Kateřina Samková

Gallery

Research and restoration of the transfer of a Gothic mural, unknown fragment with The Crucifixion and the Virgin Mary, The Prague City Museum, late 14^th century, fresco secco, photograph in VIS, 65,5 × 78,5 × 3,2 cm
Research and restoration of the transfer of a Gothic mural, unknown fragment with The Crucifixion and the Virgin Mary, The Prague City Museum, late 14^th century, fresco secco, photograph in UV luminiscence, 65,5 × 78,5 × 3,2 cm
Research and restoration of the transfer of a Gothic mural, unknown fragment with The Crucifixion and the Virgin Mary, The Prague City Museum, late 14^th century, fresco secco, photograph in IR, 65,5 × 78,5 × 3,2 cm
Research and restoration of the transfer of a Gothic mural, unknown fragment with The Crucifixion and the Virgin Mary, The Prague City Museum, late 14^th century, fresco secco, visualization in false color scale, 65,5 × 78,5 × 3,2 cm
Research and restoration of the transfer of a Gothic mural, unknown fragment with The Crucifixion and the Virgin Mary, The Prague City Museum, late 14^th century, fresco secco, X-ray, 65,5 × 78,5 × 3,2 cm
Research and restoration of the transfer of a Gothic mural, unknown fragment with The Crucifixion and the Virgin Mary, The Prague City Museum, late 14^th century, fresco secco, PTM, 65,5 × 78,5 × 3,2 cm

Studies

2017–2021	Restoration of Painted Artworks, AVU (Adam Pokorný)
2008–2014	Intermediální škola (M. Knížák)
2012–2013	Architecture, AVU (Emil Přikryl)
2006–2011	Pedagogická fakulta UK, český jazyk a výtvarná výchova

About the work

Research and restoration of the transfer of a Gothic mural, unknown fragment with The Crucifixion and the Virgin Mary, late 14th century

As part of her diploma thesis, the student worked with the following tools and materials:

agar, Schmincke Horadam watercolors, inorganic pigments, Araldite® 106, BEVA® 371 foil, BEVA® 371, Bindan B3/D3, binocular magnifier, Brij™ 35, Brij™ L4, sandpaper, Carbopol® Ultrez, agents and scrapers, damara, distilled water, Canon EOS 6D digital camera, SONY DSCF 828 digital camera with removable IR filter, Dino-Lite digital USB camera, chisels, spruce and oak wood, DTPA, Ethomeen C12, Canon external shutter, filter paper, aluminum honeycomb board, planers, Akapad White sponges, sodium hydroxide 1M, Iriodin (Kremmer), Japanese paper, calibration color scale and gray table, Oriris camera, leather glue, wedges, Klucel G, compressor and paint gun, disc grinder, Bolognese chalk, float chalk, ball, citric acid, hydrochloric acid 1M, laboratory glassware, Laponite RD, Laropal®, Lascaux Hydro-grund, easel, nuts, mechanical stirrer, mechanical spray, Melinex® RSX 951, Melinex®, microballoons (Glasmehl in Kügelchen 40–70μ Kremmer), mikelanta, Leica microscope, brain, tension pliers, gilding tools, staple gun, low pressure vacuum table, scissors, macro lens 60mm Tamron SP, macro lens 70mm 1:2:8 Sigma D6, Canon Ultrasonic objective with a fixed 50mm focus, Canon EF-S zoom lens 17–85 mm, professional literature, break-off knife, protective half mask 3M, protective nitrile gloves, organic solvents, non-acidic paperboard, paper tape, Paraloid B72, pH meter, Japanese saw, jigsaw, file, tweezers, sand, linen and polyester canvas, Plextol B 500, computer, underlay tension frame, poliment, polyamide powder (Lascaux Polyamide Textile Welding Powder 5350), Poron®, caliper, Primal® AC35, Gamblin resin paints, beech plywood, compression springs, X-ray, scalpel, joiner’s chucks, tripod, IR lights (Helder Systemlicht), UV lights (LED UV real UV™ 365 nm), VIS lights (LED Formei WIFI-160F), synthetic Promatco felt, shellac, spatulas, brushes, heat spatula and needle, Tylose® MH 300, angle, angle grinder, goldsmith’s weight, rubber roller, saddle lime slurry, cotton wool, bleached beeswax, water bath, cordless drill, stand drill, screws, stretch segment frame (stretcher), loading, suspension system, threaded rods, 24-carat gold leaf, iron, gelatin.

Restoration research served Samková as a starting point for interventions aimed at preserving the artifacts. These were mainly carried out structurally on the underlays. The objective was to determine and solve the cause of the works’ degradation, and thus facilitate their future presentation and safe storage. On the obverses, she proposed removing inappropriate secondary interventions while preserving the value of the antiquity character and respecting the patina that the works acquired over time, in order to prolong their lifespan and restore their aesthetic and historical values, degraded by secondary interventions.