Title of the first edition (1863) of ‘The Disasters of War’ (“Los desastres de la guerra”), a series of 80 prints by Francisco Goya. There is a tide line which is the result of a previous intervention, that apparently tried to erase the ownership stamp of a former collector.

‘The Disasters of War’ by Goya (private Collection). Image corresponding the bath and deacidification treatment (with calcium hydroxide), in the sink.

‘The Disasters of War’ by Goya (private Collection). Prints number 49, 50, 52, 53 and 54 (right to left). They had synthetic glue stains that might have been added in a former intervention (left edge), intending to attach the loose sheets. Left image: after removing animal glue residues, with water, that left unaffected the synthetic glue. It was necessary to make a solvent treatment for these residues as they were drying the paper and prevented its natural hygroscopicity.

‘The Disasters of War’ by Goya (private Collection). Print #68 ‘What madness!’ (“¡Qué locura!”) There is a bleaching stain which is the result of a previous intervention, that apparently tried to erase the ownership stamp of a former collector. After the wet cleaning and deacidification the discolouration due to bleaching is far less evident and the white hues are more even. No further bleaching as been done, in order no to damage paper fibres (photomerge with both images fromthe previous stage to conservation -top- and after conservation -bottom-).

First edition (1863) of ‘The Disasters of War’ (“Los desastres de la guerra”), a series of 80 prints by Francisco Goya. Detail of print #52: ‘They are not on time’ (“No llegan a tiempo”).

Tear repair on and infilling the gaps and losses due to the sewing of the book. In fact, this was not a proper sewing, as the sheets were all loose and independent, instead of forming quires in groups of pairs. In order to attach all the sheets in a book, when there are no quires, some holes are made some millimetres after the joint (or where the fold between two sheets would be found). The conservator Márk Somogyi mending these losses with washi paper.

‘’The Disasters of War’ by Goya (private Collection). Print #59: ‘What help can a cup do? (“¿De qué sirve una taza?”). Images corresponding to the flattened of the prints. In order not to modify the original mark of the etching, we used the flattening under tension, a technique which takes advantage of the natural shrinking of the paper while drying out. Left: Moisturized paper. Right: the same paper about one hour later, dried and flat.

Before conservation (left) and after (right) of ‘The Disasters of War’ by Goya