Examples for your perusal: click on thumbnails for larger version

Please read this excerpt from the 1999 Overstreet Comic Book Price Guide. It is my sincere hope that you will understand why I have quoted this after you read it. 

"The Spokane Collection"

"Nestled in the heart of Spokane, Washington was an individual in his 70's living a quiet secluded life. Over the course of the mid-40's-mid-50's he had amassed a hand selected collection of comic books. So treasured was his collection he built a refrigerated steel meat locker in his basement where he kept them safe & sound .He knew his comic books had value, but not until friends had made a detailed account of the collection did he realize what type of value . Steve Fisher of Metropolis and I were contacted and after a month of telephone negotiations and a day of viewing the collection we were able to come to a price and buy the prized collection . This collection of ultra-high grades is even more unusual due to their impossibly snow white pages and extremely clean and glossy covers . The runs include Batman , Detective , Strange Adventures , Mystery in Space, Worlds of Fear, Eerie, Blue Bolt/Weird Tales."   

Perhaps you're wondering why I've cited this except from a prestigious collectors reference material; the explanation is simple... it has come to my attention that some misguided internet "experts" have caused the following titles of inserts to come under fire as being suspected bootlegs or reprints.
 

1. American Graffiti
2. Raging Bull
3. Chinatown
4. Jaws
5. The Shining
6. Enter the Dragon
7. Live & Let Die
8. Enforcer
9. Star Wars
10. Godfather
11. Taxi Driver
12. Elephant Man
13. Empire Strikes Back
14. Star Wars: The Return of the Jedi
15. Scarface
16. Superman
17. Saturday Night Fever
18. Grease
19. The Last Tango in Paris
20. Magnum Force
21. Alien Raiders
22. Annie Hall
23. Bladerunner   
     

In other words a significant portion of major titles from the 70's & 80's!!!      

I was sick to death of the rumors flying around about these inserts so I figured I'd better get to the bottom of this and put it to rest. Over the past eighteen months, I personally obtained several examples of the above titles from several different dealers on EBay and other auction sites. To ensure a wide sampling, I made sure they were from different dealers so there could be no limiting this to one source in my investigation.

I have always subscribed to being as thorough as possible in any type of search or investigation of this sort. I also made sure they were all "minty fresh" as one questionable website describes them. They also had to fit criteria that matched all of the prevalent theories and speculative points people had about them----- e.g. slight variation of image, slightly blurred registration etc. Upon further consideration, I also contacted some of my former colleagues at the National Screen Service to further investigate the reported mid-nineties "warehouse buyout" of the now defunct Cleveland branch of National Screen Service. Just to put the icing on the cake so there could be no other questions whatsoever on this matter I finally, at great expense, sent several examples of each insert under question to an associate's lab in Portland Oregon to have each one Carbon Dated. (Carbon Dating is a scientific process which is used to date to the exact year a substance or material dating back  one year or thousands of years very effectively. This is a process that is also used to determine the exact age of fossils. Please refer to the info on Carbon Dating later on this page.)

Here is precisely what I found out: Upon the return of all the inserts from the Carbon Dating labs it was determined that each and every piece was in fact from the same year as its respective year printed on the poster. (One caveat, this process unfortunately is not recommended for the average person as it is seriously beyond the means financially for persons with limited means. It is a very costly process.) National Screen Service did in fact sell over 100,000 posters, lobby sets & stills to a group of dealers that had pooled their money to afford this purchase. I was informed that all these titles were in the lot .

 National Screen could've either destroyed everything (as they were supposed to do) or could've racked up a large sum cash before going out of business. What would you have done?    These inserts are in fact originals and don't let anyone tell you differently !!!!  I would like to address some other points that people who are " not in the know " have presented over the last few years . Sorry if I am bringing up some really infantile points but there are so many skewered ideas and misconceptions about printing out there that I find it hard to believe that people are thinking like this . You must bear in mind that most of these ideas came from individuals who never have seen the inside of a National Screen Service . They probably wouldn't know a printing press if they fell over one . I worked at National Screen for over 20 years , I know the facts !  Here's the points If they are 20 - 30 years old why don't these show signs of age ?

