Retouching is among the most sensitive within ethics in conservation since it means to establish the aspect a restored object is expected to have.
My opinion is that the looks of an historical object is often as important as its physical-chemical condition, and not intervening provides poor results that might mislead its readability more than a proper intervention. The more we intend to make it as neutral as possible, the least arbitrary, we need to admit that retocuhing requires good taste.
Sorolla sketches represent the spontaneity, the genius and the creative stage for its own right. Their conservation shares with them this essentiality, the minimal intervention character. The restoration has adopted japanese tools and techniques, a paper conservation at the most eastern style. Or not that utmost, since the Karibari was replaced by a wooden board. Eastern or western, the restoration of the gouache sketches has been truly remarkable, and you'll have to read it to know why.
The bike riders from Sants reached my studio squeaking, rather than cycling!
Tears, foxing, discolouration, brittleness, acidity... All these damages have been carefully restored in order to let the splendorous riders finish line at the Municipal Archive of Barcelona. They are almost centenarian... and yet they ride wild along the repository! I'll explain which beauty and health treatments these illustrated posters have passed through
This map represents the typical scholar posters: with its wooden slats to roll and hang, lined on the back. It was very common to varnish them with shellac to waterproof and protect them from abrasion. This one was made of two pieces of printed paper, sticked together along the central horizontal stripe. It is from 1936, spanish civil war was barely breaking.
Removing the old varnish has allowed to repare other minor damages: tears, gaps and wrinkles. But most important is that the new varnish is not oxidizing nor yellowing. As it is very flexible it will not crack in the future.
I don’t like much having war books, but I must admit that this one is particularly beautiful. The velvet binding seemed to me a challenging issue on the restoration, which did not have major complications besides this.
I show the restoration of this book because of the headaches it has given me when solving the lost areas, the wooden work. The considerable losses on a laborious woodcarving work, and the lack of originals of many of the missing pieces fairly complicated the subject (the shields on the corners were different).