Impressive. 

I wonder if some type starch was used to make the card stiff at the fold line?
JW




________________________________
From: David Kusumoto <[email protected]>
To: [email protected]
Sent: Sat, July 24, 2010 6:53:42 AM
Subject: [MOPO] "Lawrence," BEFORE & AFTER - Why restorers remain vital to our 
hobby.

** Several weeks ago, I posted images on MoPo of a squashed Lawrence of Arabia 
Oscars window card that a seller sent un-protected in a Priority Mail triangle 
box.  Shortly after that post, a MoPo member reached out to me, armed with 
confidence and loads of sage advice... 




** The person who "reached out" to me on MoPo was Carol Tincup of Orange, CA 
(714.289.8630).  Carol has been working with paper for more than 30 years.  I 
had never used her services before and I only chose to do so because after she 
saw images of my squashed Lawrence Oscars poster, she e-mailed me, offering 
non-invasive solutions I could try on my own.  As a result of this "outreach," 
I 
picked up the phone and said "no way am I going to do this by myself" - and I 
asked her to work on the poster above -- and then asked her about a second, way 
more valuable "Lawrence" roadshow camel-style WC (below) that I had just 
received that had been permanently dry mounted onto foam core (NOT spray 
mounted, which would have been an easier job); Carol was supremely-confident 
she 
could pry off the dry mount in pieces without tearing, curling or wrinkling the 
poster or scorching its colors - strengthening and minimizing the fold line 
with 
what an extremely thin application of some type of gluey substance on the back 
- 
before heat pressing the poster flat -- all without airbrushing and without 
linen- or paper-backing!  Until I spoke to her, I had NO intention of letting 
anyone TOUCH the poster.  I was intent on leaving the poster "as is."  But her 
confidence was reassuring. The "before" picture below has a yellowish cast 
because it was taken indoors under tungsten light.  The "after" picture was 
taken outdoors, under natural light on the floor of my covered patio.  Note the 
visible fold line in the "before" picture.  



** Note that Carol's work was labor intensive but minimally invasive, more like 
a remove-and-repair-and-clean job than a full restoration.  On the "camel" 
poster, note the back.  The fold line is still there, nothing is hidden.  But 
this poster is no longer weak along the fold line; the poster has the weight 
and 
feel of sturdy card stock from 1962 - without paper backing of any kind.  The 
fold line on the front is now FLAT.  It disappears and re-appears amid the 
colors when you put your eyes within 2-3 inches of the poster, but at a normal 
viewing distance, it's gone.  Carol achieved the same results with my formerly 
squashed "Oscars" poster.  I am not kidding, you now have to LOOK HARD for the 
fold lines on both posters.  I cannot even feel them when I run my fingers over 
them.

** My point is the craftsmanship of restorers has wonderfully evolved from the 
"dipped in paint" days of the 70s, 80s and 90s.  While unrestored paper is 
always preferred, so long as the world's best museums continue to preserve 
paper 
that might otherwise turn to dust and lost forever -- there will always be a 
need for restoration / preservation craftsmen.  I used to be flatly told that 
removing dry mount from a poster was impossible.  (It might still be very risky 
for something like a one-sheet, I don't know.)  But this was the first time I 
have ever OK'd the removal of a poster that I believed was "permanently" 
dry-mounted to foam core.  I was extremely nervous about it.  Now that it's 
over, I'm obviously happy with the results and with the quality of Carol's work 
-- and naturally, I wanted to share them with the group. -d.



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