This is why I referred to the article from the Overstreet Price Guide that put it so well. The agents most responsible for the aging of paper are the elements of light & heat. If you have ever been into one of the larger warehouse areas of NSS you would understand what I am talking about when seeing tens of thousands of posters  shoved off to areas that were cold , dark and isolated from the rest of the facilities. My God people, if this gentleman's collection from the forties can still be "minty white " why is it so hard to understand why paper from the 70's and 80's can be the same way. 

Why is the registration fuzzy on certain posters and on others it is not ( or slight variation of an image ) ? Also why would there be different NSS info on one piece compared to another?

    As I have mentioned on other parts of my website there are many, many variables that go into the printing process. This starts with the actual printing process and ends with the sometimes rushed deadlines of jobs that needed to be shipped yesterday to a certain studio. Problems that occur on a daily basis are printing plates that aren't cleaned thoroughly, human errors due to insane deadlines, miscommunication between certain branches of NSS as to what exactly is to be printed on a select poster. Remember, this was an era without the instant communication we enjoy nowadays. Plus, there are no absolutes in the printing business just like any other business. At one time I observed four different original Chinatown posters in 1974, each from a different NSS branch. Each one had a slight variation from the next ---- one had slightly off registration, another had a slight color variation and yet another had part of the NSS info missing at the bottom ----- and they were all original theatrical posters . And yes the Bladerunner inserts with the slight registration problem are definitely originals.

How can there be so many of a certain title that has leaked out to the public?  And why are some titles prevalent while others are hardly ever seen ?

     This is a good question. Obviously by someone who has never ventured inside a complete NSS facility. Legally no movie poster was ever to be sold outside of the sales to the studios that commissioned NSS to print them. We are talking about skirting the legalities of things here people! Don't be surprised if one day EBay prohibits the sale of movie posters and related memorabilia on their site if  the studios got up in arms about it. I know it has been done with several new releases already.

    Now to the real issue at hand --- Throughout the years the studios had almost always had NSS overrun or overprint titles that they had hopes for re- releasing again and again. Usually with any of the bigger titles that you can think of this was the case . (Also there were countless times that a movie failed miserably and NSS was stuck with thousands upon thousands of box office flop titles). Remember that it boils down to the more you print the cheaper it becomes per piece. Anyone who knows anything about the printing business could tell you that. The deal that had been struck between NSS and all the major studios was to print huge quantities and to serve as a warehouse until the overstock was possibly needed. We're talking about Movie studios with major amounts of cash here! When it was deemed that a title was no longer needed they were to be destroyed. As we all know that wasn't always what happened. 80% of the movie material out there did not come from theaters going out of business. They mainly came though a variety of sources; disgruntled NSS printers running extra on the line to pick up some extra dollars, shady shift managers ordering extras to be printed to put a little cash in his pocket, or sometimes posters would be "discarded" while cleaning out a warehouse space... of course, nobody at NSS would "miss" these items --- this went on and on down the line. Sometimes there would be thousands extra of a title , sometimes there would be none. One true story (with many different authenticated sources) cites the example of a Cleveland resident who found that his entire house was insulated with classic movie posters!!! At one time, as many as three thousand Raging Bull one sheets were placed into storage when the movie did not go into nearly as wide release as the studios had planned. This again illustrates the many different factors that go into each and every title as to how many are printed and whether or not they stick around the warehouse. National Screen in its hey-day had storage facilities for over one million posters. 

Rolled the Wrong way ( If most posters are rolled a certain way does that make any that are rolled in the opposite direction fakes ?

     I should not even honor this with an answer as it is one of the most ridiculous questions I have ever heard. Whomever came up with this one should look into flipping hamburgers at McDonalds instead of involving themselves with the poster business. Nonetheless, there is no "absolute" manner in which posters are rolled. Every NSS chapter had there own manner of storing and shipping posters. The same as most dealers have their own method of shipping therefore the original posters can easily be found rolled in either direction. Please continue to read this short dissertation on Carbon Dating and the process of manufacturing paper.

