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Conservation of Vintage Posters

Several steps will contribute to the proper conservation of vintage posters:

- Preparation and cleaning of the paper

- De-acidification and mounting / backing >

- Restoration > (if necessary)

- Professional framing

Since 1993, our restoration workshop, located in the centre of Geneva, has been refining its techniques for treating vintage paper and meeting the requirements of conservation and restoration of artworks.

Our posters are cleaned, mounted / backed and restored directly in our workshop.

THE MOUNTING / BACKING AND RESTORATION WORKSHOP

A graduate of the Winchester School of Art, one of the UK's leading art and design institutes, Robert Garvin has been restoring our posters since 1993. Precise and meticulous, he is constantly working to improve his techniques. He restores damage to vintage posters and papers and mounts / backs the posters on canvas.

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Museums and collectors benefit from our expertise and appreciate our non-invasive approach to poster conservation.

CLEANING OF VINTAGE PAPER

Cleaning and de-acidification of paper

In order to preserve the artworks, we apply a paper conservation treatment to each poster.

In our workshop, the posters are first dusted dry with a brush, then with eraser powder if necessary.

The paper and inks are tested.

Traces of adhesive tape, glue, paint or other materials that have been left on the work are removed with solvents or by a dry process.

The posters are then washed with clear water in large basins to remove dirt, refresh the colours and remove tension from the paper.

The acidity of the paper is neutralised to stabilise it at a neutral PH.

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CANVAS OR MUSEUM MOUNTING / BACKING

The mounting / backing of a poster on canvas, the conservation treatment of choice

Mounting, or backing, is a technique that preserves the poster with the help of a protective support.

Thanks to this process, the poster regains the brilliance of its original colours, the tensions are removed and the folds are flattened. The poster also becomes resistant to humidity and temperature variations.

The poster is thus ready to be perfectly framed.

Our unique mounting / backing technique

The wet poster is applied with a starch solution to a sheet of acid-free Canson paper and then lined with an organic cotton canvas.

Depending on the size, the type of paper and the printing technique, a drying time of 1 to 3 weeks is necessary away from dust.

Inspired by "Mizubari" and “Karibari”, two traditional Japanese techniques of mounting / backing by friction and drying, we have developed a unique process since 1993, which allows the posters to dry slowly.

The slow drying of both sides of the paper reduces tension by preserving the paper fibres, flattens creases and tears, and reduces relief and surface damage. It also improves the texture and three-dimensional quality of the paper. This technique is particularly suitable for vintage and acidic papers and for damaged, folded or creased papers.

Our canvas are all made of natural and PH neutral materials which guarantee the stability of the paper's acidity.

Fully reversible process

Our conservation and restoration techniques for vintage posters and paper respect the materials and the works.

Our know-how, the result of the evolution of a 150 year old technique, is appreciated by collectors and museums all over the world.

This process ensures that our posters are flat and can be perfectly framed.

The choice of the mounting / backing technique depends on the chemical and mechanical properties of the paper, the printing process used and the condition of the poster.

Depending on these criteria, we recommend one of the following options:

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Mounting / backing with acid-free "Canson" paper on organic cotton canvas

Mounting / backing on organic cotton canvas with Canson paper is the most resistant paper conservation technique.

The poster is first placed on a sheet of Canson paper. This paper has the property of preserving the poster at a neutral PH and without acidity, which stabilises the colours and protects against oxidation (yellowing of the paper).
The paper is very fine-grained and perfectly smooth, giving the poster a flat surface.

This sheet of Canson paper and the poster are then lined with a 100% organic cotton canvas.

A canvas margin of 3 cm (1 inch) is kept around the poster to protect it during handling.

A mounted / backed poster can be rolled up and slipped into a tube for safe shipping or storage.

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Mounting / backing on "Bolloré" Japan paper

For the Bolloré Japan paper mounting / backing, we use a very thin, flexible, acid-free, high-quality cellulose sheet.

This process can only be applied if the poster is not larger than the Swiss format (90x128cm) and is in very good condition, not folded.

This very light and non-invasive technique is appreciated by some collectors and museums in Switzerland and Germany.

With this technique, the Japanese paper is cut flush with the edge of the poster.

It can be framed as is.

Although the poster retains its lightness and specific flexibility, it remains fragile when handled.

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Why mounting / backing ?

An unmounted / non-backed poster, even in perfect condition, is very fragile and can be damaged quickly when handled. In addition to strengthening it and stopping tears, mounting / backing deacidifies the paper, stabilises the poster and allows it to be restored if necessary.

Flexible and reversible, mounting / backing preserves the life and specificity of a work of art on paper while allowing a high level of framing.

