same here, ...
i think many will now reconsider doing major restoration. i am of the
opinion that LESS is SO much more. i have had a few things, that were
delicate and fragile, backed, simply to stabilize the paper--the
pieces are french and belgian from the 1920s and 30's.. the paper was
getting brittle--and was at risk of splitting along fold lines.
other than that.. over painting, spraying, and making a 75 year old
poster look brand new is really, in a sense, covering over "the life"
the poster has lead. a few historical pumps and scratches give
character...
jeff
On Sep 2, 2009, at 1:19 PM, bqjansen wrote:
Me too. I must say in general that this whole episode has led me to
serious thinking about my "restoration needs".
That's a positive anyway.
Wim
Op 2 sep 2009, om 22:13 heeft jim episale het volgende geschreven:
Here Here !!!
I agree 100%
jim
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jim episale
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From: MoPo List [mailto:[email protected]] On Behalf Of
Anne Coco
Sent: Wednesday, September 02, 2009 3:59 PM
To: [email protected]
Subject: [MOPO] the role of restoration in forgeries
I have been reading the discussion surrounding the recent
revelations about forgeries have been discussed and there is one
point I would like to make before this topic is sidelined as old
news. The over-restoration of movie posters has contributed
greatly to forgers’ ability to fake old paper. Too much paint
makes it difficult to determine not only how much (if any)
original paper actually exists but it also plays into the hands of
those with nefarious plans. As I understand it, the forgers not
only distressed the paper that they used but they also applied
over-painting because this is a common practice within the field
of collectible movie paper. I would advocate for movie paper
collectibles to instead be evaluated based on their original
condition not some ideal that can be created via the application
of over-painting.
If anything good comes out of this, it would be (in my opinion)
that collectors would look at posters with fold creases and paper
losses and learn to love them just the way they are without paint
to brighten the colors and obscure the signs of use. If the
practice of over-painting could magically disappear, it would be
much easier to determine what is and is not real. Visible fold
creases should be viewed as a clue that the paper is truly what it
claims to be while a lack of fold creases should be a cause of
concern for collectors. If the fold creases, background and
borders have been over-painted, how can you be certain that what
you are buying is more paper than paint? And I haven’t even
touched on the problems of what happens to paint and paper when
they age. It’s not pretty, especially if the piece was exhibited
under less than ideal light conditions in a frame on a wall in
your house for a long period of time.
That said I completely understand that paper losses particularly
in the image area can detract greatly from the enjoyment of a
poster. In these cases, those in the field of paper conservation
would tell you that whatever you do should be completely
reversible serving only to trick the eye at a distance but
completely revealing itself upon close inspection.
Whether you collect for personal enjoyment, as an investment or as
part of a larger institutional mandate, the posters we all hold
are part of our larger cultural heritage as well as assets to be
protected. Please take my comments as an attempt to ask the field
to re-evaluate current practices and think about the long-term
implications of over-restoration. The benefit will be increased
transparency which will make it more difficult for forgers to ply
their trade and collections that will continue to awe for
generations to come.
Anne Coco
Graphic Arts Librarian
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