CARBON DATING  

Radio-carbon dating is a method of obtaining age estimates on organic materials. It has been used to date samples as old as 50,000 years. The method was developed immediately following World War II by Willard F Libby and coworkers, and has provided age determinations in archaeology, geology, geophysics and other branches of science. Radiocarbon determinations can be obtained on wood; charcoal; marine and fresh-water shell; bone and antler; peat and organic-bearing sediments, carbonate deposits such as tufa, caliche, and marl; and dissolved carbon dioxide and carbonates in ocean, lake and ground-water sources. Each sample type has specific problems associated with its use for dating purposes, including contamination and special environmental effects. While the impact of radiocarbon dating has been most profound in archaeological research and particularly in prehistoric studies, extremely significant contributions have also been made in hydrology and oceanography. In addition, in the 1950s the testing of thermonuclear weapons injected large amounts of artificial radiocarbon ("Radiocarbon Bomb") into the atmosphere, permitting it to be used as a geochemical tracer.

THE SCIENCE OF PAPER MANUFACTURING

Trees provide the primary raw material for the paper and board industry. Wood is made from cellulose fibres that are bound together by a material called lignin. In a pulp mill, the fibres are separated from one another into a mass of individual fibres. After separation, the fibres are washed and screened to remove any remaining fiber bundles. The pulp may then be used directly to make unbleached papers, or bleached for white papers. Pulp may be fed directly to a paper machine in an "integrated paper mill" or dried and pressed into bales to be used as a raw material by paper mills worldwide.

Paper and board production involves two steps. First, the fibres need to be produced. This is done in a pulp mill where pulp is produced using chemical or mechanical processes. Pulp production can be integrated with paper production, or produced in a separate pulp mill. The paper itself is then produced on a paper machine from a mixture of fibres (which can be virgin or recovered fibres), chemicals and additives.

Each paper or board grade is produced on equipment tailored for this particular grade and mill. Tissue machines producing toilet or napkin paper, or paperboard production differ considerably from the newsprint production process and newsprint paper machine. Production processes are optimized for each grade. There are many variables: raw material composition (mixture of chemical softwood and hardwood pulp, mechanical pulp, recovered paper, fillers, pigments, additives, etc.), machine size (width, speed), type of production equipment, and automation level.

Chemicals and additives improve the properties of paper!

The basic "raw material" chemical used in papermaking is cellulose. Cellulose is a polysaccharide and is the main constituent of the cell wall of plants. It is the most widely distributed organic compound and has a similar structure to sugar. Cellulose can be found in all plants, and is important in papermaking because of its ability to create a sticky mesh on contact with water, which then forms the basis of the sheet of paper. The papermaker has to extract the cellulose from the plant. As it is not water-soluble, it has to be extracted by using an aggressive, beating method known as pulping.

Typical additives used in papermaking include starch, which gives better surface strength; and China clay, talc and calcium carbonate, which improve the opacity and brightness of paper, as well as the final printing process.

The additives can be applied after paper production - e.g. onto the paper surface. In this case, the process is called "coating".

DETERIORATION OF PAPER

The primary causes of paper deterioration are oxidation and acid hydrolysis. Oxidation attacks cellulose molecules with oxygen from the air, causing darkening and increased acidity. In addition, the lignin in ground wood paper breaks down quickly under the influence of oxygen and ultraviolet light. Light induced oxidation of lignin is what turns newspapers yellow after a few days' exposure to sunlight. (Light can also cause some printing inks to fade.)


In acid hydrolysis, the cellulose fibers are cut by a reaction involving heat and acids, resulting in paper that turns brown and brittle. The sources of acidity include lignin itself, air pollution, and reaction by products from the oxidation of paper. Another major source is alum, which is often used with rosin to prepare the paper surface for accepting printing inks. Alum eventually releases sulfuric acid in paper.


