Mounting old proof

[Leslie S.]

I need to top mount an old photographic proof...the image is a little uneven, and they want to show the entire image. It is a really neat shot of Thomas Edison throwing a baseball at a company picnic (my client's grandfather worked for him, so they have lots of cool Edison memorabilia). Are Japanese hinges o.k. on this or is there a better method?

Thanks in advance!

Leslie

 

[wpfay]

You might try hinging, but you might find that the board has degraded to the point that the back layer of paper just peels off with the attachment. Depending on condition, you might be able to use clear film straps on the corners, or you might consider putting it in a sink mount with a clear film cover.

If my photo history memory serves me, the proofs were not processed as well as the final product and were much more susceptible to fading and oxidation of the silver salts. I don't think they used a strong enough fixative to assure the image would last a long time. You might want to make sure the client is aware of the fragile nature of the proof before proceeding.

I saw a really simple solution to light exposure in our local fine arts museum last Saturday. They had on display a Winslow Homer watercolor depicting a Florida Panther. The painting was in pristine condition, on loan from another museum, and had a muslin drape over the face of the frame with a sign that instructed you to lift the fabric to view the painting. There was a weighted dowel in the lower hem of the drape and the drape could be rolled up and rested on the top of the frame. Perhaps not a practical answer, but a thought in dealing with particularly light sensitive work

 

[Bill Henry-]

I’m guessing that your image of Edison is not a “real” proof in the technical sense of the word. It is not likely to have survived this long.

As Wally mentioned, a real antique “proof” used to be done on “Printing out Paper”. The negative was placed over paper and was exposed to the sun for a few hours or few days. They generally had a redish-violet tone once they were done. Such a print was deliberately not fixed (excess silver removed) so that it would turn black within a few weeks. This was to keep customers from deciding that the image was good enough so they wouldn’t order a good print from the photographer.

These kind of proofs are/were also very sensitive to heat.

If this image is, indeed, a real proof, I doubt that conservation glass would help, and heat mounting may destroy the image entirely.

If it is a real proof, it may be possible to have it fixed and washed even after all these years. It may be worth talking it to the folks at Kodak.

[ 02-01-2005, 04:13 PM: Message edited by: Bill Henry ]

 

[Leslie S.]

If I was smart enough to post a picture, I would, but that way lies madness...I've tried before!!! Anyway, the lady called it a "proof" but may not be. It looks like a print to me, but... The paper is fairly thin, with the corners slightly rounded, and measures 5" x 4". One edge is slightly ragged. The image is slightly smaller, printed on the paper slightly cock-eyed, with black around the outside. In the upper left black margin, a number 40 appears to be handwritten in white (or maybe scratched into the negative). Inside the image, in the bottom righthand corner, is written Copyright by Thomas A. Edison.
Hopefully, this additional info will help identify it. I guess mylar strips would be the least invasive method.

 

[preservator]

This sounds like a great opportunity for making
a facsimile for framing. Even if the photo it
somewhat light stable, the board that it is on
is likely to degrade in the light. Items that form
part of a collection should be kept together and
in the best condition possible.

Hugh