Thursday, September 24, 2009

Print conservation & restoration

Back in June I posted a blog about prints that are found in old frames. One of the things I discussed was that many of these prints were in bad condition and needed "fixing up." I've had a number of follow up questions on this topic, so today I'll discuss in more detail the issue of print conservation and restoration.

The first thing to say is that for prints it is crucial that those with condition issues at least be conserved (the difference between conservation and restoration is that the former concerns not allowing the print to get worse and the latter with trying to take the print back to its condition before it started to deteriorate). I love the Antiques Roadshow and this program has been helpful in raising people's awareness of antiques and various issues related to antiques. However, there is one "lesson" people have learned which is sometimes misapplied to prints.

Anyone who has watched the program a number of times will probably have seen at least one segment where the appraiser comments that the item being examined was nice, but would have been worth considerably more had it not been restored. A table that would have been worth tens of thousands in "original condition," but now worth only thousands because it was cleaned and its patina lost. As a result of this, we often get people coming in to the Roadshow proudly showing us a print which they didn't restore because they wanted to preserve its value.

Unfortunately, the lesson about not restoring furniture does not apply to prints. The "problems" associated with furniture aging are not generally destructive of those objects; in contrast, the "problems" associated with the aging of prints often are destructive. Acid, mold, foxing, waterstains and many other problems one typically finds with prints will eventually cause those prints to be destroyed. Thus prints with aging issues, in contrast with furniture, do need to be conserved to retain their value.

A print that is acidic will have its paper continue to breakdown, eventually becoming brittle and falling apart. Foxing and mold will spread and will also lead to the eventual destruction of the print. Waterstains can cause the paper to weaken and eventually rot away. A print glued to a backing will be harmed both by the glue used, and also by being attached to a backing which likely will eventually fall apart itself, at the same time destroying the attached print.

What this means is that for almost all prints with condition problems, it is important to conserve them in order to preserve not only their value, but their existence. Sometimes the condition problems will not progress very quickly, so that the destruction of the print may be far off in the future, but these problems do not go away unless the print is conserved.

Restoration goes beyond conservation, by trying to return the print to its earlier condition and appearance. This is more a question of taste and value than conservation. One has to conserve a print for it to continue to survive, but once conserved a print needn't have its foxing spots or waterstains removed, the darkened paper lightened or whatever. Our usual policy is that "tasteful" or "moderate" restoration is desirable.

Certainly, in most cases, restoration increases the value of prints (again, unlike in many cases with furniture). For one thing, most conservation processes will restore the print at the same time, so if one sees a print with the appearance of condition problems, one assumes it is in bad shape. Also, one of the main purposes for which people acquire prints is for decoration and a print that has been properly restored looks better than one that hasn't.

Still, with prints some of the same factors come into play that cause furniture collectors to seek out antiques that don't look too pristine, that look like they are wearing their age. Many print collectors want their prints to look like antiques, not modern copies with bright white paper, etc. This means that any restoration done should be done with care so that the print is not over-restored. Foxing and stains can be removed and acidic paper lightened, but the print shouldn't end up looking bright white and spotless. Likewise, one can make repairs and fill losses, but there is nothing wrong with a print showing some signs of its age. This is a subtle matter and it is important before having any print restored that you and the restorer have the same idea of how you want the print to end up.

Conservation/restoration is a fairly expensive thing to have done. For a typical small folio Currier & Ives print, with just standard condition issues, it might cost about $150 to $200 to restore. Those prints with worse conditions issues (if they are laid down or badly stained, for instance) or prints of a larger size, will cost even more. This obviously means a serious expense for the owner of antique prints and it is something that is a regular concern for us at the Philadelphia Print Shop.

There are some prints where it just doesn’t make sense to spend the money to fix them up unless they have a lot of sentimental value. If a print is worth only $50 or so, then it seems ridiculous to pay $250 or more to fix it up. However, even if a print is worth only about the same as the cost of the restoration, or even a little less, it might make sense to fix up the print if you like it or it means something special to you. It is not always easy to find the same print in better shape, and antique prints do retain their value (assuming they do not deteriorate in condition), so it is reasonable to make the investment in preserving the print even if the value doesn't quite equal the cost.

Some people resolve this problem by trying to restore the prints themselves. We do not recommend that owners do this, as most of the means that non-experts use to "restore" their prints actually cause the prints harm in the long run. If the print is worth restoring, it is probably worth having a professional do it. If an owner really wants to do his/her own restoration, then do some reading and get the proper materials so that the job is done right. While we do not encourage non-professional restoration, a good resource for anyone interested in the subject is the American Institute for Conservation of Historic and Artistic Works.

A final few thoughts on this subject... First, you should keep this issue in mind when looking to buy an antique print. Many prints that you find in antique shops or at auction need restoration. You might, for instance, be able to buy a nice small folio Currier & Ives print at an auction for, say, $50, which might seem like a good deal when you know that a print gallery might sell it for $150. However, if you figure that you need to spend $150 or so to restore it, it becomes clear that this isn't such a good value.

Finally, we hate to see antique prints be destroyed by inaction. Certainly there are some prints of low value or that are relatively common where the cost of fixing them doesn’t make sense, but if you own an antique print that needs to be fixed and don’t want to pay to have this done, perhaps you should consider selling the print to someone who will fix it up and then buying something that doesn’t need any work. It is not good to simply ignore the issue of prints that have condition problems. Whatever value they currently have will leach away as the prints continue to deteriorate.

Find more information and antique prints here at PPS-West.com.

223 comments:

  1. I have a print from an engraver Thomas Landseer "Stag at Bay" which is in a frame with glass and the back, which I partially exposed, is lined with a copy of The Record (Philadelphia) 1878. The print has some staining issues and needs restorative work. It is rather large. Any thoughts on how I can determine value prior to deciding on restoration, though I wish to restore...regardless. Joseph JKloza@aol.com

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    1. Moisture made "waves" across old print.
      I was going to take an iron at low temperature and press down hard on the BACK side. Is this a good idea? iT'SW a J. Villon etching of Rimbaud.
      Other than that perfect condition.
      What do I do? Paul C.

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  2. You can get an appraisal or "email appraisal" (the latter of which is less expensive, but that does cost money. Generally free appraisals are worth what you pay for them. Because of the size of the print you have, it will probably cost a fair bit to conserve. There are a couple questions on whether it is worth spending that money. If you plan to sell the print, the question is whether you would gain extra value in the sale compared to what you spend. I doubt that would happen. The second question is whether you could buy the print in better condition for less than the cost of conservation. I doubt it in this case. So, if you like the print and want to keep it, I would say go ahead and have it conserved. If you don't like the print, it makes more sense to sell it as is.

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    1. I got a dey di ribcowsky litho in a gold wooden frame with signature and something written in pencil and four numbers stamped in red...cant open the back tho due to the paper covering it dont wanna ruin the whole value can i send u photos

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  3. I have the original proof of etching The wounded Hound by Richard Andsell, it has a hole in the top of the print but otherwise good condition is it worth getting restored. Sharon Drew

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  4. If you like it, absolutely. This is a nice print and you would enhance its value (and also help to preserve it) if you have it conserved. Good luck.

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  5. I have a print of "the first reading of the emancipation proclamation before the cabinet" It has been in the family for generations and was just given to me by my parents. I am interested in getting restored/repaired. It is in an old frame that measures approx 46 x 32. Is this recommended on a piece that appears to be widely available?
    -DF

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  6. This is a terrific print, which I have written about elsewhere in the print blog. It is definitely worth restoring and preserving. It is interesting you say "widely available." This is, of course, a relative term. This print was issued in greater numbers than most nineteenth century engravings, but it is still not in any sense "common." You tend to see it around because it is such a great print than anyone who has one for sale publicizes it quite a bit. It is a wonderful print and does have some significant value. Please fix it up or at least sell it to someone who will fix it up. It should not be left to die!

