Conservation and Collectors
Conservation quality materials is only the beginning of building frames that are made to last. We have the expertise and experience to use them in producing the environment for your art that will preserve them.
Our art experts take extreme caution when working with fine art. We use cotton gloves to handle the artwork from intake to installation to protect from oils in hands. We use museum grade, acid free mounting and mat boards to ensure that your piece will not bleed or become discolored. We also offer museum grade UV blocking glass to protect your artwork from fading in the sunlight. Each artwork also comes home with a guide on how to maintain your art.
We can also help you select the right solution for precious objects that are not flat. Bring in your textiles, jerseys and more to see what kind of structures we can create to hold your precious objects forever.
We offer restoration and conservation for old artworks
Project Profile: Maine Map Restoration
We work with the fine art restorer Restoration Division (http://www.restorationdivision.com/) when a project comes in that needs conservation and repair. Earlier this year, we worked on a restoration and conservation of a map of Maine. We take extra care in ensuring that any conservation will be reversible yet protect the object for years to come. Works on paper are particularly delicate to fading and disintegration due to humidity. Each one of our artworks comes with care instructions to maximize its longevity.
The map shows fading and discoloration due to age.
This map has other issues that make it a multi-disciplinary project. It has been varnished with a natural resin which has contributed to the yellowing that is present. It is also lined with muslin that is sewn to the paper around the perimeter and also glued throughout with an as yet unidentified adhesive. In order to humidify and flatten the piece, we need to remove the varnish and lining fabric.
We do not want the solubilized varnish to seep into the paper fibers during cleaning (nor during flattening, which is why it needs to be removed first). We have developed a method for removing the varnish by applying an ethanol gel through a scrim of wet-strength tissue. This method does not disturb the delicate inks in the map (carbon black), but it is a slow process that must be carefully executed. The lining on the verso can also be removed mechanically (and should) prior to humidification and flattening. Removing these materials will also permit for further washing of the paper, which will brighten it a little more.
A new lining will be prepared with Klucel G and Japanese tissue. These materials are compatible and reversible with the original paper, and will react homogeneously that to humidity, etc.
In process of repair
The finished map of Maine retains its distinguished age and patina while preservation methods ensure that it will remain stable.