Large vintage poster - what to do with original but "improper" backing

I have this huge original vintage poster of a local distillery that measures approximately 5 x 4 ft. I would date it circa late 1890s to early 1900s. A notable detail is that it came in a nice original heavy wooden frame.

There comes the issue though: the existing/original "backing" (sorry - maybe there's a more appropriate term for it, but I don't know it ) consists of thin wooden planks (rather than a solid backing board) about 6 inches wide with gaps between them. And the poster itself has brown discoloration in some of the places where these gaps are. My best guess is that, at some point, the framed poster may have been placed against a wall with its back facing a sunlit room, which may have caused this, but it's just a theory.

Now, my question is: what should I do with it in order to conserve it properly (if anything at all)? Install a nice solid acid-free backing board? But that would mess up the "originality" of the piece.

As must be clear from my post, I am NOT a poster/print collector, so I have no idea as to what is considered the "standard operating procedure" in such cases. At the same time, I want to make sure to do the right thing in terms of preserving the artifact in an appropriate manner without detriment to its collectability/value.

Anyhow, any and all tips would be much appreciated. Thanks in advance!

 

Here are the photos. Sorry for the glare on the glass: the thing is currently in a closet, and maneuvering it out to try to find a better position is slightly problematic. Correction to my post: the planks in the back are not 6 inches wide (as usual, my memory deceived me...) - the widths are all over the place.

 

I like it the way it is....
& not knowing how the paper is laid on the boards....disturbing that may make things worse.
It would be nice to see some info on the printer , to help date the image.....which is really cool !!

https://corby.ca/en/about-corby/history/

 

Great bird's eye image. Not sure about the sun theory. The poster doesn't look faded, just dirty. Would/could you post a photograph of the writing in the lower right hand corner?

Debora

 

Welcome, @PassingThru.

It is a very nice print, probably a chromolithograph.

The gaps between the backing boards would allow more oxygen to reach those parts of the paper, probably accelerating the deterioration caused by the acidic wood. If your primary goal is preventing further deterioration, it would be "standard practice" to replace the wooden boards with an archival quality mat board. It would also be advisable to provide spacing between the glass and the print, rather than have it in direct contact (if that is the current situation). The print is large enough, though, that making these changes can make it more challenging to be sure it is supported inside the frame without sagging or buckling. I know that retaining the original frame is also important, which introduces more complexities.

I suggest you not try to tackle this yourself. But you might try contacting a reputable framer in your area - one who is knowledgeable about archival framing techniques, and able to work on an object of this size.

As you say the print is from a "local brewery", I am assuming you are located somewhere near Belleville, Ontario. If so, I can suggest another option for conservation treatment. Queen's University in Kingston has a training program for art conservation, and I believe they might accept projects for their students to work on. You could contact them and see if they might be interested.

https://www.queensu.ca/art/art-conservation

 

Are you keeping or selling? If selling, I would sell as-is and let the buyer decide what to do. If keeping, I would put an acid-free barier between the poster and the backing boards. This could be a piece of acid-free mat or they also make acid-free foam-core board. I think the latter would be better but they are a bit thicker and your frame may not accomodate the extra dimension.

 

I agree with this but the OP stated that they wanted to keep the original backing.

Agree but, as you suggested, this is a a pretty difficult proposition. It really depends on how much the OP wants to invest into this. If cost is no object, the print itself really needs some conservation, with acid toning from the boards leaching through to the front. I guess I would not go through the trouble and expense to have this conservationally framed without having the print conserved first.

The print has survived a lot of years in contact with the glass and will survive more as long as it is kept well. The main problem here is moisture. I have seen many a print ruined when left in direct sun, which causes moisture to build inside the glass. If kept inside, in a dry area, away from sun, it should be good.

An excellent suggestion!

 

Thank you, Debora. I was talking about the vertical brownish "lines." Here is the printer's information:

 

Thank you for your comments. Yes, the paper does look rather thin to me... I've just posted the printer information above.

 

Everyone's suggestions and comments are much appreciated. The cost is, indeed, "an object" ); to put things in perspective, this is not something I had in the family for the past hundred years - I just picked it up a few months ago on FB Marketplace. I don't want to go over the top with having it professionally restored, but, being somewhat "handy" myself, I could DIY (though I know the acronym is scary in itself ) some of it, provided I have detailed instructions on how to do it (I would greatly appreciate it if you guys could share some step-by-step procedures relevant to my specific piece - maybe from a museum, etc.). Or, if, as you suggest, it doesn't make any sense to fix the framing issue without having the paper conserved first, I would probably have to pass - I do not feel confident enough to attempt anything with the poster itself.

 

Thank you for your comments. I think I would like to at least try to take the acid-free mat board route, although (from my layman's perspective, at least), it would also be nice to somehow reinstall these backing planks (if space constraints do allow it) in order to preserve the originality of the whole piece. I would be a little anxious to give it to students - I would rather attempt it myself (though I might be wrong on this), provided I have a very clear doable step-by-step procedure to follow.

 

I haven't answered your question: I am keeping it, at least, for the time being (actually, I like it a lot ).

 

Top notch advertising piece.Colorful chromo booze advert,the only thing missing is a pre-prohibition naked lady.
I'd consult some brewerania sites/experts on current as-is value & restoration options.

 

Thank you - it would be great to know the value, though at this time I am mostly interested in the restoration options, especially the feasibility of doing it on my own. That being said, a higher value could potentially justify a professional restoration. From watching "Antiques Road Show," I remember that, for some items, the professional restoration/conservation costs mentioned by experts seemed quite reasonable, so that might be something to consider if that was the case with this particular piece.

 

I'm aware you were talking about the "brownish" lines. Toronto Lithographing Co. Assume that's where you got your turn-of-the-century date for your poster as they were in business from 1878-1909. If interested, you may be able to refine that date based on the Belleville office building which had architectural enhancements in the late 1800s.

Debora

 

To be honest, the date was just a "guesstimate" based on the overall style of the piece, the aging, and a general idea of the period when this geographic area was actively developed. If that's not too much trouble for you, a more accurate date would certainly be appreciated!

 

Thank you for your post. I have a similar feeling based on my life's experiences in terms of "don't fix it if it ain't broke" (however, sometimes you do have to be a bit more proactive if you simply want to keep a nice object from deteriorating further, so I think I would be comfortable with installing an acid free barrier and leaving the paper itself be).

Since I am a total newbie, do you think you could recommend a specific / sound step-by-step procedure to follow / specific materials to use?

 

!i think toomanybooks suggestion about finding a museum or art school who have a training program for conservation, is excellent and probably free or dirt cheap.

The planks on the back that have caused the staining don't deserve to be preserved
because " they add to the charm" ! ... when they may have been added only 40 years ago .
I find it difficult to believe there is absolutely no sheet wood backing and think somewhere along the line these planks were added ( they look more like the backing of a cupboard )

students are not left with a free rein and a pot of solvent. ... thats why thay have teachers

 

if you want to keep it for decorative purposes

another solution is photoshop !

oops