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  7. I bought a print in its original frame. It seems very old and has a very old canvas back with a fancy "copyright picture" monogram on the back of the canvas and a very old label on the frame that says "My "first ear-rings" and further "published fine art association,London" amongst other things.The print is signed Richard A. Muller. the print has many areas that are cracked from something probably pushing haphazardly here and there on the back canvas but no real chips or pieces missing. Could you tell me what kind of print this is when it is over canvas an should I have it professionaly restored. And lastly,What is its possible value? Ps. It isnt and doesnt look like it has ever been under glass.Should I at least conserve it by having a framer put it under glass. I have never seen a print like this ,its definately not an oil painting but its not like any pressed prints ive seen. what do I have ,Help! Thank You, Ron

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  8. It sounds to me like this is a chromolithograph. The facts that it is on canvas and that the surface is cracking and that it was framed without glass are all things that are fairly typical of chromolithogrpahs.

    As to having it restored, that is something you will have to decide for yourself. I do not know the print in particular, but it sounds like a print that would have "decorative" value (as explained elsewhere in my print blog). If it is attractive and can be fixed to good shape, then this value will be reasonable and if you like it, then it is worth fixing. If you plan to sell it, I doubt you would get back your investment.

    I hope this answers your questions.

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  9. I have a print entitled "Inez by Maurice Sterne." It has the remnants of what may be a signature by the artist and states below the print: This is an original printed American Artists Gelatone facsimile and was created in the United States of (unreadable). Someone had glued a matte onto the front face of the print and the print has been glued to brown cardboard. My question is how do I ascertain value and decide what to spend on conservation.
    Thanks Deirdre

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  10. In general it is not financially worthwhile to conserve any facsimile, except perhaps some of the better Audubon elephant facsimiles. A facsimile, not matter how made, is a reproduction. This doesn't mean they are not nice, but they do not have any value beyond decorative. Most facsimiles do not have enough decorative value to warrant the expense of restoring. Also, facsimiles are much more common than originals, so there is often a chance you can find another example in better shape for less than the cost of restoration.

    If you love a print and cannot find another and it is worth it for you (in terms of enjoying the print) then there is no reason to not spend the money on restoration, but on a pure financial basis, it just doesn't make sense.

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    1. Question, l found a John Contigan 3kids fishing 16x20 print in a very well framed condition. It has the artist information on back and it is a gelatone print. What does that mean and is it valuable if it is original print?

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  11. I recently came into possession of an old German prayer book titled "Die ewige Anbetung". It has a separate page that states it was printed in Colonia,8/21/1866.Its publisher I believe is Baudri.It measures 4.5"x 3". It`s leatherbound with a cross( broken) with some kind of pearlized flower and branch treatment in metal adorning the cover.The pages are gilded. It has a small springloaded closure.

    The condition of the binding is entact and reasonable except for the fact that the text is completely unglued.So my question becomes should where do I begin.I live in southern NJ.

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  12. First, you need to realize that the value of the book does not warrant the cost of having it restored. Prayer books of the 19th century just do not have much value.

    If you do want to have it restored, I would look for rare/used book dealers in your area to see if they do book repair. You can also contact us as we offer that service.

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  13. Chris,

    I have an antique print of a bird's eye view of my hometown in Italy that was printed in the mid-1700's. I made the mistake of inserting it in a clear plastic sleeve that was supposed to be for "long term conservation" of works of art, but the end result was not too good. The print started darkening, especially at the folds, within a few months. I since then removed it from the sleeve (obviously) and put it back in an album I bought years ago in Italy and meant specifically for the preservation of antique prints. The print is approx. 17x20 inches, but I can easily get you the exact measurements.
    How can we get to an estimate for restoration?

    Thanks! Gabriele

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  14. i have two prints i took down from my mothers attic that she gave me..after a long search i have identified them..anton shutz..an dry point engraving of lower manhatten viewed from govenors island..1927.it definately needs restoring as it is glued to something and yellowing from acids..the other is a dry point engraving by andrew karoly of the supreme court building and it is in better shape but has some mat burn and is also glued to inferior backing browned from acids..was quoted 250 or more for restoring by restoration service..i am an artist and photographer and have my walls covered with my work...www.theartbybart.com..where would i find someone interested in purchase for restoring themselves..told value in good condition in 350 to 425 dollar range..is there somewhere were i could sell at lower price to students doing restoration themselves??do members of your org. have a specific site to put on??found an identical print of karoly's supreme court building on e bay starting bids at 350...mine looks as good but is glued to inferior backing..would like to sell to someone interested in restoring for themselves or a collection..ant ideas??

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  15. I have aMaxfield Parrish print fromThe House of Art NY. It is in good shape but has what looks like small brown spots throughout it...is it worth trying to restore it?

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  16. There are, as noted above, many factors in deciding if it is worth restoring a piece of art. However, the Parrish prints are nice and have enough value that it would make sense to consider restoration, especially if you plan to keep the print.

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  17. I have a Thomas Moran chromolithograph "Grand Canyon from Hermit Rim Road" that seems to have some acid staiin issues. It is very large and I'm sure expensive to restore. Do you think it would be worthwhile?

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    1. If this is an original print, then I would say yes; if a reproduction, then no. However, if an original and you intend to sell it, I doubt you would get back the cost of the restoration in extra money when you went to sell it. But, to preserve a fine antique print, definitely have it fixed up.

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  18. I have a folio size lithograph of The Prophet, by McKenny and Hall that has some foxing. Is it
    worth restoring?

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    1. As discussed, there are many factors involved with whether or not to conserve, but an original McK&H print is a nice one and so it would not be a foolish thing to have it restored.

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  19. If a print from the 1930's is glued to cardboard, can it be restored at all and for how much? It still seems somewhat nice and I have the opportunity to buy it (maybe). In mint condition it would be worth maybe 4,500, it's about 36 by 22 inches.

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  20. What a wonderful service you provide here.

    I have an etching of a cottage with a creek in the foreground. It has the artists name in the lower right corner of the actual etching. It is signed "E. L. Field" in pencil below the etching in the lower left corner. A horseshoe is drawn in the center of the boarder below the etching. In the lower right hand margin below the etching, it is signed in pencil "W. H. Shelton". In the top left boarder it reads Copyright 1887 by "C. ...ner, 17 E 17th St. N.Y". It measures just under 9" x 22". The paper is brittle and has several tears but to me they look repairable. This print has been in my possession for 50 years or so but I don't recall where it came from. I'm not particularly enamored with the subject, but I hate to see i deteriorate any further and would like to have it retored/preserved to the extent affordable. What do you advise? Thank you.

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    1. This is a typical "etching revival" print, which is the type of print Field is well known for. It sounds like it can be both deacidified and the tears repaired, though it will likely cost a fair bit. Still, it is certainly best for the print if that is done. You need to find a local paper conservator. I would suggest contacting a local museum or university to get a name.

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    2. Denise, your print is what is called a Remarque (or remark) proof. The printer is C(hristian) Klackner who was a very successful and reputable dealer in the 19th century. I have read that the Remarque Proofs he printed numbered only 25. That little horseshoe is the "remark" which is a graphic engraved just for the remark proof print run. It is then sanded off prior to the next run which is called the artists proof run (and has the original signatures of the engraver and also sometimes the artist of the original work. This was another limited run prior to the general printing which would not have been signed. Also, the remark and artists proof runs do not have the title of the work in the lower margin as the general print run does. So, in short, your print is fairly rare.