Our natural materials and non-invasive, reversible techniques meet the modern rules of art restoration.

An unmounted / non-backed poster can not only be damaged by handling, but also, when framed, can form unsightly waves. Tensions in the frame of an unmounted / non-backed poster due to temperature and humidity variations are not damage, but reduce the visibility of the artwork.

These ripples or folds detract from the artistic qualities of the framed poster by creating unwanted reflections behind the glass.

Mounting / backing on rigid board, cardboard, wood or hot-melt gluing on aluminium are not recommended for a valuable vintage poster. These materials are often very acidic and the gluing is irreversible. The value of the work is therefore greatly diminished.

In our catalogue, we always specify whether the price of the mounting / backing is included or not.

If the mounting / backing is not included, you have the choice to order it by e-mail.

A quote and delivery time will be sent to you on request. Surcharge of 100.- to 400.- Swiss francs depending on the format.devis et un délai vous sera communiqué à votre demande.

(This offer applies only to posters sold by Galerie 1 2 3. For other posters, see prices below).

RESTORATION OF VINTAGE POSTERS

A Respect for the Artwork

Our restoration and conservation techniques for vintage paper are fully reversible.
Our vision is to restore damage (folds, tears, adhesive marks, paper gaps) by improving the visual aspect only where the drawing is touched, with the help of non-intrusive techniques. In order not to interfere with the object itself, we intentionally leave the defects visible up close, while making them acceptable, even invisible, at a certain distance, thus preserving both its beauty and its soul.

Filling gaps (missing pieces of paper)

Our restoration workshop has an abundant variety of vintage papers that we use to fill in any gaps in the posters.

Using a proprietary technique, the antique paper is rendered neutral and acid-free before being used on the poster. We also use "Bolloré" Japanese paper to reinforce certain gaps or tears.

Our range of noble colours

All our colour shades are of the highest quality. They are selected according to their noble pigments, which we choose for their durability and luminosity.

We prefer watercolour pigments, water-soluble inks and pencils, gouache and watercolour pastels. We never use acrylic or alcohol-based inks.

We occasionally use the airbrush, very sparingly, for large areas of uniform colour, but always using water-based colours. We never use covering and synthetic paints on the poster. Our pigment preparations are made in Switzerland.

Finding the right colour is an art in which Robert Garvin excels. It can take him hours of work to find the right mixture to match the original colour.

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The final result

Our goal is to restore each poster as close as possible to its original appearance, preserving its historical value. By using a variety of artistic techniques, as well as non-intrusive restoration in harmony with the rest of the poster still in good condition, we try to obtain the exact colour and its variations, for a successful and respectful treatment of the work.

We give new life to each vintage poster so that future generations can enjoy this heritage.

PRICES FOR MOUNTING / BACKING

If you would like to take advantage of our mounting / backing and restoration services, our conservation department is at your disposal.

After a careful examination of the condition of the paper and inks, we will provide you with a personalised estimate.

Please find below our indicative prices for the handling and mounting / backing of posters (VAT included):

Handling:

The total charge includes the following fees: handling, insurance, expertise, colour and paper tests, quote, billing.

For a poster with an estimated value of up to CHF 1,000
For a poster with an estimated value of CHF 1,001 to 4,000
For a poster with an estimated value of CHF 4,001 to 9,000
For a poster with an estimated value of more than CHF 9,000

CHF 50.-
CHF 120.-
CHF 250.-
CHF 800.-

Price of the mounting / backing:

Sizes up
to:
X


50 x 70 cm

64 x 100 cm

75 x 110 cm

90 x 128 cm

100 x 140 cm

120 x 160 cm

Canvas and
acid-free "Canson” paper


190.-

250.-

290.-

340.-

400.-

475.-

Fine Japan
paper
«Bolloré»


150.-

200.-

240.-

300.-

360.-

-

These fees include the inspection of the poster, washing with clear water, de-acidification and canvas mounting / backing.

PREPARATION AND RESTORATION FEES

Any preparation work - cleaning, scrubbing, gaps, smoothing, etc. - and restoration (see below) are charged at CHF 130.- per hour (VAT included).

The time required to restore a poster varies greatly depending on its condition and the complexity of the operations to be carried out.

Various preparatory work may be necessary before mounting / backing the poster: dry cleaning or scrubbing, removal of adhesive tapes or other glues by solvent or scraping, removal of canvas, removal of labels...

In addition to washing, deacidification and stabilisation, restoration work may be necessary to ensure good conservation and aesthetic restoration: whitening, work on tears and folds, filling holes and gaps, retouching on gaps, tears and folds...

Therefore, we will provide you with an estimate after a brief inspection of the work that needs to be done.