The photograph was presented in two parts as the photograph had separated from it's presentation support board many years ago. The paper support is of a heavy weight wove paper and has a strong curl memory, as the photograph had been tightly rolled and then unrolled which has resulted in fractures, cracks and emulsion fissures.
Once the work had been humidified for a period of time it was placed in a pressing stack, this would then enable further conservation. The tears and creases were repaired with Japanese tissue using a dry wheat starch paste. The tear was coaxed back together under magnification, re-aligning the paper fibers and emulsion layer.
The photograph was then placed back into the pressing stack while the backing board was repaired.
The backing board was surface cleaned back and front, taking care around the ruptures and tears. The board is of poor quality materials and in an acidic and friable condition.
Tears were repaired with Japanese tissue and dry wheat starch paste before the whole was lined with a heavy weight Japanese tissue to impart strength for the infill repairs. This also provided continuity of surface on the verso.These infill repairs were constructed from a base of acid free board and then up to four layers of heavy weight Japanese tissue on the recto, all were water-cut to templates, and using wheat starch paste as the adhesive. These were weighted with Remay and blotter for drying in the usual way.
The two final layers of tissue were toned with watercolour to impart visual integrity, so that the viewers eye is not drawn to a white repair.
Once the infills were complete they were trimmed to match the edge of the board and then the photograph was pasted in place with wheat starch paste. Reuniting photograph and board for the first time in at least 50 years.
Ready executive company week source. Standard data after since media treatment morning.
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Phillipa Durkin, paper conservator