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  21. I have a conquistador print by Keynaldo. its very large and framed without glass, it has a lot of scratches. I was thinking of water coloring over all the scratches myself being its in a style that would make it easy to blend in the new brush strokes,but wondering if is worth anything. thanks

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  22. I have two old prints. Both are in poor condition, with much foxing, torn edges, creases, etc. One is the Mater Dolorosa (printed in block at top of print) and (bottom left of print says: Painted by Reni) and on the back is pencilled in a date in 1862. This has been in my family all those years. The artist was Guido Reni. The second print we found hidden inside a frame on the back of an old watercolor (also had been in our family for years). It appears to be a lithograph for an advertising product or play (is in color), says Mr. Pickles across the top and bottom left corner (partially torn off) it appears to say ?P. Morgan & Co. It shows a turn of the century gentleman sitting relaxed in a chair. I am not particularly interested in either print, but cannot find any estimates of their value (or of their value if repaired) so I can decide if it would be worth the cost to have them repaired. Can you direct me to any sources of information about these subjects? Thank you!

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  23. At an estate sale, I recently bought an engraving entitled 1. Red headed Woodpecker, 2. Yellow bellied W. 3. Hairy W. 4. Downy W.
    It had 'Drawn fron nature by A. Wilson on the left lower edge and Engraved by G. Murrary on the right lower edge. There is no date but it appears old. It has some dark spots (foxing?) in 3 places and the edge of some of the paper appears to be cracking.
    Is this picture worth restoring/conserving? Can you provide any other information about it?
    Thanks!

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    1. Without seeing the print, it is impossible to tell if it is an original or what edition it is if original. These prints do turn up, so there is no reason to think it might not be an original and so worth fixing.
      You can read about Alexander Wilson's prints in this blog at

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  24. This blog does not seem to accept URLs, but you can find the blog on Wilson just by doing a search in the blog.

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  25. I just purchased at auction a picture in glass with black matte painted on the glass. it is titled "black Monday". and is suppose to be an etching. how does one tell it is an etching? it has been glued to a kind of cardboard and there is an old newspaper behind dated 1928. the glass and frame are very dirty. should./can it be restored?

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  26. There are a number of ways to tell if you have an etching, but this is too complex to answer here. If you go to the Philadelphia Print Shop on-line library (on our web site) we have a section which talks about etchings. As to whether it can be restored, likely the answer is yes, but it will likely be quite expensive, as removing prints from backing is very tricky and time consuming.

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  27. I have a Luigi Kasimir etching with an original signature in pencil at the lower right corner. It is the Belvedere Palace but the colors are faded. Other than that it is in great shape. It was not glued anything. What can be done to get some color back to this piece and what would it potentially be worth? I do like the piece and would probably keep it but would like to have colors restored without hurting the worth.

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  28. I just found a meindert hobbema "A road in the woods" 24x36 print that is glued to cardboard and framed in a heavy frame with a sticker on the back that says Academy Art Chicago... Can you tell me where this originated? Why would this print be produced? Were they produced for people who couldn't afford original paintings but could afford the next best thing? Also, do you know when these were produced? I can't find any information anywhere. Thanks for any information!

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    1. You are absolutely right that this print (which is a reproduction) was produced so that people could not afford original paintings could have something nice to hang in their homes. We do not really study reproductions, but I would guess this was done in the 20th century. In general you cannot find out much about such reproductions as there really isn't much research anywhere on these.

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  29. I have an old print of Priscilla Alden which has a minor puncture and some staining issues. Is this worth restoring? How should I go about it?

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    1. Cannot know without knowing what print it is, but I doubt it has a lot of monetary value. Restore it if you like it, but not for financial gain.

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  30. I have some original sketches on illustration board from the 1920s, by A T Manookian. They have a lot of foxing. I know that oils by Manookian are extremely scarce, due to the artist's passing in his 20s. Do these sketches have the value that would make them worth conserving or restoring?

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  31. I purchased 2 Redoute prints from the Paul Victorious Framing Shop in Charlottesville, Virginia, around 1973 when I was a graduate student at the University of Virginia. They were sold to me as original hand-colored engravings. The ones I purchased were flowers from the "Choix des plus belles Fleurs--1835"--the Bigonia (plate 11) and the Coreopsis (plate 24). My prints are identical to the ones I recently viewed on antique print web sites, except that they do not have the plate number beside Redoute's name in the lower left hand corner. I am wondering what this signifies. Does this mean these prints are from a later printed edition? if so, how does this affect their value?

    Also, I unfortunately put them in antique walnut frames with an oval wood liner and the wood has darkened part of the prints. Can this be removed and is the process expensive?

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  32. I have a J. Voyet print of a "Boat" framed in a nice green gold frame with material band in the center of the frame. The picture is one prominent large boat with masts no sails, it is by its self in a harbor. The buildings to the left appear to be a town. The sticker on the back Academy Arts 1840 N. Clybourn Ave. Chicago Ill. I think it is a print formed on hard backing cardboard or some kind of material. The print is yellowed and appears dirty, what is the best way to clean this print.

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    1. If the image is actually on the cardboard or some other solid material, then it really can only be surfaced cleaned. You can try a light soapy water, but I would try in a small area first to make sure it doesn't removed any of the color.

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  33. Years ago my mom and dad bought a framed picture at an auction in Ohio because of the print and antique frame. After taking it apart to refinish the frame they discovered several prints behind. One was a chalk sketch of a ballerina that was signed Degas. The paper was faded around the edges and has a small tear. They framed it beautifully and have it hanging in their home. Just wondered if they should go further in finding out it's authenticity.

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  34. I have a large print (25" x 29" overall - the picture itself being 19" x 22")titled An Autumn Landscape, which is printed below the picture along with the following text in the white margin...

    Painted by John Constable Esq R.A.
    Published by George Stinson & Co. Portland, Maine
    Engraved by Robert Bowyer Parkes

    Also, in very tiny font in the bottom boarder of the picture is this text:
    "Entered according to act of Congress by George Stinson & Co. in this year 1888 in the Office of the Librarian of Congress at Washington"
    The print is covered with tiny light foxing stains but has no tears or creases, etc.
    The Constable painting it reproduces is titled "The Cornfield"

    A little internet research found this painting has be reproduced by several engravers, in various styles. Mine looks like the method used by engraver C. Cousen. I haven't been able to find one online by Parkes or as large as mine. Also interesting that this publisher changed the title. It could be an "original" antique print, but seller couldn't prove it. It certainly looks old. LOL Do you think it's value might warrant a restoration?

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  35. I purchased a print of Oppenheim's Wandering Wayfarer at a thrift store. It is in pretty rough shape because it was glued to a board and the sides taped down. I love the picture but I am unsure about paying for an estimate of getting it restored with the local restorer since I can find nothing about prints of his online. Since it is probably not valuable (unless I am just a terrible googler), should I try to peel it off the board myself and clean it well enough to be matted and framed or do you think I should take it to the restorer? Thank you!

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    1. This print is not one that has any serious value. It really is probably not even worth risking trying to take it off the board as you might rip it. I'd leave it on the board and you can try to clean it on the board. If you think it needs to come off to clean, fine, but it is a risk. Purely monetarily it isn't that much of a risk, but just be aware of the risk. I would definitely not, however, recommend paying for restoration as you could get one in better shape for less than that cost.

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  36. I have an 18th century English print by printmaker Samuel Cousins After Edwin Landseer, painter, title (object) "Return from Hawking". There is no title on the print and no margins. It is just one large beautiful scene. It is a gorgeous thing, however, it has need of conservation work (chips along the edges and in some small places on the surface/staining in some places, cleaning, etc.) I received an estimate for conserving the piece of $800-$1200 and that was from sending photos of the piece via email, not actually seen in person by the conservator. Does the technique used to create the print enhance its value (stipple/etching/engraving/mixed method) or is it soley based on the artist, its age and the content of the piece? I am trying to determine if the cost to conserve would supersede the value of the print. If a print is worth $800 then it would make no sense to spend that or more to restore. In that case, how does one value an un-conserved piece? Hence the reason to ask about the technique used when the print was made.

