Cjeloviti konzervatorsko-restauratorski radovi u trajanju od dvije godine na dva stropna medaljona iz 19. stoljeća iz kurije Adamović-Hellenbach-Mikšić u Svetoj Heleni izvedeni su na Odsjeku za papir i kožu Hrvatskog restauratorskog zavoda. Dva medaljona sastoje se od ukrasnog drvenog okvira i slike izvedene u tehnici gvaš na industrijski rađenom papirnatom nosiocu koji je dodatno zalijepljen na papirnati nosilac te je sve zalijepljeno i pričvršćeno čavlima na donje drvene daske od pripadajućeg ukrasnog drvenog okvira. Izvođenje svih restauratorskih faza bio je veliki izazov, no rješavanje problema načina montaže crteža od gvaša na papirnatom nosiocu u postojeće drvene okvire nakon restauracije, a pri tome izbjegavanje kontakta dvaju različitih materijala, dovelo je do upotrebe neodimijskih magneta. Osmišljen je prilagodljiv, jednostavan, brz, reverzibilan i lako manipulativan prototip montiranja slike u gvašu na papirnatom nosiocu u drveni ukrasni okvir. Taj se prototip pratio nekoliko mjeseci i nije pokazao nikakve promjene, pa je na osnovi toga odlučeno da se na isti način primijeni jednako montiranje originalnih gvaševa na papiru. Takav financijski pristupačan i prihvatljiv način montiranja, kao i upotreba neodimijskih magneta, prvi put je izveden u Hrvatskom restauratorskom zavodu na Odsjeku za papir i kožu.; Conservation and restoration of two 19th-century ceiling medallions (160 cm in diameter) from the AdamovićHellenbach-Mikšić manor house in Sveta Helena near Zagreb took three years (2013–2016). The work was carried out at the Section for Paper and Leather of the Croatian Conservation Institute. Medallion I and Medallion II, which were heavily damaged, consist of a decorative paper carrier which was glued to another paper carrier. The paintings were glued and nailed to wooden boards of the decorative wooden frame. Even though the conservation process was quite challenging, solving the problem of mounting gouache paintings on paper into frames, possible final presentation, storage and returning the restored paintings on paper to the existing wooden decorative frame led me to a more innovative mounting method. An art-friendly, simple, fast, reversible and easy-to-execute design needed to be devised in order to avoid the usual method of mounting restored gouache paintings on paper by placing them directly on the baseboards of a decorative wooden frame. A prototype for mounting a gouache painting on paper into a wooden decorative frame was designed and monitored for several months in varying climatic conditions (from winter to early autumn). Satisfactory results of the mounting method showed that a circular painting on paper of large dimensions can be safely glued to Japanese paper that serves as a new support and assumes the role of the carrier that is additionally mounted in a circle on a solid support made out of acid-free cardboard using strips of Japanese paper. The paper-mounted gouache painting on its paper carrier is stable and fixed, so neodymium magnets of adjusted strength can be glued to the back of the cardboard in a radial arrangement. The magnets are mirrored on the wooden base of the corresponding decorative frame and the archival cardboard that serves as the support for the restored artwork.