Gulyás Speed Art

I was the appointed consulting Conservationist at the restauration of the woodwork and framework of the Staatsoper Berlin
Staatsoper Berlin. The wooden windowframes have partly been removed.
Consultation involving the Contractor, the Conservationist and experts from the Deutsche Denkmalamt. We discussed the restauration process for the wooden window frames.
First, I modeled the Tut Ankh Amon mask after the poster- in clay.
I prepared the bulk of the sculpture by glueing layers of wood together in order to prevent subsequent cracking.
The poster, the clay model and the layered wooden base.
I have a lot to go from here...
Stages of sculpting
The sculpture took a month of relentless work to complete.
From wood block to gilded ears.
Crown ornaments before gilding.
I used 23 carat gold leaf for gilding,it took another four weeks to finish.
Stages of gilding.
The finished sculpture of the mask of Tut Ankh Amon.
The sculpture in a frame of my own design with scarab beetles in its corners.
Eye to eye.
Sketching the motifs of a new relief project. Photo: Zoltán Adrian.
Man at work. Photo:Zoltán Adrian.
Chisel in action. Photo: Zoltán Adrian.
The next morning.
The dragon represents the fire element.
The tiger represents the water element.
Lime wood, 1m x 1m.
The tiger is silver guilded on a black background,the dragon is guilded on a red background.
This Tiziano is on permanent exhibition at the Museum of Fine Art, Budapest. This frame was specifcally carved and built for the painting.
I copied a reneissance Venetian frame,making a scale model in plaster,then making the woodcarving.
The base is built in pine, the motifs are carved in lime wood.
The frame is assembled with the chalk layer applied for guilding.
Goldleaf applied by tips of squirrel hair and burnished with agate.
Frame before patination.
The picture frame holding the 17th century Tiziano painting.
Baroque altarpiece from Mátraverebély Szentkút.The original guilded surface,which received a number of coatings over the years,is half revealed here.
After the removal of paint,reapplication of ground layer of chalk is necessary for guilding.
Guilding tools.23 carat gold leaves are hammered thin between leather pads and are applied with a special brush.
Work is complete on this pair of altarpieces.
Stages of conservation of baroque altarpiece from Mátraverebély Szentkút: before and after restoration.
Stages of cleaning on the sculpture of St.Erzsébet.
Brought for restoration: 17th century pictureframe with ivory inlay.
Flaking ivory inlay before and after refilling.
Decayed frame structure needed conservation and rebuilding.
Carved wave motif completed and waxed.
Both the picture and its frame were restored paralelly.
Corner motifs on a simple pictureframe.
Motifs are designed to match the period and style of the painting.
This frame was partly silver guilded.
The pair of frames received a layer of green lustre on the silver,matching the colors of the painting.

ANTIQUE

I have been a proffessional art conservationist and restorer since 1998. I specialize in conserving and restoring wooden sculptures, panel paintings and pictureframes from the 17th and 18th centuries,as well as oriental pieces. The task is complex, as there are chemical,instrumental and photographic tests and analyses carried out on the piece before restoration can even begin. Procedures are based on these findings and the work itself is photodocumented throughout. For example it is very common with religious sculptures that the many different eras and aesthetic norms leave a number of coatings of paint on their surface. These coatings need to be removed chemically until the original colors of the specific period of their creation are revealed. I also carve period pictureframes after original sketches. These are made by the exact same technology as in the earlier centuries. Guilding is a good example of a perfect technology that's been unchanged throughout history: first we apply a ground layer of chalk (calcium carbonite),followed the by a layer of red bole. Then the 23 carat goldleaf is applied on top. Silver guilding uses black or blue bole as a base layer of application. Some of my larger work include the restoration and conservation of frames of paintings by Munkácsy, Szinyei and other artists on permanent exhibition at the Hungarian National Gallery, the conservation and structural preservation of Aba Novák Vilmos' panel painting series on display at the King Saint Steven Museum in Székesfehérvár, and the restauration of the baroque altarpieces and Holy Mary of the procession at the National Shrine at Mátraverebély-Szentkút. I have been participating in the restoration and conservation of the pieces of art held at the Museum of Fine Arts for more than a decade.