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    1. This print was originally issued with borders, a title, and other printed information below the image. Your print was, at some point, trimmed (which was not that unusual). This really affects the value, and in my opinion, unless you really love the print, I wouldn't spend that much to fix it up (at least not for financial reasons).

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  37. I bought a framed David Armstrong print "Pennsdale Meeting" and there is some staining on the print. How could I get an estimate on what it would cost to restore it? For what I payed for it not sure if it would be worth it.

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    1. You need to contact a paper conservator to get this information. In general, however, I suspect the cost of restoration would not make financial sense.

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  38. I need some info if it is possible. I purchased 7 prints of Cries of London. These prints look to be very old the paper is really brown in color and feel like it could be brittle, the images are done in stipple with color. Around the edge you can see a depression of the plate. The images have a plate number on each one. I have plates 1, 3, 7,8 10, 12, 13. Plate 7 measures 40 x 30 cm, Plates 8,10,12,13 measure 35.5 x 30.5 cm and Plates 28 x 34 cm.

    All plates have Painted by F. Wheatley R.A. engraving has been done by different engravers:

    Plates 7,8,10,12 are engraved by G. Vendramini
    Plate 13 is engraved by T.Gaugain
    Plates 1and 3 are engraved by L. Schiavonetti

    All images have the title in English and French, also each has the plate number below the text Cries of London.

    Three of the images are on heavy cardboard. Maybe mounted that way at sometime but they look like they were like that from the beginning.I don't know.

    There is a depression on the top, bottom and along the sides that appear to be a depression mark form the plate.

    Any info would be of great help to me. Thank you for the time you have taken to read this letter.

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    1. You do not say what your question is, so all I can do is make some comments.

      First, this series is one of the most often reproduced series of British prints there is. There are tons of reproductions of these (almost all of which have the plate mark you mention and the same printed information). That doesn't mean you have reproductions, but it is fairly likely.

      This is especially true because of the way you describe their condition. I have seen many of the repros of this series turn a deep brown; this seems to be because of the type of paper used. The originals rarely turn that color, though it is possible.

      In terms of restoration, the prints can probably be restored, but it would be rather expensive, both because of the browning and because some are glued to boards. If they are originals, this might be worth while, but I would make sure of that before doing anything. Unfortunately, there is no easy way we can tell you how to tell. You really need to show them to an expert.

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    2. Thank you Chris for the time taken to read and reply to my post. Yes I do believe you are right, these are pressed in 19th century. The originals are from the 18th century. I feel you may be right that it would be too much to restore them. So I will just frame and enjoy them the way they are (not too bad, just the browning). Thanks again...oh by the way, you have a great web site.
      Thanks

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    3. 30 years ago, when I was about 20 years old I found two very large Piranesi etchings that had been left by a radiator and water caused major foxing. They looked horrible.

      I brought them to Yale’s art department and the professor confirmed they were original 18th century etchings but didn’t offer any advice on how to remove the foxing.


      The foxing was so terrible that I figured I had nothing to lose if I tried to life the foxing myself. I prepared a solution of 25% bleach and 75% water. I secured the prints to there two large playing glass sheets I had and with a hose in one hand the the spray bottle with the bleach solution in the other I began to spray the etchings.

      The foxing began lift quite quickly and I was fearful the rag paper would lose some of its age so I quickly ran the water from hose on them until I could no longer smell bleach.

      It was my first experiment cleaning prints. I brought them to a dealer who described them as “pristine” and he offered me $200 for the pair. One is of the Coliseum and the other of the Pantheon.

      I framed both shortly there after and that started a life long hobby of collecting and sometimes restoring many different objects. Why pay someone $200 to clean a Japanese print I can clean myself in 20 minutes?


      The first time I found a very old Hiroshige glued down and badly foxed, I placed it in a shallow rectangular baking pan and poured boiling water over it and it separated from what might have been old horse glue. It was water solvable anyhow. I then added so beach and when it looked about right I transferred it to another baking pan filled with cold water and slowly added more water overflowing it until I was certain the bleach was gone.

      Professionals may read this with horror but I’ve never ruined anything and I saved a lot of money as made a lot more.

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  39. I have a print of Horseshoe Falls from Goat Island Niagara Falls with this printed in red, very small, at the top and the number 6127 in white at the bottom. It is in an old frame with several bubbles in the glass and in the distance of the print are 3 or so red brick buildings. The print has some foxing and it appears to have a waxed coragated backing. Just wondering if there is any value and should I have it cleaned and/or stabilized. It is about 13" X 17". Louise

    ReplyDelete
  40. It does not ring a bell, but from what you say (esp. the number at the bottom and the backing), I would say first that the print has only "decorative" value and secondly, it would cost considerably more than the print is probably worth to have it restored. Sorry.

    ReplyDelete
  41. I have a collection of 18 framed and 6 unramed Piranesi etchings which is a small part of a larger collection belonging to the estate of my late father. The collection was appraised in 1990 by Fisk & Borodin with fair market values listed. While many of the etchings were restored at that time, my collection was not restored or conserved. I have State 1 and some State 2 prints which are in pretty good condition aside from some spotting. The values in the appraisal range from $1,200. to $3,000 each which, again is described as fair market value at he time. I would like to sell but am wondering if I should invest in "cleaning" first. The works are visually appealing, as is...all identified by Hind number and State. I would appreciate any coment you may have.

    ReplyDelete
  42. I have a print by Benj Lander which is similar to one I saw online called Partegot Pond but a bit different. I have had it for 40 years.. my dad found it somewhere in the Boston area .. he was always out looking for "stuff".
    This print is 24.5" W x 13.25" H. It is glued to a backing board and in what looks like a plaster type of frame 2.5" in width. On the far left lower edge corner of the print it gives his name BENJ LANDER... then below the print on far right it is signed in cursive Benj Lander in what appears to be pencil. It is quite a good size signature. I have been told it is a vintage engraving print by the artist. and that a cleaning bath is risky (it is very brown) as the image is done on thin tissue, mounted to board and may separate in a water bath. Further, below the name in the lower left edge is a miniature about 2.5" wide by 2" H of a similar landscape but not the same one in the main body. There is water stain in the lower left portion of the print probably over about 15% of the work.
    Besides a bath, could this be conserved / restored in a different process...could the print actually be separated from the backer board (looks like a early form of mat--- it is really brown)
    I am told it could be deacidified but it would not change the appearance. Thank you

    ReplyDelete
    Replies
    1. This print can be restored by a professional conservator (it sounds like it is a chine applique, and putting it in a bath unless you know what you are doing, is very risky). Unfortunately, that is very expensive. The print is from the etching revival period and these are nice prints, but they do not in general have a lot of value. I would guess that proper conservation would cost more than the print is worth, even fixed up. If you love it, it is worth doing, as you would preserve the print for the future and it would look better, but from a purely financial viewpoint it doesn't make sense. This is, unfortunately, quite a common thing for largish etching revival prints.

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  43. I could photograph and email if it would help

    ReplyDelete
  44. Mr Lane
    Thank you very much for you reply. I am not too concerned about a cost to restore/conserve ... to a certain point. Can you provide a "ballpark" estimate on the work on the print.
    The frame has a few chips (quite small) which I have been told could be filled in, color matched, and the frame cleaned. This print was framed sometime around 1908 as 2 copies of the Hartford Courant newspaper were found behind the wood backing.
    If you would prefer to talk on the phone regarding these specifics, please advise.

    ReplyDelete
  45. Hello! Well I found a big old print at the back of a thriftstore, it has seen better days... it has crazing in places.. I can't find a name, it's rather dark... 2 people are sitting on a log playing cards, and one is holding a crying baby. I know this probably means nothing to you haha, but I have always wondered if lithographs or prints can crackle? or do paintings only do that? I also found a original portrait drawing by Hilda Cowham is that worth preserving? I can see a few brown spots just starting to appear. Thank you for your time!

