CHARLES CHAPLIN POSTER 

"His Night Out"

Offset on paper, 1940

The restoration of this poster was a collaboration with the Slapstick Festival to support the conservation of documents generated by the cinema industry.

This document has sustained a great deal of damage prior to arriving for treatment. A significant number of tears located all over the poster with intrusive pieces of different types of adhesive tapes used in previous repairs, was just one aspect. The poster was also badly attached to a backing board which had caused physical tensions in the paper, leading to an increase in mechanical damage. The acidity of the paper support - and therefore the loss of mechanical strength - made the treatment process especially difficult as it was particularly weak and vulnerable to damage from handling.

The restoration process was focused on recovering the integrity of the support but also the aesthetic unity of the image for its display. The process started by removing the backing layer and adhesive tapes, followed by the removal of the glue residues. Then, to raise the pH of the paper, the poster was washed to remove the soluble acids. It was then lined with a very thin layer of archival paper and pH neutral adhesive. Finally, infillings were done where there was loss of paper support.  These were toned with reversible media to restore an aesthetic unity. The poster was finally framed to conservation standards, so that it can be safely displayed and enjoyed. 

PORTRAIT OF A GIRL, Piñole. 

Pastel on coloured card

This work of art was made of pastel on a very thick paper support. The work had been framed and glazed without any spacers between the glass and artwork. Due to combination of the framing and an uncontrolled environment, the work became stuck to the glass.  Unavoidable loss of pastel powder was occurred as a result of the removal of the glass from the artwork surface, particularly on central area, which unfortunately was irreversible. The artwork also suffered from strong discolouration and heavy surface dirt overall, particularly on the front. Moreover, the work had sustained a complex tear on the top left, with dark brown staining on the back due to previous attempts at repair with pieces of Sellotape, and glue residues at the bonding area. 

The conservation treatment started with mechanical surface cleaning,  and then the removal of the Sellotape pieces at the top right and the reduction of the aged glue staining.  A light and controlled washing, which reduced discolouration of the support. Only then, was the tear mended and reinforced from the back. Cellulose fibres were introduced into the tear to improve the bonding of the torn support, and finally retouching improved the aesthetic values of this area, making the damage imperceptible to the viewer.

PORTRAIT OF A MAN. 

Graphite on paper

This artwork was heavily damaged by foxing (brown spotting), which was distorting the artist´s original aesthetic values and intention. Also the support was undulating and creased. 

The conservation treatment focused on the removal of the foxing.   With control of the pH, the staining was successfully removed and the paper was stabilized. Finally, the undulation was removed by controlled flattening.

UNTITLED

Ink and graphite on Kraft paper, by Orlando Pelayo

This artist´s sketch suffered from very dark areas of staining due to the presence of very aged Sellotape pieces at the bottom.  One of these stains was also covering the artist´s signature. In addition, some tears at the bottom edge of the work and the lower right corner were putting it at risk of further deterioration during handling. Moreover, it was strongly creased and distorted overall.

During the conservation treatment, the work of art was initially surface cleaned to remove pollutants; the aged pieces of Sellotape were removed and then, the staining successfully removed.  The ink of the signature was very sensitive, so a minimum intervention approach was practised to avoid putting at risk the valuable artist´s mark. Afterward the tears were mended and reinforced using an invisible support at the back. Finally, the whole piece was flattened carefully so as to keep the original texture and character of the work.