The studio is well equipped to carry out a large range of conservation and restoration treatments to works of art on paper, however great or small a task. From Old Master drawings to modern silkscreen prints we can repair and conserve your artworks, as well as provide advice for their long-term preservation.
Works on paper are susceptible to a number of common problems:
- Foxing/mould damage can arise when works are kept in damp conditions with little ventilation,
- Mechanical damage, such as tears and losses,
- Water staining,
- Staining caused by ageing Sellotape and Masking tape,
- Acidic decay often caused by poor quality mounting materials.
- Fading caused by exposure to light and Ultra Violet radiation.
A number of these problems can arise from the use of poor quality materials in the mounting and framing of works of art on paper. Once we have treated your works we can re-mount using museum quality, acid-free materials and re-fit into the existing frame (or provide a new frame if required) to museum standards.
Examples of paper conservation treatments include:
- removal of destructive acidic board and damaging adhesives (traditional or modern),
- treatment of general discolouration and surface dirt, disfiguring spots, stains and foxing,
- de-acidification to halt acidic decay,
- removal of ‘Sellotape’, masking tape and associated stains,
- repairs, linings and infills to missing areas,
- retouching or toning to minimise the visual impact of damage,
- sensitive remounting in high quality, acid-free board,
- framing and fitting up to the highest museum standards.
Frank Auerbach Drypoint
This drypoint by Frank Auerbach came in for conservation in a poor condition, with tears, folds, and creases. There was also a large oil stain and general discolouration and surface dirt.
The drypoint dates from Auerbach’s time at the Royal College of Art, where he experimented with drypoints and used an unorthodox technique.
“The drypoints were scratched on to pieces of alloy six inches square, bought from Romanys of Camden High Street for 6d. each. They were done with a nail, set into a pen holder with sealing wax, and printed by rubbing the back of a spoon over the back of the dampened paper. It was all very laborious; there was a lot of burnishing.”
Michael Podro, Frank Auerbach: The Complete Etchings 1954-1990
It is important to consider an artwork’s history when formulating conservation treatments, along with understanding a works materiality. We can then be confident in making ethically sound judgements, with the long-term preservation of an object with as little intervention as possible the primary aim.