    ReplyDelete
    Replies
    1. Prints do crackle, if the printing technique used heavy inks. Chromolithographs can do that, as well as other sorts of prints. As to the Cowham portrait, I am sorry but I am not familiar with this artist.

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  46. Where to take a George Barbier Le Gout des Laques with foxing to be restored?
    Regards Arlette Michelle

    ReplyDelete
  47. I have a newspaper from 1986 with print about my father, photographed, images of his invitations to the White House Inauguration of two presidents,And his life works its about three pages I would like to frame. They are very yellow, but I don't care about that how can I save them RoseAnn

    ReplyDelete
    Replies
    1. You need to at least deacidify them (which will remove any acid in the paper). Then they can either be stored in an acid free box/sleeve, or you can frame them "to museum standards." The main thing to do (once the acid is removed) is to keep them away from acid, sunlight, moisture and bugs (and rough handling)

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  48. Hello,
    I am an antique dealer and have 2 etchings by Luigi Rossini (Veduta di Fianco dei Portici d'Ottavia and Interno del Pronao del Tempio di Vesta, in Roma). They were dry mounted to a cardboard backing many years ago and are showing discoloration. I did look up their recent auction results and the hammer price was around $300.00 for each. I understand if I have them conserved, they will remain discolored. I hate to see them in this state, however, their value is so borderline. What do you recommend. I am in the midwest.

    ReplyDelete
    Replies
    1. There really isn't a good way to go. Your restoration costs are likely going to be around the amount the prints are worth and they are likely not to end up being "perfect" in any case, Personally, I'd just sell them as is and let someone enjoy some nice prints at a "good" price, even if those prints are not going to last that long. Unfortunately, this is something that we find fairly regularly with old prints of only moderate value. Good luck.

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    2. Thank you for your quick reply. I will follow your advice!

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  49. Mr. Lane
    Recently purchased 1900 Vanity Fair Print of Winston Churchill. Framed directly onto an old oak frame that has badly damaged the verso and has darkened and foxed the front as well. Problem is the print is signed by Churchill in ink, so much of the value is in the signature. Other than acidity treatment to conserve, is there any sort of restoration that can be done to the front of the print to improve its appearance without damaging the signature? Many thanks for your time.

    ReplyDelete
    Replies
    1. Yes, you can indeed deacidify the print, but any cleaning must be done carefully. Most cleaning processes use some sort of moisture and the ink is fugitive and so must be kept away from any moisture. A good conservator can do spot cleaning away from the signature, but if the area around the signature is damaged, then that will not really improve the appearance. Wish there was a better answer...

      Delete
    2. Chris, thank you for your reply ( a full year ago no less!!). I actually took the print up to NDCC in Andover, MA. Turns out the ink was iron gall, which I guess is fairly non-fugitive to moisture so they were ably to submerge the print and remove much of the discoloration and foxing. It was not inexpensive, but in this case worth the effort.

      I have recently found a 19th Century John Clark print utilizing a process called "Aquatint" which has some foxing and wanted to know if that process can be safely restored by professionals? Thank you so much. Bob

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    3. I do not know anything about the actual restoration processes as I am not trained. However, in general the process used does not affect how a print can be conserved. What does matter is the type of paper and ink used and whether the print is hand colored or not.

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  50. I have 7 cries of london prints and dont know what there worth or how old

    ReplyDelete
  51. I just purchased what I believe are two Luigi Rossini prints I know nothing about them they look seem to be in good condition they are sealed in a black frame with a stamp on the back

    ReplyDelete
  52. I bought a small Africa map print from your Denver shop in Cherry Creek with foxing the size of a pea. Is there any common household items that can be used to safely remove or lighten the spot?

    ReplyDelete
  53. I have some John Gould prints. The hummers are my favorite but also the least pristine of my prints. There is some browning of paper; some have staining of some kind around the edges; some have light foxing; some have little tears on the edges or "ragged" edges, especially where the print was bound into the book. The hand painting on these lithos is bright, and the picture part of the prints doesn't have damage--only the background paper seems affected. Prints are about 21x14 and considered to be "good" to "very good" conditions--inspite of the browning, foxing, staining, tearing. About what would be the cost of conservation/restoration of a handpainted litho of this size? I don't know where in OK I could have conservaon/restoration done and if I could trust it. Any advice would be most welcomed.

    ReplyDelete
    Replies
    1. Of course you can have the prints conserved. This is often a good idea with old prints, for it not only makes them look better, but preserves them. The darkening of paper is often caused by acid being in the paper. Cannot really say about the cost, as it depends on who does it, but I would guess about $250 per print.

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  54. i found a print of a Marc Chagall in a thrift store, on the back it says "basket of fruit" with a label of authenticity and signed but doesn't give the name of the agency .it is numbered 80 of 800,and a marc chagall sig. But on the back certification it says Limited editon,penciled Facsimile signature . Collectable chromolithograph.any value here?

    ReplyDelete
    Replies
    1. This sort of "limited edition" is a commercial thing. The prints can be nice, but they really do not have any value besides what the prints look like. That is, they have "decorative" value.

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  55. I found 18 prints in an auction many years ago.

    Group 1,comprises 6 x steel engravings by Landseer of Drawings of DACCA, dated from 1816 − 1827; by Charles D"Oyley (later ones say Sir Charles D"Oyley Bart.

    Group 2 comprises 12 x Copper plate etchings(?) signed Pinelli inv. e inc. Roma 1826/1827
    They appear to be illustrations for the epic poem "Il combattimenti di Tancredi e Florinda"

    Bothe sets are lightly foxed, and a few have bookworm holes.

    ARE THEY WORTH RESTORING???

    ReplyDelete
    Replies
    1. If you like them and want to frame them and put them on the wall, sure. However, purely financially, the cost of the restoration is going to be higher than the value of the prints.

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  56. I just purchased a print by Geo. Burgess, titled "1849 San Francisco", Litho H.S. Crocker Co. S.F. Copyright 1894. It in rather poor condition, the paper is wavy, probably from moisture. It has some heavy water stains. It has two tears one on the left side that is almost 9", and one on the right side that is 5". I have done some research and seen the prints selling for anywhere between $1000 to $2800. It is currently in it's original frame. The print measures 20" x 40". Would I be better off having it restored or just trying to have put back in its frame with archival materials? With the tears would this need to be relined. What would be a ball park for restoration of a print of this size and condition?

    ReplyDelete
    Replies
    1. Really, it would seem that for its long term survival and appearance, it would make sense to have it restored, and yes lining it would probably be good. My guess is that the restoration would probably cost you about $700-$800, though possibly more because of the size.

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  57. Hello' I recently acquired a May 4th,1827 colored etching by R. Lambe of "Kate", (Lady Hamilton) by George Romney and engraved by T.Bragg. It has been mounted on matboard for years and has foxing visible from several feet with darkening of the image. Would you consider this piece worthy of conservation and if so what would you expect the cost to be, please? Thanking you in advance. Charles

    ReplyDelete
  58. I have an original Percy french watercolor.....the painting is in great condition, however the matt has darkened over time and is in a gold frame, that I do not like.....if I reframe the painting, will it loose value, not being original matting and frame?

    ReplyDelete
    Replies
    1. Original matting rarely adds extra value, as it is almost always acidic. As to original framing, if it is a particularly nice frame or one with a plaque or other 'original' decoration, it definitely helps value, but for the majority of old images, the frames are just what someone liked at the time and so changing it to something you like makes perfect sense and really does not hurt the value.

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  59. I have become interested in etchings and would like to learn more about etchers, evaluating etchings, what to look for and what to avoid, etc. But I don't know how to learn about this subject specifically. Do you have any suggestions?

