When he goes to the cinema, Arthur Fouasse tends to doze off: the script, the direction and the acting generally do not stimulate him enough to prevent him from falling asleep. On the other hand, the film poster, the one that covers bus shelters and theater entrances, can keep him awake part of the night. The illustration, the model, the design of the characters… everything fascinates him. He knows its developments through the ages, knows how to recognize what era it comes from, what country, what kind of cinema it refers to. Arthur Fouasse has made it his profession, he who runs L’Affiche française, a thriving business selling and restoring old and original images.
This Thursday in March, in his bright workshop established in a former furniture factory in Toulon, in the Var, the craftsman delicately unfolds the poster of Cannonball (1976), a movie by Paul Bartel which follows the adventures of drivers engaged in an illegal car race. On the document appear several flaming vehicles surrounding the head of the main character, in the center, his hands on the steering wheel. Below, the name of the star actor, David Carradine (hero of the series Kung Fu and protagonist of Kill Bill, by Quentin Tarantino), above the title, printed in large letters.
The 120 cm × 160 cm image – a format specific to France – belongs to a client who wishes to restore it after several years spent folded in a box. Well preserved, it has no major defects, notes the professional after a quick examination and erasing with an eraser a pen inscription on the back. Around him are displayed the most prestigious pieces from his workshop – his favorite, that of the film Le Mans (1971), by Lee H. Katzin, with Steve McQueen, whose value is estimated between 3,000 and 5,000 euros.
“The best brushstroke”
Old film posters are a niche market. Collectors hunt for rare editions, original posters – those displayed in cinemas to advertise the film – and in the best possible condition. Connoisseurs run to Poster-cine, at 1, rue des Roses, in 18e Parisian district, where the references are numerous. Others track down “new releases” on the Ciné-Images site. L’Affiche française is another reference in the sector. And it is here, in Arthur Fouasse’s workshop, that old posters come back to life.
After the exfoliation will follow the most spectacular stage of the restoration: the image is immersed in water… “This allows the fibers of the paper to relax. It is then easier to work on them,” explain Arthur Fouasse and one of his employees, Damien, around the large basin in which is immersed Cannonball. A single shampooing will be enough: the paper will not have to undergo the chlorine test, as is the case when the poster has been too damaged. Once the sheet is drained, the folds seem to have disappeared and the colors are revealed. Damien works by chasing away the water with a roller and very lightly trimming the edges. Glued on a cotton frame, the poster will dry for several days away from light. “The best way to preserve it is to keep it away from ultraviolet rays and to frame it with glass that resists these rays,” advises Arthur Fouasse.
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