33 year old lithograph, previous hinged to cardboard

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lastboat

CGF II, Certified Grumble Framer Level 2
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Shelter Island, Long Island, NY
Customer brought in a 33 year old lithograpgh previously hinged to cardboard looking matboard. The piece is showing signs of acid migration. Is there a non invavsive treatment to perform to it before I reframe using high quality materials? Also the old hinges on the back, is it proper to try to remove? Or just keep them?
 

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If the customer doesn't want to pay to take it to a conservator, there is a product called 'Archival Mist" which is available in the USA. I think United also sells it.

You spray the picture on the front and back and it neutralizes the acids. I used to use it, but because I need to import it, the product sometimes dried out by the time I received it and I got no back-up service or replacement, so I no longer use it.
 
Simply re-housing it in high quality buffered materials is probably the best you yourself can do for it. Chances are that's what we'd suggest doing here, as washing it (if possible) would probably run more money than the print is worth.

If you have some experience removing old hinges, and are pretty confident you can do it without skinning or cockling the paper, go ahead.
 
I don't like the idea of spraying someone's artwork with any kind of product, because you don't know how the paper and inks will react. If they want the piece deacidified, refer them to a conservator. Why should you assume the risk? If this were a newspaper clipping, and they wanted to frame the original rather than a copy, it might be a little different story, but an original artwork, no. As to the hinges, if they don't appear to be doing any harm, leave them and apply proper ones (or use edge supports) for your mounting. Again, avoid risky procedures, especially when there is nothing to be gained by doing them. Sometimes the vertical parts of existing t-hinges can actually be reused for mounting to a new backing, avoiding further alteration of the artwork.
:kaffeetrinker_2: Rick
 
If they are not paying for restoration don't get involved in that piece of the job. If they choose to pay for the service send it to someone who offers the service or if you are qualified then perform the service yourself. If the piece has any real value they will pay to have it restored but if it is just another one of a bazillion L/E prints leave it alone.
 
05 said:
Simply re-housing it in high quality buffered materials is probably the best you yourself can do for it. Chances are that's what we'd suggest doing here, as washing it (if possible) would probably run more money than the print is worth.

If you have some experience removing old hinges, and are pretty confident you can do it without skinning or cockling the paper, go ahead.
Click to expand...

All good advice. The customer did say that it will be hanging next to the Rauschenberg. The print has enormous sentimental value and is signed and dedicated to the customers' father. No question I'll use highest quality buffered materials and UV glass.

Does someone have the name of a paper conservator who could fill me in on what they could possibly offer my client?
thanks
 
Alkaline sparys

Please remember that a spray will affect not just the paper, but alos the media on it and many printing inks are acidic (in a range that is not dangerous) and adding anything alkaline to them may cause chemical change.




Hugh
 
It can be very hazardous trying to 'improve' stuff that people bring in for framing. If they don't want to pay for restoration, just do the best you can with what you are presented with. That way they can always have it restored at a later date. A lot of restoration work involves fixing the previous 'restoration' attempts.
 
prospero said:
A lot of restoration work involves fixing the previous 'restoration' attempts.
Click to expand...

Why do you say that!!!

Can you statement be supported!!

These days I work almost exclusively with conservators, preservers and restorers, I’m seeing almost no evidence that earlier conservation or restoration work needs attention, however I am seeing evidence that work that was incorrectly framed needs attention.
 
In the paper lab here, there usually is not much in the way of old 'restorations' that need to be addressed, other than the removal of old mends and backings. Other 'restorations' there's nothing to be done for (I think specifically of a group of heavily in-painted commercial posters that came in for the second time). There is lots of removal of hinging methods, though.

In the paintings lab, there's lots and lots of old varnish and in-painting removal, and sometimes old lining removals,

When I used to work on furniture, not to have to deal with someone else's 'repair' job was a rare treat. Old repairs on textiles often need addressing, too.
 
Longevity of restoration

If you visit any conservation lab in a major museum, you will see old in-painting that may have faded being addressed, old mends that may be discolored being handled, and old varnish being removed. Few materials are as durable as those used to make art, in the past, and things we do to alter its appearance are not likely to last as long as the original will.



Hugh
 
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