Valuable Orotone / Gold Tone Advice

[Mbiggins]

Hey there!!

I have a very old and rare GoldTone image from the turn of the century (Edward Curtis). This is the real deal. Client found it in a yard sale but this thing is really valuable 30k+ it has been appraised and authenticated.

Orotone - Wikipedia

en.m.wikipedia.org

It came with its original frame. A gold waterguilded frame. Tall and wide. Lots of room for the plate and other “activities”

I need to remount this back in it’s original frame with Optium Acrylic to protect it.

Does anyone know of the correct archival approach to getting this back in the frame safely, without scratching it or damaging the glass plate.

Does PFM have any gold tone framing standards in the reference library?

Thanks so much! Can’t wait to see what you all know about these. This is such a cool piece of history!!!

 

[JFeig]

Due to the nature of this very unusual item, I have not seen anything written on this topic.
My first thought is that you should consult with an art conservator on the proper handling of this rare item.

My first thought is that it should be suspended from the edges with nothing touching the front or back with some sort of border mechanism.

 

[Finest Fabric]

Interesting article here on Curtis Orotones:

A Brief History of the Curtis Orotones, Part 1

“We all know how beautiful the stones and pebbles in the limpid brook of the forest where the water absorbs the blue of the sky and the green of the foliage. Yet when we take the same iridescent pebbles from the water and dry them they are dull and lifeless. So it is with the orthodox...

www.curtislegacyfoundation.org

Best practice here would seem to be spacing the glass plate off of the Optium and backing
the plate with proper acid free materials perhaps in a dark color.

I would use only manual tools to fit (old style brad pinner for instance) and
pay very close attention to not applying too much pressure in fitting.

Needless to say do your research and handle piece this very carefully if you decide
to do it.... And make sure you are covered under your (or your customers) insurance
in case something goes awry.

 

[wpfay]

I would get a consult with a photo conservator. The chemistry in some of the early photography calls for different standards than are commonly used. An example are Albumin prints that are base sensitive and require a slightly acidic environment.
Find out the protocol from a conservator.
I have used Ethrington Conservation Center for consultation on rare and valuable photography. There are others listed with AIC.

Conservation & Preservation Services

hfgroup.com

 

[Mbiggins]

thank you for the referral for the conservatory. I just left a message for Matt Johnson regarding Orotone best practices. I’m looking forward to seeing what he has to say. This is such a cool piece of history and I want to make sure it is taken care of properly.

Lucky as I have done some other valuable frame jobs this year my insurance is definitely sufficient to cover me and the client has his own policy as well. Although, damage to a piece like this would be my NIGHTMARE.

Hoping to hear back from the conservator soon. Client is a dealer and needs a quick turnaround as he has this piece already sold. That being said, I am not touching it until I have a solid protocol

 

[Mbiggins]

Due to the nature of this very unusual item, I have not seen anything written on this topic.
My first thought is that you should consult with an art conservator on the proper handling of this rare item.

My first thought is that it should be suspended from the edges with nothing touching the front or back with some sort of border mechanism.

I agree! Like thin a rag mat spacer but that would still have to touch the plate in some capacity. The client wants this to go back in its original frame as it is important for its providence and value. So that adds some level of challenge.

 

[JFeig]

For a non-custom manufactured suspension platform, I am thinking of something like Framespace® FS-6. Once the glass plate is surrounded it can be place in a sling mat for viewing.

FS-6

frametek.com

 

[Mbiggins]

Oh yes! I have those in the shop. As long as it doesn’t have the potential to rub on the gold on the back?

Also thought. Build a sink mat with 1/8in AF foam core for the glass to sit in and line with glassine paper so it’s not abrasive on the gold in the back in any way. Use 8ply rag mat over the top. Sink mat nice and tight but not too tight to allow for some expansion and contraction of the glass (beveled).

This was sitting in the original frame for nearly a century on a cardboard backing board and somehow didn’t scratch or break. It was literally just taped in to the back by taping a dust cover to the frame to hold it in place. I have no idea how this survived.

I haven’t heard from the conservator yet.

 

[wpfay]

The sink mat sounds like a good idea, but I would use 8-ply rag instead of 1/8" AFFC. The core is still styrene and can outgas volatiles.
You may also want to look into Volara foam as a liner for the sink mat.

Volara Foam

DescriptionVolara foam is a wonderfully soft and pliable archival quality closed cell foam with a smooth to the touch, pliable and non abrasive surface. It is commonly used for lining boxes and crates, lining display cases, drawers, shelves, and padding out boxes. It is easily cut with a utility...

www.talasonline.com

That would be a question for the conservator.