*Hi Guys,
This is an interesting subject , so I must chime my 2 cents. If someone
asks for a Certificate (mind you it doesn't happen very often) but when
it does I have the following to offer.
http://members.shaw.ca/filmposters/ebaylist/resto1.gif
**http://members.shaw.ca/filmposters/ebaylist/resto2.gif
The poster is stamped with Archival ink. **Black Actinic ink for writing
and stamping made of an inorganic pigment containing no carbon black or
acid. It is chemically stable, will not decompose, will not fade or
cause fading, and will not damage paper or photographic images. _The ink
is water resistant and permanent.
_
Note that the date on the back of the Linen backed poster correspond
with the date on the Restoration Certificate.
On top of that I always do a before picture, a during pic and a done pic.
My work for the most is pretty even, but some times it seems like things
turn out like crap and it is not from lack of trying. Sometimes paper
just wont agree with anything.
The good news is that I am the one man band, so there is no one else to
blame but me.
I think if it is important to a collector to have a Restoration
Certificate, then he/she should have one. No questions asked.
Good stuff,
dario.
*
Phil Edwards wrote:
Anyone who has spoken at length with backer/restorer studios know that
several hands can work on one poster (apart from one-person operations).
The quality of the work can vary tremendously depending on what the
original was like to start with, to individual problems to be dealt
with and the experience of the restorer/s working on the piece.
A signature or stamp of any kind on the back of a poster isn't going
to indicate quality of work or the specific problems that may have
been encountered in carrying out the work.
What is useful for people to do is photograph the item before having
it linen backed and restored and be able to provide picture/s of it
prior to backing and restoration to potential buyers.
I have yet to work with one professional backer who has not provided
me, as a matter of course, with large high quality images of the
posters once they have been washed and mounted on the stretchers so I
can decide how much work I or my clients want done on the cosmetic
aspect of the restoration - which is another issue for discussion
entirely.
Phil
----- Original Message -----
*From:* Richard Halegua Comic Art <mailto:[email protected]>
*To:* [email protected]
<mailto:[email protected]>
*Sent:* Tuesday, June 16, 2009 7:14 AM
*Subject:* Re: [MOPO] Should restorers sign their work?
I'm with Doug
nothing wrong with identifying the restorer on the back..
as a matter of fact, it would be in the any restorer's benefit to
improve the quality of his/her work as well as work as a solid
advertisement for those doing excellent conservation and as a bad
advertisement for those doing lesser quality or totally sub-par
work hopefully putting them out of the business
think about it, if Eugene was still working, what would Canada
Bob's E.T. advance say about Eugene's work?
what would it say about Studio C, Jaime, Poster Conservation or Dario?
For collectors, you could make better decisions about buying a
poster from someone
"Oh yeah, this Day the Earth Stood Still one sheet was restored by
(choose one) Igor, Eugene, Jow Blow"
would be like the greatest benefit in the world in making a
decision. I wouldn't want a poster done by any of them.
I once had a linenbacked poster that the poster had been ripped
semi-vertically the whole poster. It was backed by someone who
neither matched each side to the other, or had the two halve meet.
So it was like a broken mirror with 1/16 of in inch between each
side.
I think it would be great to eliminate these awful artists &
promote the high quality artists
Rich
At 02:04 PM 6/15/2009, Douglas Ball wrote:
I see nothing wrong with stamping or signing the backing. This
shows the restorer stands behind their work. If the market puts a
value upon the restorers work, then so be it.
Doug
----- Original Message -----
From: lobby card invasion <mailto:[email protected]>
To: [email protected]
<mailto:[email protected]>
Sent: Monday, June 15, 2009 12:56 PM
Subject: Re: [MOPO] Should restorers sign their work?
Oh yeah, that's all we need, now the identity of the restorer
will decide the value of a poster.
A great poster, with the most minimal work done to it, but
performed by the uknownn Joe Schmo, rather than the
prestegious big "studio", will suddenly be shunned.
We don't want to go there.
Zeev
----- Original Message -----
From: Glenn Taranto <mailto:[email protected]>
To: [email protected]
<mailto:[email protected]>
Sent: Monday, June 15, 2009 11:01 AM
Subject: Re: [MOPO] Should restorers sign their work?
I was in no way implying the restorer should sign the
front of the work. Of course not. But there is a back to
the poster.
The Sistine Chapel won't be resold but posters pass from
hand to hand all the time.
I know that some people hold certain restorers in high
esteem and it would be interesting to see if that would
play a part in a poster's value...
----- Original Message -----
From: Franc <mailto:[email protected]>
To: [email protected]
<mailto:[email protected]>
Sent: Monday, June 15, 2009 4:48 AM
Subject: Re: [MOPO] Should restorers sign their work?
Nobody to my knowledge signed the Sistine Chapel
after its latest restoration. I think a paper stamp
on the back of the restored poster would be okay but
certainly not on the work itself. Frankly the
restoration should and will speak for itself, so it
really doesn't matter who the restorer was. FRANC
-----Original Message-----
From: MoPo List [
mailto:[email protected]] On Behalf Of
Glenn Taranto
Sent: Monday, June 15, 2009 12:09 AM
To: [email protected]
Subject: [MOPO] Should restorers sign their work?
What are the pros and cons of restorers signing
thier work?
Would it add or subtract from the value of a piece?
It would be easier to do with paper items, a
simple rubber stamp of some kind. I suppose it
could be done the same on linen.
Years go by and you wonder, who did the work on
this piece.
Your thoughts?
Glenn T.
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