby garniture shown in the
photograph. The weight of the stone –
17 1/2 grains – and the number of the stud –
18 – were engraved beneath the setting of
the gemstone, on the middle stone and
on the diamond-edged mount. The inclusions
and stress cracks in the larger stones
were also documented microscopically.
The opportunity was also taken to analyse
the colour backing of many precious
stones.
kunstgewerbemuseum
Trunk on pedestal. Trunk, Japan, late 17th
century; Pedestal, Saxony, early 18th century
This trunk and its pedestal belonged to
the furnishings of the former royal chambers
in the Residenzschloss in Dresden.
The condition of the trunk, in particular,
required intensive restoration. The lacquer
work had become dull owing to ageing
processes and climatic conditions and it
had largely lost its protective function;
the old areas of damage had been retouched
using less than suitable varnishes.
The restoration of Japanese lacquer
work requires a high degree of specialist
skill. This project was conducted in associ-
ation with the Museum für Lackkunst
(Museum of Lacquer Art) in Münster. The
layers applied in earlier restorations were
removed and the old varnish regenerated.
Through these measures, the piece regained
its former transparency and can
now be admired in the fullness of its
beauty.
mathematisch-Physikalischer salon
• Planetary Clock by Eberhard Baldewein
The focal point for restorers in the workshop
of the Mathematisch-Physikalischer
Salon during 2008 was the conservation
work on the large planetary clock by Eberhard
Baldewein, which was produced between
1563 and 1568 in Marburg and Kassel
on commission to the Saxon Elector
August. It is probably the most complicated
and most perfect mechanism built in
the Renaissance and it is one of the most
magnificent items in the Mathematisch-
Physikalischer Salon.
In order to carry out a photographic documentation
for a monograph about this
automaton, it was disassembled for the
first time in more than 100 years. This was
taken as an opportunity to conduct thorough
conservation and restoration work
on the clock. Considerable conservational
problems and corrosion were found on
the casing and on many components in
the complex internal mechanisms of the
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