    ReplyDelete
    Replies
    1. There really is not good book which would answer all your questions. There are plenty of good books about the history of printmaking and a fair number about the history of etching in certain periods. Also, there are books about particular artists. A visit to a good book store or library is the place to start. As for evaluating values, that is something you will only be able to get by watching the market, viz. auction houses and dealers. Once you focus on a particular area, then start paying attention to what those prints sell for. There are also web services which do have auction prices and you can sign up for those and start exploring by artist. In the end, it is really a matter of experience, which you can gain by visiting the web sites of dealers, shops of dealers, and watching auctions. Good luck!

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  60. Hello Chris,
    I am the collections manager for a small museum and I have been concerned with light damage to Edward Beyer colored lithographs which are on permanent display. They are very popular. Light issues are pretty serious. Can they be taken out of their frames (not antique) scanned and the scanned copy reframed and the original put in proper storage? Is it possible and how much do you think it might cost. they are apprx 11 x 20 and we have 22. We are applying for a grant in March 2015. Thanks so much.

    ReplyDelete
    Replies
    1. Of course you could do what you suggest and that is not a bad way to proceed. There is ultra-violet filtering glass available, but it is not 100% effective. We do not do framing nor scanning, so I really cannot tell you the cost, but I do not think it would be hugely expensive. The Beyer prints are not huge and I know there are lots of firms out there which can do that sort of scanning. Good luck!

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    2. Thank you Chris and thank you for your blog, I am learning!

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  61. I have 9 large format (mostly French) antique books featuring fine etchings from 1721 through 1830. The etching pages have obvious plate marks. One pair is "Tableaus, statues, bas-reliefs et cameos de la Gallerie de florence et du Palais Pitti (etc)". The covers are in bad condition and the pages are browned and foxed. I see an ond auction price of $8841, but I am sure this is in good condition. I cannot afford to have them conserved. I am considering cutting out pages and restoring them for resale. What do you think?

    ReplyDelete
    Replies
    1. In general European subjects like that, from bound volumes, do not sell that well on the market. I see nothing wrong conceptually with breaking the volumes, given their condition, but I am not sure how well you will do financially. I'd try a few first (from the book in the work shape) and see how they do...

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  62. I have a largish color etching by Eugene Veder, it is signed by him and and numbered. It depicts Paris booksellers with Notre Dame in the background. It has water staining along the lower edge. Is this expensive to have removed?

    ReplyDelete
  63. In general paper restoration is not inexpensive. You should use only a trained restorer and they, like most trained professionals, are not inexpensive to use. Also, when you say "largish" that is a hard term to know exactly what you mean. Finally, it also matters whether stains go into the color, whether the paper is of such a tone/color that to clean one section would make it look funny (in which case the entire print would need to be cleaned) and whether the print is laid down (that is glued) to some sort of backing board. All that factors influence the cost, but my guess would be that you are likely looking at a cost between $100 and $400.

    ReplyDelete
    Replies
    1. Thank you for your reply! It would probably be too expensive for me right now, but I will certainly keep it in mind. It was a wedding gift to my grandparents, so it has great sentimental value for me.

      Delete
  64. hello Chris,
    I have 4 golf prints by mary ann kenyon- arnold palmer, jack nicklaus, lee trevino and gary playerr.
    all 4 were badly stored, have cracked and missing glass
    are dirty and warped. they are about 16 x 24 and sell for around $250 each. do you think they would be worth restoring to sell?
    thank you

    ReplyDelete
  65. I recently received an artwork signed in pencil "George Elbert Burr" Oaks in Winter #2. the mat is discolored/stained in the lower left corner. I don't know it's value but I love it regardless and would like to have it restored. Not sure how to go about it.

    ReplyDelete
    Replies
    1. The Burr prints are really quite nice and I think it would be worth restoring. You need to find a professional paper restorer. Can try asking a local museum/library if they can recommend anyone.

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  66. Hi Chris, I recently acquired a Picasso print signed in pencil Epreuve D'artiste on the bottom left, with Picasso's signature in pencil on the bottom right of the print. The print is on BFK print paper that I think has been glued or attached somehow to a backing board. The paper is either watermarked or embossed BFK in the upper left side of the print. The print name is Faune Aux Branchages. If this is indeed an original Picasso proof, what is the possible impact to the value because it is attached to the backing board? Can the print be removed from the board? Appreciate any insight that you can give on this.

    Pete

    ReplyDelete
    Replies
    1. Any print which is attached to a backing is worth less than one that is not. "Collectors" want prints that are loose. This is one issue, but just as important is the fact that often the backing board and/or the way a print is attached can harm the print in the long run. There are ways a print can be backed "archivally" and that takes away the second issue, but not the first. As to whether it can be removed, that depends on how it was attached and the type of backing board, but in general prints can be safely removed from backings.

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    2. Chris, Greatly appreciate your knowledge on this. Thank you for your reply.

      Pete

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  67. Hi. I have an etching by Goya entitled The Prisoner with foxing. Would it be worth restoring? Many thanks.

    ReplyDelete
    Replies
    1. Sorry, but we do not really deal at all with Goya prints. I know there are lots of "fake" Goya prints out there and do not know how to tell them from the real deal. Best to find someone who can tell you exactly what you have before proceeding.

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    2. Thanks, Chris, will do. Much appreciated.

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  68. My family has a 1901 Higgins Index Map of Saint Louis, Missouri. It is 24" by 33" and framed. A conditional issue - It has a spot the size of a quarter and it looks like a brown oil? I think I would like to restore the print, but I do not know how to proceed. Thanks, Ann

    ReplyDelete
    Replies
    1. In general, it is best to try to fix things locally. If you live in St. Louis, you might try contacting the Mercantile Library there (a GREAT institution) and see if they can recommend someone local to look at it. Good luck.

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  69. I have just discovered what looks like a chromolithograph reproduction of Raphael's Sistine Madonna which appears to have 2 additional scenes attached either side to make it look like a triptych - the central image is separate from the rest of the picture and watercolour columns appear to have been added to create the triptych effect. Though it is in fairly good condition colour-wise bar a few pin prick holes in the centre, it is within a mount that is attached that has suffered water damage. It has been set in a simple dark wood frame that appears late 19th century and backed with 2 pieces of wood rather roughly. I need to take the back off to inspect it further but I'm scared to in case the mount board gives way and damages the picture. Should I get it looked at? Thanks. Julia

    ReplyDelete
    Replies
    1. This sounds nice, but it is not a print/triptych which would have a lot of value even if in perfect shape. If you like the print and want it to look better for your own purposes, that makes sense, but not on a purely financial basis.

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  70. First I like to thank you for this site and helping those who are I need of it. I have enjoyed reading your site and blog. I have a print by Andrew Wyeth called Winter 1946. The print appears to be done in the 50's (only a guess). Its truly beautiful it appears to be black, white but the boy running has a tinge of blue - No Dot Matrix. On the grass and background, but the boy’s hand have like a hexagon pattern using a 30x lupe.

    Well this print suffers from aging and foxing and I love to clean it. I sent it to a restorer and they recommend an Acid bath. The print came from a fine gallery that is no longer in business. So I am concern what course of action to take. Would it be ironic to spend $200 or $300 to destroy the print. Any recommendation or suggestion is deeply appreciated. Is an Acid bath the proper course?

    ReplyDelete
    Replies
    1. Not sure what they mean by "acid bath," but the print needs to have the foxing removed and the acid in the print removed. This is often done using some sort of bath ("acid bath" is not a technical term, so it can mean almost anything). Given what you say about the way it was printed, it probably would not be harmed if this is done properly. Really, in the end you should only use a restorer you trust and go with what they suggest (make sure they are insured). Good luck.

