ABOUT US:
We are a specialized paper conservation workshop. Our focus is exclusively on prints.
We specialize in the conservation and restoration of 19th to mid 20th century prints such as:

• Audubon and McKenney & Hall including octavo and folio sized prints.
• Currier & Ives and similar 19th century prints.
• Fine art prints of the 19th & 20th century, including etchings, drypoints, lithographs, & woodblock prints.
• 20th century Japanese woodblock prints, including Hiroshi Yoshida, Hasui, and Koson.

To see examples of our work, please click here.

Treatment procedures:
The basic treatments that we employ are listed below, although, in some cases, other procedures may be necessary.
• Photodocumentation before, during and after treatment.
• Tape, mold, and accretions are removed or treated.
• The surface of the print is dry cleaned using eraser crumbs.
• Old repairs and acidic backing boards are removed.
• The print is given a bath in neutral filtered water, and then alkalized water, to deacidify the print and to reduce staining and other degradation. A suction table is employed when appropriate.
• If the print requires further stain reduction such as bleaching, our preference is to use aqueous light bleaching, either by using artificial light banks or natural daylight. This method is especially effective for Audubon prints and 20th century Japanese woodblock prints. Of all the bleaching processes, aqueous light bleaching is the least harmful to paper and does not over-whiten the print. In instances where aqueous light bleaching is not effective or is inappropriate, we will use chemical bleaches under controlled conditions consistent with current practice. We are always careful to avoid over-bleaching, with an eye to leaving the print as natural as possible.
• A thorough washing brings the print to a neutral pH. The print is air dried, then humidified and placed between blotters to return it to plane.
• Certain prints are given an alkaline reserve and, if needed, resized.
• Japanese paper and wheat starch paste are used to mend tears. Fibers can be delicately woven into a tear to make it essentially invisible.
• If lining is required, a backing of Japanese paper is applied with wheat starch paste.
• Color compensation and the reapplication of Gum Arabic, when needed, is done by our highly skilled artist.

Examination and documentation:
An accurate treatment proposal and price quotation can be given only after personal examination and testing of the print. However, we would be happy to give you a rough verbal estimate. After completion, you will be given a treatment report describing the methods and materials used in the restoration or conservation of your print. Please call us at 413.586.3658 to discuss your prints, or email us at michael@printconservation.com.

Turn around time:
Please allow approximately 4 to 6 weeks for completion of your print.

Shipping your prints to us:
All shipping costs are the responsibility of the client. If you need help with packaging, you may wish to use the services of a local shipping center, such as The UPS Store. For a small fee, we can send you a cardboard package with a prepared shipping label.

Museum-quality framing and matting:
We have a complete frame shop and would be happy to recommend framing and matting for your artwork. We have a large selection of frames, including the very finest birds-eye maple, Hogarth, Whistler, and gilt frames. We can also provide custom French mats, hand wrapped silk mats, and 8 ply mats. You may select TruVue Conservation Clear Glass, TruVue Museum Glass, UV filtering Plexiglas, or antique glass.

Payment:
Upon completion, payment for our services may be made by check, cash, or credit card via PayPal. If special materials or other circumstances warrant, we may ask for a deposit.