Taylor G

An article on the Salvator Mundi, questioning the restoration:

Mitch Mehdy.

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I find it strange to hear that the American New Wave was a reaction against musicals. Martin Scorsese, one of the leading lights of that movement, made New York, New York in 1977. No one watches musicals anymore because people got tired of them. How many different stories can you tell about Spiderman fighting Doctor Octopus?

Spielberg has compared the current trend in superhero movies to musicals in the 1950s.

These days, film makers are pretty well educated about the giants whose shoulders they stand on, so it's sometimes fun to spot the references in their films to scenes and tropes in "classic" films. I don't believe those film makers think those classic films they reference are cliched at all, if anything they have great respect for the genius of the people who invented the visual language they use in their films. See for example Marty Scorsese's clear influence by Max Ophuls in Age of Innocence, and then the people who reference 1970s Scorsese. Modern film makers, the good ones, will watch these classic films over and over, like listening to great classical music. Certainly the average punter going to a Star Wars film doesn't care about that stuff, but surely a collector spending serious $$$ should have some of the same appreciation for that heritage as the professionals. I guess if the point is that the classic stuff seems cliched to relatively young collectors, one would hope that that attitude would change as they became more serious. Or maybe I'm just showing my age. As an aside re Citizen Kane, I'd say Ford's Stagecoach is at least as influential; Welles watched it as he made Citizen Kane, adopting elements of Ford's visual language. The best steal constantly.

If you enclose the art e.g. with a polyethylene bag, make sure to include some microchamber paper to absorb acid that leeches out of the paper.

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Felix Wu has provided an avenue for doing this via his podcast series. I'd say the onus is on those with the oral history to come forward and share. I have no doubt you'd find an audience eager to listen.

Mylar bags and backing board. E Gerber will custom cut backing boards, minimum order is 50 if I remember right, but much cheaper than I was expecting.

Thanks for your comments. When I bought this art from a rep, he recommended fixative, and I've always felt guilty about not doing that, just no time. I assume the OA police will take away my license to own OA if I have it laminated.....

Craig says in the video that (at least for color), he'll hang a glicee print of the art and leave the original in storage. He mentions the spray fix-it for pencils darkening over time. Does anyone have any recommendations on that score, specifically for B&W pencil art?

This is a page from "Unto This World" that Craig Russell had hanging framed on his wall for a few years:

Looked into low-UV film for windows, but decided against it when I heard claims that it cooked the spacer in modern double-glaze windows. Re OP's question: Just one more reason why you should insulate your outside walls (I also have a 1920s house, and proper insulation and air-sealing makes a huge difference in terms of comfort, and the boiler is not running 24/7 during the winter).

Related thread here. FWIW I store art in mylar sleeves with full backer board (beware substandard backer boards), wrapped in polyethylene bags (to keep critters out) and with microchamber paper to ameliorate acid. These I store in 24x18 Itoya refillable binders, which makes it possible to move things around without taking art out of sleeves. I store the binders flat. The binders come with 10 sleeves, if I store two mylar sleeves in each one, that's 20 pieces per binder, about as much as I can lift. 24x18 mylar sleeves do not fit in the binder sleeves, unfortunately. People have mentioned wrapping art in cardboard or garbage bags. I'd worry about chemicals leaching out of those and into the art, it doesn't sound advisable.