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Before treatment, a print of a cottage is discolored from acidic mounting. ...Read more

...Read more

Before, the print was adhered to an acidic mount, had tears and losses and a flattened plate mark....Read more

After, the image of the print has improved clarity and the corner is infilled....Read more

Before treatment in raking light, the print surface is skinned and disrupted from direct adhesion to a previous window m...Read more

After treatment in raking light, the print surface is restored with sizing and burnishing, tears and losses are repaired...Read more

Before treatment, the print of the cottage is adhered to an acidic backing....Read more

After, removal of the backing and cleaning has revealed the original reverse of the paper with barely perceptible Japane...Read more

Following treatment, the print is held to a rag backmat with archival corners for a non-invasive and reversible matting ...Read more

After, the matted print is protected in a frame with UV filtering acrylic glazing and a neutral backing board....Read more

Before treatment, a print of a windmill is discolored from acidic mounting....Read more

After cleaning and stain removal, the print has restored clarity, original paper tone and is well preserved within rag m...Read more

Before, the print is very discolored due to age and acidic transfer from poor mounting....Read more

After, the print has been washed, stains and discoloration removed, and deacidified....Read more

Before, the print has cockling and an acidic kraft paper hinge. ...Read more

After, the plate mark is recovered and the print has restored planarity....Read more

Before treatment, a print of two men is discolored from acidic mounting....Read more

After, the print has improved clarity, original paper tone, and improved long term preservation within rag mats....Read more

Before, the print is adhered directly to an old acidic mat, with discoloration of the paper and adhesive stains. ...Read more

After, the print is removed from the mounting, clarity and preservation is improved, and it is attached to a rag mat wit...Read more

Before, the print on its acidic mount has obvious discoloration, acidification and adhesive stains are obvious....Read more

After, the print has been cleaned using aqueous methods removing discoloration, acids, dirt and stains. It has been dea...Read more

Before, the print reverse is heavily stained and has deformations ...Read more

...Read more

Thomas Cole: engravings on paper, ca 1912
engravings, ink on paper, largest 8 1/8″ x 5 1/4″

Project Highlights

The client’s ancestor was a professional artist.  Three of this engravings were mounted to acidic boards, had acid burns, discoloration and one had skinning at the surface due to previous restoration.  The prints were washed, stains were removed, they were deacidified, re-sized, one required tear repair, and they were all relaxed/pressed, presented in rag mats and framed for long term preservation and display.