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    2. Thank you very very much
      Rafael

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  71. I recently purchased 4 prints taken from a book, “Portraits, Memoirs and Characters of Remarkable Persons”, published 1819. The work has obviously been mutilated and little care exercised in removal of prints evinced in the condition of the bound edge.
    The subjects all depict highwaymen and are copies of earlier C18th examples – the idea being to use them as part of an interpretive display when giving talks on the history of the highwayman. So, didn’t really want to frame them but wondered if prints were ever fixed into cardboard mounts during the C18th?

    ReplyDelete
    Replies
    1. I have never seen anything like that, but who knows. If any were done like that (and I really do not think they had cardboard per se in the 18th century), it probably would not have survived. My impression is that prints then were either just tacked to the wall or framed.

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    2. Thank you for your reply to my post. I think that my only option is to present these in frames. Have been looking at information, on various websites, regarding the development and history of such, so will try and source a good frame maker to construct something that looks period.

      I realise before I ask this – probably a stupid question but – do you suppose, that if framed prints, would have been behind glass? It seems to me improbable but I know nothing on the subject.

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  72. Just got a print of Minna Citron's Flight to Tomorrow at an estate sale. It was taped to an acidic matting, has a water stain well outside the image itself, and has browning from sunlight. I am getting it re-matted and new uv glass...will it continue to deteriorate from the water stain or the acidic past matting? Should I get it conserved?

    ReplyDelete
  73. Just got a print of Minna Citron's Flight to Tomorrow at an estate sale. It was taped to an acidic matting, has a water stain well outside the image itself, and has browning from sunlight. I am getting it re-matted and new uv glass...will it continue to deteriorate from the water stain or the acidic past matting? Should I get it conserved?

    ReplyDelete
    Replies
    1. The waterstain can be a problem, but once acid has migrated to the print from the mat, that acid is in the paper and can continue to deteriorate the print. If at least have the print deacidified.

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  74. I have two 1st ed Octavo Audubons fine condition but colors have faded, esp the red, unevenly--
    I'd like to sell them anyway--would it make sense to restore them first?

    ReplyDelete
    Replies
    1. I'm general once you have lost color it is best to just leave it. I think restoration would not be money well spent.

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  75. Hi Chris, I recently purchased a Rembrandt etching called "Christ Healing the Sick", aka the Hundred Guilder Print. Unfortunately the seller did a lousy packaging job and the framed print arrived damaged by broken glass that caused scratching and some gouging of the print. I am aware that some Rembrandt etching done after his death can still have value and my research indicates that this was one of his rare prints. Given this brief information, is there value in getting this print restored and if so, any sense of costs? Thanks in advance for any assistance you can provide.

    ReplyDelete
    Replies
    1. I am sorry, but we do not really deal with old master prints and so have only tangential knowledge of the values, etc. You need to talk to someone who specializes in this sort of print. Sorry I cannot help.

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    2. Thanks for the quick response. Take care.

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  76. Hallo. I have Salvadore Dali print from Markis de Sade series, which we purchased over 30 years ago, and had it framed in acid free of white matt. It was never exposed to sun and we did not pay any attention to it for years. Right now we noticed that the print paper colour in comparison to the matt is closer
    to beige then to off white. Is it possible that there was regular paper and matt used, instead of acid free ? Should we try to restore the print ? Thank you.

    ReplyDelete
    Replies
    1. We do not handle these prints and so do not really know the paper used. It is certainly possible that the mat board was not acid-free, but it could also be that the paper itself has a characteristic which would cause it to change color. You really need to speak to someone who has handled these prints. Good luck.

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  77. I have been collecting the early 1900s prints from the French artist/caricaturist Jean Veber. I recently picked up a print from a seller in Paris, which is showing some pretty significant foxing. However, they're all fairly rare at this point, so it's a nice addition to my collection, even with the condition issues. These were also hand colored printed. Are there any special considerations that need to be taken when you're dealing with restoration of hand colored prints? I would hate to lose any of the colors that are already there, but would really like to remove the spotting and discolorations that have formed over the past 115-120 years or so. Your thoughts? Thanks!

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  78. Most processes for cleaning prints and removing foxing involve aqueous solutions. In many instances an aqueous solution will remove the color, especially the reds. We do not do any restoration ourselves and I really do not recommend it as a general rule, but certainly there is a danger in removing color along with the foxing.

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  79. I recently acquired a Kawase Hasui piece. It is a very early edition with the Wtanabe A seal. The only issue apparent to me is that the top and bottom margins have been trimmed. Before framing , I am wonering if I should have it restored.
    Thank you!

    ReplyDelete
  80. Adding margins might improve the appearance, but won't affect the value of the print. If you think you need to do that in order for it to look good, go ahead, but otherwise it doesn't make sense.

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  81. Hi Chris. I recently bought an original framed print of an ornate map of Ireland. Its in good condition although there is a crease across the centre. This is quite a well known map and I have seen two for sale at 550 dollars and 250 dollars. I want to sell it on ebay and Im wondering if I should take it out of the frame or not and if the crease will affect the value.

    ReplyDelete
  82. Can't really say on taking it out of the frame. If the crease is from top to bottom, then it is likely a centerfold, which is what you usually want to see in an old map. If it is not, then it is a condition issue.

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  83. No, the crease is from left to right. Its not from a book if thats what you mean by centrefold (!) But thanks very much for your help.

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  84. I bought that looks to be a very old large print,Hans Makart name in bottom left corner,has ink stuck to glass and rips,is it worth restoring?Also its in an old frame.

    ReplyDelete
    Replies
    1. I forgot to mention its Romeo & Juliet

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    2. On a purely financial basis, no. Given the size and condition issues, the cost of restoration will be more than the value of the print once restored.

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  85. This comment has been removed by the author.

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  86. Mr. Lane, I left a post last night about what I believe is a lithograph print of Napoleon by Henri de Toulouse-Lautrec. Upon inspection I don't see AP noted or any additional numbers on the back or front. It was described as something that was past down by an Aunt. Anyway, as I looked at it I found some small tears. Do you think it is worth have it repaired?

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    1. It is really hard to tell what you have from your description, but my guess is that it has only what we would call "decorative" value. As such, you should restore it if you think it will look better or be preserved and you like it enough to put the money into. I would not do it, however, on a purely financial basis.

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  87. Hi Chris,

    I am amazed that you have spent all these years answering comments. That speaks VOLUMES about your character and you as a person. So thanks from everybody! Now for my question....

    I have this large, and I believe old, map. It is 35" by 51". It is in an old frame. I believe it's old because the screws used to keep the backing on are not like each other. The heads look like a person used a saw to cut the top groove....and the top grooves are different on all the screws. The map is in Latin and from research I believe it was originally made in 1665 by William Janszoon. Across the top in large letters it says "Nova Totius Terrarum Sive Novi Orbis Tabula , avc G. Blaeus"...... translated I believe it says something like -- "A new map of the whole world."

    Sadly my ex let water get to it on one end and it started to show black spots (I think is mold). I took it apart and cleaned the glass...the frame...the backing. I let the map itself sit out and then lightly wiped the back with a clean cloth. I have not and will not try to remove any stains on the map itself. Luckily, the water stain does not show through the to the front. The map is made on what seems to me like really thick paper.

    My question---actually 2---is do you know how I can find out the age of this really nice map? And should I take any further steps to remove the black spots?

    Thank you sir for your time.

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    1. That seems a strange size for a Bleau world map, but he did issue a fair number so it could be "right.". If it is indeed an original 17th century map of the world by Bleau, then it does have significant value and ought to be conserved. There is really no easy way to tell (unless you can tell the process and the age of the paper), so I would recommend to show it to someone who would know....

