If Archival quality matters to you, here's some detailed information:
Silver Gelatin Prints
have proven to be archivally stable if produced in the right way. Kurt Deruyter carefully respects the known procedures for achieving these standards.
Protection from environmental contamination:
Alle prints are waxed with a special mixture of waxes to prevent contamination from the environment the artwork hangs in or accidental moisture penetrating the print.
I use a Dry Mount Film to attach the print either to an aluminium backing sheet or a matting board. The dry mount on the matting board can be removed when reheated. On the aluminium panel it cannot be removed. If this is important for you, you should buy the print unframed.
Framing oils and varnishes
The inside and the outside of the frame is fully oiled and sealed. When treated in a normal way, this will prevent the artwork of being damaged by occasional water droplets or fingerprints. It also avoids contamination of the artwork from within the frame (due to condensation buildup).
- When treated properly a silver gelatin print will be yours to enjoy for decades. The most fragile part of the print is in fact the paper which is used in the production of a fibre based photographic paper. All archival procedures are mostly aimed at protecting the silver emulsion (e.g. the selenium toning changes the silver particles in much more stable selenium particles) but the fragility of the paper is a consideration we should never forget. By drymounting, we also protect the paper of occasional damage.
- Even when all precautions have been taken care of, there is always a risk of deterioration. Mostly due to environmental circumstances. In Museums and Art Collections, we find vintage prints that survived decades and are in excellent shape. It proves that when well taken care of, a fiber based photographic print is amongst the most stable artworks that exist.