email Jim, he'll be very happy to hear it
At 09:37 PM 7/24/2010, Todd A. Spoor wrote:
I may have missed this, Jim G, did you find all
the pictures of the Inivisible man Lobbies? If
not I have pictures of them.Todd Spoor
Sent on the Sprint® Now Network from my BlackBerry®
From: David Kusumoto <[email protected]>
Sender: MoPo List <[email protected]>
Date: Sat, 24 Jul 2010 20:20:41 -0700
To: <[email protected]>
ReplyTo: David Kusumoto <[email protected]>
Subject: Re: [MOPO] "Lawrence," BEFORE & AFTER -
Why restorers remain vital to our hobby.
** Thanks, Mike. Yes, but it was all Carol. If
paper-backing was in the equation, I would've
said NO. The thing I couldn't get over was
Carol Tincup was extremely confident about the
outcome. I had to be talked off the cliff
several times. It's obvious she had done this
many times before and that after 30 years, you
get better at it. There's knowledge and there's
skill. I like to KNOW what's being done -- but
I do NOT have the skill. A restorer has to have
both, but skill varies from person to
person. Even Carol admitted that after many
years (she began her career working on restoring
old photos), a lot of trial-and-error practice
is involved in perfecting your craft - so that
by the present day, you're not only better at
studying problems, you excel at solving them,
always finding better techniques to keep
restoration minimally invasive. Carol studied
my posters and the potential steps required to
rescue them, and then turned into a surgeon
without cutting open the chest, so to
speak. That's amazing. There are many fine
restorers out there. I appreciate what you
do. What was kismet in my case was Carol
reached out to me with do-it-yourself
solutions. Forget that, I'm not a
craftsman. Had she not reached out, I was
resigned to accepting things as they were. I'd
never worked with her before and her confidence
and convictions were contagious.
** Now, do I consider both posters
"restored?" Yes and no. Working on the backs
of both posters felt more like a big repair job
than a restoration. The irony is while Carol's
efforts were labor intensive -- I now own two
posters that have the "look and feel" of
unrestored posters. If I ever sold them, I
would disclose that both posters were previously
folded but were professionally flattened. I
wouldn't have to say they were painted or paper-backed. Amazing.
----------
Date: Sat, 24 Jul 2010 19:25:30 -0700
From: [email protected]
Subject: Re: "Lawrence," BEFORE & AFTER - Why
restorers remain vital to our hobby.
To: [email protected]
Very impressive results. The "botox needle" is
fascinating. Removing dry mount is a most
unenviable task and it looks like Carol did a
splendid job! I really like the choices that
were made in bringing these pieces back.
Pov
May the holes in your collection be filled.
--- On Sat, 7/24/10, David Kusumoto <[email protected]> wrote:
From: David Kusumoto <[email protected]>
Subject: Re: [MOPO] "Lawrence," BEFORE & AFTER -
Why restorers remain vital to our hobby.
To: [email protected]
Date: Saturday, July 24, 2010, 7:13 PM
Thanks to everyone for their private and public
messages about my early morning post re: my two "Lawrence" window card posters.
** About "strengthening the fold lines" on my
posters and making them near invisible: The
"heavy lifting" was done on the BACKS of both
posters, NOT the front. Carol stressed she
didn't like to touch the FRONT because that
risks damaging the color integrity of the
displayed image. The work was truly "keyhole
surgery" as Phil describes, e.g., not only did
she pry off the dry mounted form core in pieces,
which took forever, she had to clean the back
carefully and then use what I humorously call an
extremely thin "botox" needle to inject a fine
liquid into the BACK fold. This could have been
a glue or starch, I don't know. This part also
took a lot of skill and patience. The main
thing is that when it dries and is pressed, it
strengthens the previously weakened paper fibers
on the fold lines. The poster comes out
sturdy. And yet the back fold line is as smooth
to the touch as the front. I love the fact that
the most critical work was done to the back, not
the front. I think the work would've been less
labor intensive if it had been immersed in
liquid and paper-backed, but that's not what Carol nor I wanted.
** And - YES! Both posters are already framed
and hanging side-by-side! The UV plexi frames
were built by Sue Heim of course! (See
below.) You all saw the "before" images. I
thought my situation was hopeless. It's wonderful to be proven wrong. -d.
http://i920.photobucket.com/albums/ad49/PRtoday/lawrence-WCs-ca
----------
Date: Sat, 24 Jul 2010 21:19:31 +1000
From: [email protected]
Subject: Re: "Lawrence," BEFORE & AFTER - Why
restorers remain vital to our hobby.
To: [email protected]
The poster restoration equivalent of keyhole
surgery. Those posters are going to look great framed side be side!
Phil
----- Original Message -----
From: <http:///mc/[email protected]>David Kusumoto
To:
<http:///mc/[email protected]>[email protected]
Sent: Saturday, July 24, 2010 8:53 PM
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...
http://i920.photobucket.com/albums/ad49/PRtoday/lawrence-WC-750
** 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 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.
http://i920.photobucket.com/albums/ad49/PRtoday/lawrence-WC-800
** 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 had 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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