“shah shusa” by Unknown (20thC)

This work, as with others, had been torn into several sections. in this instance, all of the pieces were present. there was a substantial accumulation of surface dirt and a single label on the recto with remnants of a seconday support on the verso.

The key treatment aim for this work was to improve its aesthetic legibility by reducing the surface dirt and reintegrating the primary support, removing the acidic secondary support and adhesive residue in the process.