I actually don't mind the look of the burnt edges on the posters.
Me too! I know some people want their ancient posters to look "brand new", but then they look like repros to me. I like seeing their "battle scars", llike pinholes or tape in the corners.
But to each their own, AS LONG AS THERE IS FULL DISCLOSURE AS TO WHAT WAS RESTORED OR RECREATED WHEN THE ITEM IS OFFERED FOR SALE.
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An example of one that I'll be leaving 'as is', is this Wynne Davies long daybill for Billie Love's 1928 Adoration that I picked up in Perth earlier this year (Thursday 10th July gives it a 1930 release in Australia).
If the lower left section had been present it would have certainly been a restoration contender, however given that the portrait is the best bit, it should still display well.
Something else that annoys me, as is the case with the above Road to Singapore 1940 Australian long daybill, is the decision when a poster is restored and linenbacked to remove the blank section at the top fs the poster originally included there to have screening details included.
For those unfamiliar with this inclusion on pre 1941 Australian daybills a Geronimo! film poster example follows.
Sometimes, the top section is removed somewhere along the posters life, not necessarily done by the restorer. I have had a few long daybills missing the top section, which I have asked the restorer to reinstate when restoring.
Following on from discussions of getting the right balance. I've just had Jamie return my 1924 Australian 3 Sheet for The Hound of the Baskervilles.
The top section was found directly under the many layers of lino and shielded the posters below from decades of dirt. As a result, it was rather faded and filthy/stained.
After a good wash I asked Jamie not to restore it, as the only 'fix' would have been to completely airbrush all of the upper yellow and purple section, which in my eyes would defeated the purpose of owning/display a vintage poster.
So here it is, with my own 'hound' for scale. Also, two close-ups showing why it was left 'as is'. The yellow title is also rather dirty, reasons for leaving it are the same, as I would have ended up with the original title completely covered in new yellow paint.
I gotta say I love the look of that poster without the restoration work.
I've been on the hunt actually for some BLACK ph neutral backing paper (as opposed to the white sulfate paper which is standard)... to use on posters where I don't want to camouflage their tears and missing portions -- but highlight what remains.
Comments
But to each their own, AS LONG AS THERE IS FULL DISCLOSURE AS TO WHAT WAS RESTORED OR RECREATED WHEN THE ITEM IS OFFERED FOR SALE.
Here is a handy checklist to help tell eMoviePoster.com apart from all other major auctions!
If the lower left section had been present it would have certainly been a restoration contender, however given that the portrait is the best bit, it should still display well.
The film was a silent production from 1928. I have found a listing where it is listed as being released with synchonised sound effects.
A first release for this film was in 1929 in Aistralia. When this daybill was used in 1930 screenings for silent films had declined greatly.
Something else that annoys me, as is the case with the above Road to Singapore 1940 Australian long daybill, is the decision when a poster is restored and linenbacked to remove the blank section at the top fs the poster originally included there to have screening details included.
For those unfamiliar with this inclusion on pre 1941 Australian daybills a Geronimo! film poster example follows.
The top section was found directly under the many layers of lino and shielded the posters below from decades of dirt. As a result, it was rather faded and filthy/stained.
After a good wash I asked Jamie not to restore it, as the only 'fix' would have been to completely airbrush all of the upper yellow and purple section, which in my eyes would defeated the purpose of owning/display a vintage poster.
So here it is, with my own 'hound' for scale. Also, two close-ups showing why it was left 'as is'. The yellow title is also rather dirty, reasons for leaving it are the same, as I would have ended up with the original title completely covered in new yellow paint.
I've been on the hunt actually for some BLACK ph neutral backing paper (as opposed to the white sulfate paper which is standard)... to use on posters where I don't want to camouflage their tears and missing portions -- but highlight what remains.