Paper Restoration

Art conservation and restoration involves the preservation of works of art, arresting progressive deterioration that causes damage, and correcting damage that has previously occurred. Professional fine art restoration is divided into specific areas of expertise. Restoring a painting, photograph or drawing, for instance, is in essence solving a problem related to the substrate, or material on which the piece is executed, as well as the medium or emulsion layer that is applied to that substrate. Our expert restoration and conservation services are offered nation-wide. 

Odoo - Sample 1 for three columns

Before Restoration

This Edward Curtis photogravure had severe reverse mat burn and foxing. 

Odoo - Sample 1 for three columns

After Restoration

The mat burn and foxing were removed by aqueous methods resulting in an even sheet tone. The artwork was also thymolized and deacidified to prevent further damage. 

Odoo - Sample 1 for three columns

Before Restoration

The tears of this hand-colored antique map had been improperly back with pressure-sensitive tape. The tape residue has stained the paper over time, leaving the paper brittled and yellowed. 

Odoo - Sample 1 for three columns

After Restoration

After carefully removing the tape and adhesive residue, the staining was cleaned and the tears backed with mulberry tissue. The voids in the paper were fiber filled and the darkened sheet was cleaned by aqueous methods.

Odoo - Sample 1 for three columns

Before Restoration

This 19th century watercolor was mounted to a wood pulp board that became acidic over time causing the artwork to darken. 

Odoo - Sample 1 for three columns

After Restoration

After dry peel methods were used to remove the acidic board this watercolor was mounted to, the adhesive residue was removed using aqueous methods and the sheet locally cleaned by aqueous methods.

Odoo - Sample 1 for three columns

Before Restoration

Exposure to acidic materials had severely darkened this Hiroshige color wood block print triptych. ​

Odoo - Sample 1 for three columns

After Restoration

Before locally cleaning by aqueous methods, the three parts were disassembled and the adhesives removed. The parts were reassembled with archival adhesives and deacidified.

Odoo - Sample 1 for three columns

Before Restoration

The reverse mat burn on this Edward Hopper etching is a common condition issue for framed prints.

Odoo - Sample 1 for three columns

After Restoration

An even sheet tone was created by cleaning with aqueous methods and the sheet was deacidified.

Odoo - Sample 1 for three columns

Before Restoration

This Havell Edition Audubon hand-colored aquatint engraving was brought back to life after removing the improper repairs to the tears. 

Odoo - Sample 1 for three columns

After Restoration

The adhesive residue staining caused by the pressure-sensitive tapes, foxing, and darkening was removed by aqueous methods. The tears were repaired and missing fiber was replaced.

Odoo - Sample 1 for three columns

Before Restoration

The large tide marks and darkening on this color lithograph made the print unpresentable. 

Odoo - Sample 1 for three columns

After Restoration

After cleaning this severely damaged color lithograph by aqueous methods the subtle color was visible. 

Odoo - Sample 1 for three columns

Before Restoration

This watercolor with silk surround has large foxing spots on the silk.

Odoo - Sample 1 for three columns

After Restoration

The foxing stains on the silk were cleaned locally by aqueous methods.

Odoo - Sample 1 for three columns

Before Restoration

This Thomas Hart Benton lithograph was glued to an acidic board with a facemat glued to the front of the print causing extensive adhesive residue staining on the margins. 

Odoo - Sample 1 for three columns

After Restoration

After removing the print from the board by dry peel methods, the staining was cleaned by aqueous methods.

Odoo - Sample 1 for three columns

Before Restoration

The reverse mat burn on this Matisse lithograph is typical of framed artworks of this age.

Odoo - Sample 1 for three columns

After Restoration

 The print was cleaned and flattened by aqueous methods, as well as deacidified.

Odoo - Sample 1 for three columns

Before Restoration

Cleaning foxing spots in a watercolor painting must be done extremely carefully because of the solubility of the watercolor pigment. 

Odoo - Sample 1 for three columns

After Restoration

While some staining can be locally cleaned, some can not and will instead be cosmetically concealed. The voids were also filled with fiber and the pigment replaced.

Odoo - Sample 1 for three columns

Before Restoration

This Japanese woodblock print was improperly removed from the mount causing damage to the extremely this paper. 

Odoo - Sample 1 for three columns

After Restoration

The adhesive residue on the front of the print was removed, before replacing the paper fibers. The sheet was also locally cleaned by aqueous methods after testing each pigment for solubility in water.

Odoo - Sample 1 for three columns

Before Restoration

The matte surface of this Albers serigraph was carefully minded during restoration. 

Odoo - Sample 1 for three columns

After Restoration

The large tide marks and darkening was cleaned by aqueous methods resulting in a uniform sheet tone.

Odoo - Sample 1 for three columns

Before Restoration

This off-set lithograph poster became brittle due to the acidic nature of the paper causing severe tears and voids that were incorrectly stabilized with pressure-sensitive tape.

Odoo - Sample 1 for three columns

After Restoration

 After removing the tape and cleaning the sheet, the poster was backed with mulberry tissue. Any fiber losses were filled and missing pigment replaced.

Odoo - Sample 1 for three columns

Before Restoration

This Lichtenstein color lithograph was severely darkened due to long-term exposure to cardboard and other improper framing methods. 

Odoo - Sample 1 for three columns

After Restoration

After cleaning by aqueous methods, the true colors came to life. The print was also deacidified to neutralize the acidic paper. 

Odoo - Sample 1 for three columns

Before Restoration

Severe foxing and yellowing has left this Curtis Plate 28 Canon de Chelly - Navaho photogravure on tissue in a fragile state. 

Odoo - Sample 1 for three columns

After Restoration

The original facemat, mount and print were disassembled, each part individually cleaned by aqueous methods, deacidified, thymolized, and re-assembled.