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Thread: Mat conservation for a vintage Laura Gilpin print ??

  1. #11

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    Re: Mat conservation for a vintage Laura Gilpin print ??

    Quote Originally Posted by Vaughn View Post

    Another possibility is cutting another window on 4 ply matboard, with the window big enough to include the signature.
    That would be the safest approach, and my choice. It could be a tight window, given the location of her signature. Removing that much warp will not be easy. It may be on 2 ply Strathmore board which was popular during her time. Just a guess.

  2. #12

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    Re: Mat conservation for a vintage Laura Gilpin print ??

    Quote Originally Posted by FrancisF View Post
    I recently found a 1940 print of my uncle by Laura Gilpin in the attic. The print was not stored under ideal conditions. Print may be platinum - about 8 inch by 9 inch. It is in perfect condition. The cardboard mat is about 14 inches and 18 inches. She signed the mat in pencil so I want to perserve it

    As you can see on one of the attached, the vertical edeges of the mat are warped - perhas 1/64 th of an inch. So it is not a great warp but it is visible since it does not lie flat on the photo. The horizontal edges of the mat are perfectly flat.

    Does anyone have suggestions for flattening the mat? Can it just put the mat in a hot press and then turn off the heat and let it cool for a couple of hours?

    Thanks for all the helpful suggestions. I even took the suggestion to contact Martha Sandweiss. She suggested the double matting approach. I will check in with the Chicago Art Institute before making a final decision and picking a firm to do the work

    Francis

  3. #13

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    Re: Mat conservation for a vintage Laura Gilpin print ??

    I wonder why the need to change what is an expression of the work and materials used at the time. Does it e really need a pristine mat or is there value in the original presentation however it has altered by time. (not counting preservation issues)

  4. #14

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    Re: Mat conservation for a vintage Laura Gilpin print ??

    Quote Originally Posted by cowanw View Post
    I wonder why the need to change what is an expression of the work and materials used at the time. Does it e really need a pristine mat or is there value in the original presentation however it has altered by time. (not counting preservation issues)
    A valid point. However, I do not believe that this is an expression of the work and materials used at the time. Rather, a representation of lacking proper care, resulting from being stored in an attic. Of course, it is not in my possession to enjoy; were it so, I would choose to emphasize the beauty of the print, not the unfortunate condition of the mat. As to value, perhaps you are correct.

  5. #15
    Drew Wiley
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    Re: Mat conservation for a vintage Laura Gilpin print ??

    Some quite valuable works of art have ended up being ruined due to either poor storage or just plain ignorance of proper framing technique until relatively recently. Some of these can be salvaged before it's too late. I'm not implying that's the case here; the problem as described seems minor. Nor am I implying that just because a print was made by a well-known photographer it's valuable. I can think of several much more famous individuals whose commercial portraiture has only marginal value compared to what they considered personal work of artistic value. I'm not in a position to decide in this case. But the fact that it's a signed hand-coated platinum print must have some significance. It matters little anyway; it's valuable to the poster himself, and he wants to do it justice. That's what matters.

  6. #16

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    Re: Mat conservation for a vintage Laura Gilpin print ??

    Quote Originally Posted by Drew Wiley View Post
    Some quite valuable works of art have ended up being ruined due to either poor storage or just plain ignorance of proper framing technique until relatively recently. Some of these can be salvaged before it's too late. I'm not implying that's the case here; the problem as described seems minor. Nor am I implying that just because a print was made by a well-known photographer it's valuable. I can think of several much more famous individuals whose commercial portraiture has only marginal value compared to what they considered personal work of artistic value. I'm not in a position to decide in this case. But the fact that it's a signed hand-coated platinum print must have some significance. It matters little anyway; it's valuable to the poster himself, and he wants to do it justice. That's what matters.
    And as fine art photographers today, we should thank him for his concern and desire to restore the presentation to a state worthy of the photographer.

  7. #17
    Drew Wiley
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    Re: Mat conservation for a vintage Laura Gilpin print ??

    I take the same care with even amateur antique photographs, by otherwise unknowns, that I find especially interesting.

  8. #18

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    Re: Mat conservation for a vintage Laura Gilpin print ??

    Those are fine sentiments, Jim, but Laura Gilpin used a non-archival hand-cut vellum ‘mat’. Additionally her prints were not dry mounted and often have non flatted rippled edges. Many photographers of her generation used simple coloured paper (often with hand drawn pencil rectangles) as mats.
    There may well be a conflict between what the photographer chose and what we think is worthy of her and what will best preserve the article.
    I am reminded of Clarence White's prints held in Princeton, still in contact with their original wooden frames without mats or surface protection and valued for that more than modern matted examples.
    Personally, I might just overmat with just enough cutback to see the signature, which would cover the rippling at the frame edge, but that might necessitate another frame, which if the frame is original,would be a pity to lose that. or just leave it and appreciate the honesty of it's flaws as seen by modern eyes.

  9. #19
    Eric Biggerstaff
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    Re: Mat conservation for a vintage Laura Gilpin print ??

    Quote Originally Posted by NER View Post
    As a first step, I would try to find someone with professional training and experience in the area of art conservation and restoration who can advise you on the best way to proceed. If you encounter difficulty there, you might then try contacting Martha Sandweiss at Princeton University - she was Curator of Photography at the Amon White Museum in Fort Worth which has a collection of Gilpin prints, and in that capacity she authored a beautifully-illustrated book on Laura Gilpin titled "An Enduring Grace," which I am fortunate to have in my library. Dr. Weiss may be able to point you in the right direction. I too have ideas about flattening the mat in incremental steps, but I think the recommendation I offer here is a better beginning than throwing out the method I would use if I were to attempt this on my own. Congratulations and good luck with your discovery. I hope it turns out well.

    N. Riley
    http://normanrileyphotography.com
    I believe you mean the Amon Carter Museum in Ft. Worth, as a kid it was my favorite place to go on Sunday after church. An outstanding collection of American art.
    Eric Biggerstaff

    www.ericbiggerstaff.com

  10. #20

    Re: Mat conservation for a vintage Laura Gilpin print ??

    Quote Originally Posted by Eric Biggerstaff View Post
    I believe you mean the Amon Carter Museum in Ft. Worth, as a kid it was my favorite place to go on Sunday after church. An outstanding collection of American art.
    Yes, you're right. Thank you.

    N. Riley
    http://normanrileyphotography.com

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