Acidity and alkalinity are measured in units of pH, with 0 the most acidic and 14 the most alkaline. (Neutral pH is 7.0) Because the scale is based on powers of 10, a pH of 4.5 is actually 200 times more acidic than a pH of 6.5. Fresh newsprint typically carries a pH of 4.5 or less, while older more deteriorated paper on the verge of crumbling, may run as low as pH 3.0. Although some modern papers are made acid free, most paper collectibles are acidic and need special treatment to lengthen their lives. Other factors which contribute to the destruction of paper include extremes of temperature and humidity, insects, rodents, mold and improper handling and storage.


GUIDELINES FOR PRESERVATION

First and foremost, keep your paper collectibles cool, dark and dry. Store books and other items in an unheated room, if possible, and regularly monitor the humidity. Excess heat and humidity should be controlled with an air conditioner and a dehumidifier. Storage materials such as envelopes, sleeves and boxes, should be of ARCHIVAL QUALITY only to prevent contamination of their contents.


MYLAR® According to the US Library of Congress, the preferred material for preserving valuable documents is uncoated archival quality polyester film, such as Mylar® type D or equivalent material such as Melinex® 516. Mylar® is an exceptionally strong transparent film that resists moisture, pollutants, oils and acids. With a life expectancy of hundreds of years, Mylar® will outlast most other plastics. In addition, the brilliance and clarity of Mylar® enhances the appearance of any paper collectible. (Mylar® is a registered trademark of DuPont Teijin films. Their brands of archival quality polyester films are Mylar® type D and Melinex® 516 of which they are exclusive manufacturers.)


POLYETHYLENE AND POLYPROPYLENE (Where's Ethyl?)

For years collectors have stored their movie posters in polyethylene bags, PVC sheets and plastic wraps. Although such products may be useful in keeping away dirt, grease and vermin, many plastic sleeves contain plasticizers and other additives which can migrate into paper and cause premature aging. Both polyethylene and polypropylene contain solvents and additives in their manufacture to assure clarity and increase the flexibility in the plastic. Polyethylene when uncoated without any solvents is a good moisture barrier but has a high gas transmission rate, and eventually shrinks and loses its shape under warmer conditions.


In recent years polypropylene bags have been sold under the guise of being archaically sound. This is far from the truth. Only uncoated and untreated material is suitable for archival protection. Currently, the only way to seal polypropylene is to add a substance called PVDC (Polyvinyl Dichloride which is a relative of PVC) to allow the material to be heat sealed. Therefore, once you add the harmful additive, the sleeve now becomes non archival and should not be used for long term storage.


ACID FREE BOARDS AND BOXES

Because ordinary cardboard is itself acidic, storage in cardboard boxes may be hazardous to your collection, and is a leading cause of premature deterioration of comic collections. For proper storage, only acid free boards that meet the US Government's MINIMUM requirements are acceptable. These requirements have been defined as boards having a 3% calcium carbonate buffer throughout and a minimum pH of 8.5. Anything less will hasten your collection's destruction. While many advertisers claim that their boards are "acid free at time of manufacture," they are in reality only spray coated with an alkaline substance making them acid free for only a very short time. Boards termed "acid free at time of manufacture" do not offer sufficient protection or storage for anything other than short term. True acid free boards have been impregnated with a calcium buffer resulting in an acid free, alkaline pH content of 8.5 throughout.


GET RID OF THAT ACID!!!

Another way to extend the longevity of your collectibles is to deacidify them before storage. Deacidifying sprays and solutions are now available for home use. By impregnating the paper with an alkaline reserve, you can neutralize existing acids and inhibit oxidation, future acidity and staining due to certain fungi. However it is best left to the professionals to deacidify your movie posters. Deacidification with proper storage conditions will add centuries to the lifetime of paper.


In summary, we recommend the following guidelines for the maximum protection of your collectibles: Deacidify the paper; store in Mylar® sleeves with acid free boards and cartons; and keep the collection cool, dry and dark. Periodic inspections and pH and humidity tests are also recommended. By following these simple guidelines you can be assured of a movie poster collection that not only will increase in value, but will also last for many years to come.


HOW ELSE COULD YOU PRESERVE PAPER FOR 20-30 YEARS WITHOUT OXIDATION?