Sample poster

To figure out the best way forward with the Max Gill collection’s conservation processes, the holders have kindly delivered a ‘sample poster’ to work on. The purpose of this is to not only try and estimate the time for conservation needs for budgetary reasons, but to also test out a possibility of using facsimiles in the exhibition to spare some of the more delicate originals the exposure. This suggestion was made in case the exhibition is to tour other venues after the University Gallery.

Prior to getting the poster delivered, I thought about the options for flattening processes and the large dimensions of most of the Gill objects would also have to be taken into careful consideration when handling. The inks used on the ‘sample poster’ needed to be tested for fugitivity if any aqueous flattening methods were to be used. Fugitivity testing is required to determine if the inks on a piece of work are likely to run when in contact with water and is essential before deciding on any aqueous treatments. This testing is done by using a small brush dipped in water and wetting a very small spot on a piece of work, letting the water seep into the paper and pressing a piece of blotter on top to see if there is any ink transferral. The process of wetting a spot is usually repeated a few times to make sure the paper fibres have taken the water in sufficiently enough for the ink fugitivity test to be conclusive. Usually all colours also need to be tested separately, as two inks won’t necessarily behave in a similar manner when wet.

Anytime any actual conservation takes place, a pre-conservation record is filled. In this, the most common points that are recorded are type of paper (machine or hand made, laid or wove), dimensions, gsm (the weight of the paper), tears, dirt, folds, holes, print type and other materials used on it. The item is also measured, sketched and photographed.

After doing this, I began the conservation of this poster entitled ‘Post-Office Radio-Telephone Services’ from 1935. The item came to me rolled up and I had not seen it prior to unrolling it at the conservation studios, and you can imagine my joy in seeing all these beautiful bright colours! The poster itself was in very good condition – apart from the obvious flattening issues I concluded that it only had minor surface dirt on both recto and verso of the piece.

Along the left edge there were also areas of ingrained stains, where the dirt had embedded itself into the paper fibres. Since this poster was acting as the ‘test piece’, after a general surface cleaning with grated Mars Staedler rubber, I decided to attempt removing these stains.

With the stains I only used cold water, a thin brush to wet the affected area and the capillary action of blotter with pressure from a bone folder to reduce the stain. Most of the stains along the edge were water soluble. The general misconception about washing items is that after washing the stains will have disappeared entirely. More often than not, this is not the case. Conservation is still a relatively young profession and in the past, bleaching has been used as a conservation treatment – thankfully these days this is not considered good practice.

After I was satisfied with the stain removal, I made a decision that the paper and inks used were strong and stable for dry heat pressing to flatten it. This meant I didn’t need to wet the object but instead after placing it under silicone pieces, it was flattened in quarter sections under a heated press. This worked wonderfully well and I am very pleased with the final result. A melinex sleeve was then made to size and the poster is being transported back to base for the next step in the process.