restoration of works of art on paper

Works on Paper

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Simon Blackwood Fine Arts has over 35 years experience in the restoration of works of art on paper.
All the techniques mentioned here are dealt with daily in our studios, including
achival mounting and presentation.

Distance is no object as most WOP's are easily and safely transported.

Works on paper fall into two main catagories:
The first includes watercolours, gouache,
postercolours, pastels, drawings and collage.
Damage can be caused not only to the paper they
are applied to but also the physical structure of
these media, which may be disturbed or altered
by excessive moisture or chemicals.

The second includes most printed media such as
lithographs, etchings, engravings and silk-screen.
(Photographs are not covered here.)
The chemical make up of most of the types of
printed image is rarely effected by moisture. It is
mostly deterioration or staining of the paper
support which requires restoration treatment.

The most common cause of discolouration of works on paper is exposure to light.
Fugitive (light sensitive) pigments used in any of the techniques mentioned here, can fade
if exposed to direct sunlight for long periods.

The most likely cause of discolouration other than light - what is known as "foxing", effects the paper which the painting or print is applied to and is rarely, except in extreme cases, damaging to the pigments. Paper constantly absorbs moisture in the atmosphere and with it any impurities it might carry. Wooden backing boards, commonly used before the invention of masonite etc., discharge resins which stain the paper next to them. The effect is often noticeable as brown lines cast across the image exactly where the boards join. Impurities in the paper itself - particularly early rag watercolour paper - cause spots to appear, some of which may be fragments of metal buttons used in the past for shirts etc.	Prints are often made onto paper which is inferior to that suitable for watercolours and drawings. Although generally, it is effected in much the same way by moisture, it can also discolour due to the type of pulp used. Wood-pulp paper can turn brown with age and if the binding agent is weak the paper may become fragile and difficult to treat. Prints made onto thin papers are invariably laid down with glue onto inferior card for strength. These backing cards and the glue itself may have many more impurities than the print paper and will transfer rapidly to the printed page. In most of these cases restoration is possible. Careful chemical treatment of the paper after analysis is often completely successfull.

For a unique record of the history of the development of the wove (velin) paper industry documented in a three volume work by John Balston, please go to: http://www.wovepaper.co.uk	Paper conservationists will find this work of great value through the insight it gives into the manu- facturing process up to the early 19th century and the materials involved.