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The Studio

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Our restoration studio can restore most damage that may have occurred to the poster over time.

Robert Garvin has been our art restorer since 1993 and is constantly working to improve our already high quality techniques. Museums and collectors benefit from our experience and appreciate our non-invasive approach.

POSTER CONSERVATION

Museum mounting – The ideal support

With our know-how, the poster is washed and then restored in our restoration studio in Geneva. In this way the poster is well prepared and ready to be framed. The mounting process enhances the color and takes the fold marks out. The poster becomes also resistant to the temperature changes and the relative humidity of its surroundings.

Our unique mounting technique

Inspired by traditional Japanese Mizubari and Karibari friction mounting techniques, since 1993 we have developed a unique mounting procedure which allows the poster to dry much more slowly than stretch mounting techniques. Slow drying on both sides prevents unwanted tension on the paper’s fibres, especially short fibered Western paper that is acidic and torn.

Our much longer drying process also allows time to flatten folds and tears and helps eliminate any unwanted surface relief that can become apparent when the poster is lit from above.

Paper cleaning and de-acidification

Almost all of our posters undergo conservation treatment. At our restoration studio, the posters are dusted with a fine brush or with a very soft erasing powder. Next they were washed with clear water in large basins to neutralize any acid in the paper, to remove any extra surface or ingrained dirt and to flatten folds.

The wet poster is then pasted onto an acid free paper which had previously been pasted onto cotton canvas, all using ph-neutral water soluble paste. Depending on the poster’s size, drying time is 10 days to a month, in a dust free environment.

We use only materials of the highest quality and all of our restoration/conservation work is totally reversible.

Our technical know-how is the result of skills that have evolved from a 150 year tradition of poster mounting, and is recognized and appreciated by museums worldwide.

Mounting also protects from any further damage such as tears and folds and gives the poster extra support when framed.

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The choice of a mounting technique depends on the chemical and mechanical characteristics of the paper, on the technique used for printing and on the general condition of the poster. According to these criteria we will choose one of the following options:

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  • MUSEUM MOUNTING ON LINEN (SUPERIOR QUALITY COTTON CANVAS WITH CANSON PAPER)

Mounting on cotton canvas is the conservation technique which is most resistant to damage. The Canson paper which separates the poster from the cotton canvas is ph-neutral, protects from further acidity, stabilizes the colors and prevents oxidization (yellowing).
A 3 cm margin is left around the poster to protect the poster itself against deterioration during handling and transport.

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  • MUSEUM MOUNTING ON JAPAN "BOLLORÉ" THIN PAPER

Bolloré thin paper mounting involves the use of superior quality cellulose paper which is extremely thin and which is totally acid-free.This method is used only if the poster is not too big (not more than 130x100 cm) and if it is in relatively good condition. The Bolloré thin paper is cut right up to the poster’s edges.

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  • MUSEUM MOUNTING ON GENUINE "KOZO" JAPANESE CONSERVATION PAPER

Genuine Japanese "Kozo" paper mounting involves the use of the highest quality Kozo paper available, fully made from organic, raw and noble material that is naturally acid-free.
This method is used only if the poster is not too big (not wider than 100 cm).


  • MUSEUM MOUNTING ON SOFT CANVAS (VERY SUPPLE MOUNTING)

On a cotton canvas doubled with Japan paper.


A poster can also be mounted on a rigid support without using paper or canvas by by sticking it directly on cardboard or aluminium for instance. Nevertheless a rigid mount is irreversible in most cases. That is why, in order to preserve the value of your artwork, we do not recommend the use of this process for collectible high-value posters.


Without a mounting support, the poster will have a tendency to buckle inside a frame. The poster may not actually be damaged, but the paper can slide and form noticeable wavy undulations. These deformations can ruin the aesthetic appreciation of your poster. Unless otherwise stated, mounting is included in the poster’s price.


Mounting prices

If you happen to own a poster and wish to enhance it thanks to our mounting and restoration services, our conservation department is at your disposal.

On the basis of a careful examination of the paper's condition and printing techniques, we will provide you with a customized quotation.
A high resolution digital photograph is also included in this service.

Here are are indicative prices for our museum mountings (including VAT)

size
up to

50 x 70 cm

60 x 100 cm

75 x 110 cm

90 x 128 cm

100 x 140 cm

120 x 160 cm

COTTON CANVAS
WITH CANSON OR
"BOLLORé" PAPER

175.-

240.-

280.-

325.-

380.-

435.-

JapAn
“Bolloré”
thin paper

140.-

195.-

215.-

270.-

325.-

-

“Kozo”
JAPANESE
PAPER

215.-

325.-

375.-

435.-

-

-

RESTORATION

Respect for the posters

All our posters restoration techniques are totally reversible. Our aim is to improve the visual aspect of your poster without interfering with the object itself.

Missing pieces

Our restoration studio has a large collection of old paper which we use to match the original paper with the original paper of your poster. This paper is de-acidified and therefore ph-neutral before use. We do not overlap your poster with the additional piece, so the original poster’s paper and the paper used for restoration can not adversely affect each other over time. We also use high quality Kozo Japan paper. All our paper conforms to ISO 9706 norms.

Painting restoration

All our paints have high quality pigments and can be easily be removed with water. We use watercolor pigments, not permanent water bared inks, gouache and water soluble pencils and watercolor pastels. We do not use alcohol based inks or acrylics. Air brush techniques are used for large areas of uniform color, but again using water based color. Extremely fine water color brushes are used to treat tears and cracks. We never paint into your poster and stay within the restored missing area. This means you know exactly which part of the poster is original. Our high quality pigmented color is long-lasting and is made locally in Switzerland.

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The Finished Work

Our aim is to restore your poster as near as possible to its original appearance. This means using a variation of artistic techniques so that the restoration is totally harmonious with the rest of your poster, not only getting the color as exact as possible, but also reproducing the grain of the lithographic stone, or even, hand painting each tiny point of an offset print. The result we hope will give the work a visual completeness.

Restoration prices

Restoration works are charged on the basis CHF 120.- per hour.

The time needed for the restoration of the poster can fluctuate according to its condition and the complexity of required operations. That is why we will offer you a quotation after having briefly examined your poster.