Light bleaching: Conservation of Picasso print

Owner: Private collector
Object: Print (etching and burin). “Torero y caballo pisoteados por el toro” (Bullfigther and horse trampled by bull) from the print series Tauromaquia. Unlettered proof.
Author: Pablo Picasso.
Date: 1929.
Damages: Yellowing, oxidation staining (passe-partout shaped on the paper), tapes.
It is most common to find the stain of a diverse ageing on one surface. In this case, the one under the passe-partout has had a higer oxidation (outer square, much darker).
Conservation treatment: Tape removal, wet cleaning, light bleaching, flattening under tension. Light bleaching does not make the paper whiter than it had already been, hence the result after the treatment equals the uneven oxidation of paper and whitens the whole artwork to its original brightness. The flattening under tension guarantees that the imprint is not altered.
Housing: Custom-made housing for storage and exhibition. It can be used aither as a folder (with a conservation board under, and lighter conservation cardboard on top) or as a framing support, simply folding the cardboard behind. Mounting of the artwork on the conservation board is made with japanese tissue strips.
Conservators: Rita Udina.
Other links: Instagram (below), or other light bleaching examples.

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A post shared by ℝ𝕚𝕥𝕒 𝕌𝕕𝕚𝕟𝕒. ℙ𝕒𝕡𝕖𝕣 & 𝔹𝕠𝕠𝕜 ℂ𝕠𝕟𝕤. (@ritaudina_conservation)

Clients

Owner: Private collector
Object: Print (etching and burin). “Torero y caballo pisoteados por el toro” (Bullfigther and horse trampled by bull) from the print series Tauromaquia. Unlettered proof.
Author: Pablo Picasso.
Date: 1929.
Damages: Yellowing, oxidation staining (passe-partout shaped on the paper), tapes.
It is most common to find the stain of a diverse ageing on one surface. In this case, the one under the passe-partout has had a higer oxidation (outer square, much darker).
Conservation treatment: Tape removal, wet cleaning, light bleaching, flattening under tension. Light bleaching does not make the paper whiter than it had already been, hence the result after the treatment equals the uneven oxidation of paper and whitens the whole artwork to its original brightness. The flattening under tension guarantees that the imprint is not altered.
Housing: Custom-made housing for storage and exhibition. It can be used aither as a folder (with a conservation board under, and lighter conservation cardboard on top) or as a framing support, simply folding the cardboard behind. Mounting of the artwork on the conservation board is made with japanese tissue strips.
Conservators: Rita Udina.
Other links: Instagram (below), or other light bleaching examples.

View this post on Instagram

A post shared by ℝ𝕚𝕥𝕒 𝕌𝕕𝕚𝕟𝕒. ℙ𝕒𝕡𝕖𝕣 & 𝔹𝕠𝕠𝕜 ℂ𝕠𝕟𝕤. (@ritaudina_conservation)