When people come in contact with old posters for the first time they are often quite shocked at their condition. Rips, folds, discolorations, and ragged edges are the rule rather than the exception. Should I buy it? Is it worth anything? Can it be repaired? Where can I take it? Who can I ask? These most commonly asked questions can be answered by looking in publications like "Today's Collector" for someone who specializes in a process called linen mounting. An experienced restorer can make some amazing improvements.
Linen Backing origins began around the turn of the century, when in an attempt to preserve and protect their favorite posters, people began to glue them to pieces of fabric. Although other fabrics like cotton gauze, canvas, or even silk were used. In France a method using cotton sheeting and a thin sheet of barrier paper between the canvas and the poster was widely used and eventually became known as "French linen" in the rest of the world. The Japanese developed the technique of mounting small prints on Japan paper, a method that is favored by paper conservationists. Because of their light weights, neither method satisfactorily solved the problems associated with handling, restoring or framing larger pieces of paper.
It was in New York in the late seventies, with the poster boom well under way, that J. Fields Studio began using a heavier weight canvas and a special acid free paper. This resulted in a thicker backing that yielded the desired results and quickly became a standard in the industry. Dealers liked its durability because they could roll and handle posters, ship and shuffle them from show to show with minimal damage. Picture framers could frame a piece without it rippling in the frame with the first change in humidity. The thick acid free backing provided an excellent foundation for paper and color replacement and allowed creases and folds to be minimized even with posters printed on heavier paper. Today, linen backing has clearly emerged as the way posters are going to be preserved for the future. Linen backing can be expensive, but it can increase a poster's value. This is evidenced by its use on the most expensive posters offered for sale at auctions and galleries and its popularity with discerning collectors.
Restoration (i.e. color and paper replacement) is a collaboration between us and you. It can vary between "minimal" to "make perfect". However, jobs requiring significant restoration will take considerably longer and may exceed the value of the poster, even in near mint condition. Here are some "Before and After" photos of a piece we worked on (Note: color varies due to the change in light when the original and comparison shots were made). The results and price will vary dramatically. Ask us for estimates.
Bleaching (i.e. lightening paper) is recommended for removing discoloration along edges and folds and works on "some" stains as long as they are not petroleum based. The process is traumatic to the paper and during the long washing process posters can separate and tears can lengthen. We recommend bleaching judiciously. That said it can alter the appearance of a piece dramatically and reduce some restoration costs. Here's an example of what bleaching can accomplish.
Preparatory work can be one of the most important aspects of poster restoration. Failure to properly prep a poster can lead to increased restoration costs that you should not have to shoulder. Before any poster is linen backed the back of the piece must be cleaned of any adhesives, tape, stamps, or writing. Failure to do so can lead to bleed through of writing or stamps. Tape and adhesives will prevent the poster from backing properly and can leave raised areas. Here's an example I like to call the French Lesson as somebody went to town on this poster with several markers for a classroom project. The second is an example of bleed through.
Relining is the act of removing existing linen backing from a poster, usually done in instances of water damage or the poster has been mishandled and cracked. Relining should not be approached with a cavalier attitude as it often results in some paper loss to the poster. Also, any existing restoration will be "washed away" during the process. Please email us directly for pricing on these techniques.
Some do's, don'ts, and rules of thumb about poster mounting and restoration.
1. The less you do to a piece of paper the better.
2. Use only acid neutral materials.
3. Never dry mount unless you are not concerned about devaluing your piece.
4. Make sure the processes used are reversible.
5. Make sure the paints used are water soluble. Never use acrylic on a poster.
6. Bleach when discoloration disturbs the design or brightness, not for small unnoticeable blemishes.
7. Don't overpaint backgrounds or borders unless necessary. Remember, paper rarely survives in perfect condition, so it's o.k. to have some flaws.
8. Don't be afraid to ask a potential restorer questions about processes, materials, and prices, if you don't like the answers shop around.
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