The Care and Conservation of Antique Prints
By: wiltonsmallbiz
The Care and Conservation of Antique Prints
By Neil Street, owner, VintageMaps.com
For many collectors of antique works on paper û specifically
antique prints û the care and preservation of their valuable
collection is the most vexing issue they face. It need not
be. A little common sense, and sometimes a healthy dose of
restraint, will go a long way toward making sure that your
important, unique, and hard-won collection remains preserved
for generations to come.
The production process used in the making of your antique
print does not alter in any significant way the care that it
needs. Whether it be a lithograph, copperplate engraving,
mezzotint, or other process, the basics of caring for the
print remain essentially the same. Broadly speaking, there
are four major aspects of good conservation that the average
collector should be aware of. These four key areas are:
handling, repairs, framing, and storage. If you follow some
simple rules in all these areas, your prized possessions
should retain their good condition and value.
Handling damage is at the top of the list for a very good
reason. In my opinion, as a dealer in antique prints, more
problems are caused by careless handling than any other
single problem. Great care must be exercised when handling
an antique print, because the paper itself is so fragile.
You only need to accidentally tap the edge of an antique
print against a sharp corner, such as the edge of a desk, to
cause serious chipping. If the print has little or no
margin, an event like this can be catastrophic to the image
area. Pervasive as it is, handling damage is an aspect of
conservation that can easily be solved by common sense.
First, do not work with your prints unless you have the time
and space to do so. Handle them when things are quiet, not
when your toddler needs attention. Second, make sure you
have the space to put them down safely, such as a large
table. Third, wear thin cotton gloves, available from
framing supply stores. And finally, nless you are dealing
with large numbers of very inexpensive prints, it is always
a good idea to have each one stored loosely (not
"encapsulated") in a mylar sleeve. Mylar is a
crystal-clear, polyester film, and it is very easy to find
on the internet. Beware of imitations, and specify Mylar,
because Mylar does not interact chemically with the print.
At some point in time, almost all collectors of antique
prints are tempted to "fix" a defect by themselves. My
response is: don't, don't, and don't. All of the things
that
are commonly attempted on antique paper û the removal of
stains, wrinkles, and pencil marks, the mending of a tear,
the filling of a hole, or, heaven forbid, the "whitening" of
a darkened piece of paper û all these actions have the
potential to cause irreversible damage, and to seriously
reduce or eliminate the value of a given piece. Professional
conservators spend years learning how to perform these
complex tasks correctly û and they will be the first to tell
you of the perils they face with each job. Leave the
restoration to the conservators.
Framing is another area that can often bring trouble. Yet, a
few easy tips can usually ensure a successful framing
project. First, use a good framer. Call a local museum and
ask who they recommend. Ask friends or acqauintances for
recommendations. Don't be afraid to shop around. Then,
expect to pay a bit more. Good framing is expensive, but it
should outlast all of us. When you are satisfied you have
selected a good framer, you should be comfortable in being
guided by them, but here are a few "musts." You must use
"anti-uv" or "conservation" framing glass. This will
deflect
most of the harmful light that can destroy paper over time.
If you are using matboard, you must use "archival" quality
matboard, so it does not, as time passes, chemically
interact with the print. You must never allow antique paper
to be adhered in any way to a backing board. You must insist
on archival quality backing board. Insisting on these basic
steps will take you a long way toward a successful framing
job û and finally, don't hang your finished piece in direct
sunlight, near a direct heat source, or in a humid area such
as a bathroom.
Framing, when done correctly, is one of the best ways of
storing antique works of art on paper. But since it is both
expensive and space-demanding, it is rarely the complete
solution for most collectors. Good, long-term storage can be
accomplished by keeping antique prints in mylar, stored
flat, in a dry, cool space. Excessive heat and excessive
humidity are enemies of antique paper, but many homes today
are climatized to avoid such excessive conditions. If you
need to store a number of loose prints, the best solution is
to use one of the many excellent archival boxes that are
available on the market.
After a little practice, even the newest collector can
quickly master the basics of good care for antique prints.
Common sense is your greatest ally, and most often, your
greatest enemy will be the dangers posed by poor handling.
So learn the basics, treat the antique paper with the
respect it deserves, and always "handle with care," and your
collection will bring pleasure and joy for many generations
to come.
Neil Street is the owner of VintageMaps.Com, which he
founded in 1997. His website, an online destination for the
antique map and antique print enthusiast, is at
http://www.vintagemaps.com Send email to
ncstreet@... He can also be reached at
(203)856-1755.
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