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    2. Thank you, sir, for the reply. I will check around to see if someone can look at it. I live in Maine....close to Portland. If you happen to know of a person in my area, and would like to share, I would appreciate that. I would not of thought that it was possibly that old...or possibly original. It's just always been around. The back of the paper looks yellowed. That's surprising to me because it's the back and most likely has been framed. But I wouldn't know anyway.

      Thanks for your time. Take care

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  88. Hi.
    I have a client with a seriously old, very large Winchester Guns advertisement print. It is 60X40, and I am wondering about having it mounted to canvas by a conservator. It currently is encapsulated in mylarD 5mil, but the mylar is sagging a little (rippling) under the glass. Because of the size of the print, I am concerned that the very fragile paper will also "sag".
    Any thoughts?

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    1. The same client brought in a WWII print, "Gee I Wish I Were A Man", original, very valuable, mounted to canvas, most likely with a rice glue, so that is where my thought for this piece originated.
      It is not the first time I have framed older prints mounted to canvas, and am trying to find suggestions on saving the integrity of the paper. (this piece has been extensively repaired, but he did let on that he paid 4 or 5 thous for it)

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    2. Backing a print on canvas, as long as it is done "correctly" (that is, with conservation standards) is not at all a bad idea. Basically, as long as whatever you do is done correctly and can be undone, it is generally considered acceptable.

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  89. I have a very old ( almost 200 years ) picture of Moses (face and neck and beard are written in Hebrew from Tora) I need to change the frame paper is very brittle, where can change the frame?

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    1. You need to find a local framer who has a good reputation, is used to working with old prints, and tells you he/she can do the work. Ask around and check Yelp etc.

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  90. I recently acquired a Jacob Lawrence print Blind Florist or Blind Flower Vendor. I've contacted some museums etc and one told me they believed it was from 1990 Florida Endowment Fund. Further research indicates that a lot of folks have never even seen a color one, only a black and white photo. That said, I believe it's been glued down to a foam board (has wrinkles) and quite possibly to the mat too. Is it worth restoring?

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  91. I recently purchased a signed 1949 color print by Henry Moore. It appears to be in the original frame. It is one of his Shelter series. Is it worth anything and how do I clean it.

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  92. I have a Rembrandt/Durst Intaglio Print (A young man standing at a window reading in his study)that is on an impression board, looks like cardboard but the print looks like it is part of the board, maybe a Litho It is colored) smells old, price on the back is $2.95, anyway, very small areas (pencil lead size) flakes are along the edge, can that be fixed and woul it be worth it? I ask because an auction site had a Rembrandt Litho that sold for only $70.00.

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  93. Hello Mr. Lane,
    About ten years ago I had a signed and numbered aquatint etching by A. Lafitte (Manuel Robbe) re-matted and returned to it's original frame. The print lived in two different houses of smokers for years. The new matting definitely helped make the color pop a bit more, but then I found one on a print website making mine look like it was doused with bleach. There used to be so much aqua and blue coloring of the sky and water! They told me when re-matting that it was in pretty good shape with no water damage. With restoration, is paint actually added back onto the print? If it is that faded, is it even restorable? If not, where do I even go about finding someone who would want to buy it? Thanks so much for your help.

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  94. I have an old family photo portrait, probably from the 1800s. It is in an elaborate frame, multiple frames recessed, has a couple of layers of matting, and is recessed in an oval cut-out. The outer frame is about 14 x 16 inches. The photo in the oval is about 8 x 6 inches. The back of this photo is wood rather than paper. The photo has blue tinted eyes. The photo has mold on it. What type of person do I need to find to ascertain whether or not the frame can be taken apart and the mold removed from the photo? I've been thinking of contacting a museum or an antique dealer. The photo probably is of no value other than sentimental family value. Thank you.

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    1. I would start by talking to a high caliber framer.

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  95. Mr. Lane,
    Enjoy reading your articles.
    I have recently acquired a book called, Gallery of Landscape Painters - 24 American Scenery", circa 1872, William Pate&Co, Putnam Publish. there are 24 engraving on steel, mostly good to excellent, but there are some foxing/yellowing on the boarders, and some on the prints. would this worth to restore as a book or separate it as individual print and restore? would the cost vs value make sense?

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    1. That is a very nice book, with a good group of engravings. It really depends on what you want. Neither the book nor the individual prints sell for that huge a price, so conservation would be a considerable cost either way you go. It really depends on whether you want the book or you want to enjoy the prints separately. If you do a search in this blog for "breaking" you can read a post about the issues related to taking books apart.

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    2. Mr. Lane - much appreciate the information and your advice. I am considering "breaking" to enjoy the prints.

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  96. Good afternoon I have a 1823 watercolour by Luigi Rossini, I would like to have an opinion on this work if possible
    Thank you

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  97. Hello Mr.Lane, I have an etching by Gene Kloss ( The Old Bridge 4 1/2 x 3 1/2" signed "Alice Glasier") that is quite yellowed and has masking tape on two edges. Will this print continue to deteriorate if not conserved? Can the yellowing be reversed and is this worth restoring? Much Thanks.

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  98. Yes, the print will continue to deteriorate if you do not conserve it. The yellowing is from acid and the tape is also bad for the print. I am not that familiar with the Kloss etchings, but in general they have significant value, so it probably is worth conserving.

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  99. I have acquired 4 chronolitograph prints recently. They are in old frames. They are of fox hunting scenes. They are all inscribed "Published & Sold May 10th 1803, by Edwd Orme, His Majesty's Printseller, 5g New Bond Street, London"
    They all are darkened and all but 1 has some cracking.
    Are they worth trying to preserve?

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    1. First off, they will not be chromolithographs, but rather hand colored engravings. Secondly, the short answer is that they are probably not worth spending a lot of money on to restore unless you really like them. This is not certain, but highly likely. There are two problems. First, the prints are likely either restrikes or reproductions--this is very common with British sporting prints. If you do a search on this blog for "British sporting prints" you can read about this. Secondly, the paper that a lot of these prints were made on is not very good and it can be very hard to restore so they look good. So if you try to restore them, you might spend a fair bit of money and get bad results. Do not mean to be so negative, but professionally, I will almost never buy any British sporting prints which have condition issues for just these reasons.

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    2. Thank you so much for your reply! I found them in the dumpster after a very wealthy family moved out. They are paper on canvas. Anyway, thank you!

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  100. Hi ! Found your blog. Great info. From it and other browsing I learned that the condition on my "print of concern " (Axel Haig Arab scene) is undoubtedly oxidation. Quite dark, uniform, right out to the edges of the (now gone) mat. I have two different firms...who will price out the fix..

    Just wanted to say thanks.. and I will subscribe. I have been collecting for 20 years... (to the point where we have no visible walls! : ) : )

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  101. Just a note to hit "Notify Me." (missed it with above comment...

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  102. I have a battered 1818 copy of Thornton's A GRAMMAR OF BOTANY with all 45 colored plates. The book is falling apart but the plates are in good condition. Would it make sense (in terms of value) to take the book apart and sell the plates as separate prints, or have the book restored?

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  103. In pure financial terms, you almost always can make more by selling the individual prints---once you sell a sufficient number. The issues are that currently, natural history prints are not doing well, it is not easy to sell a lot of Thornton prints in the best circumstances, and some of the Thornton prints are just very difficult to sell because of their appearance. If you want to "go into business" that still might make sense, but it would be a lot of work and probably take a lot of time to make the money you could make by selling the book complete. In terms of that, in general it doesn't make sense to restore book before trying to sell it, as you are investing more and might not make it up in the sale. I think you'd do just as well selling it as is.

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  104. I have a print dated 1972,16/65, titled "Red Sky in the morning, Woodmen Take Warning", and signed. The best I can make out the signature is "Albert Sowy" or "Albert Sawyer".It is approx.36" tall by 28" wide framed. We had a dampness problem in our house that has been corrected.The print is beautiful and in very nice shape, but the paper looks a little like it has a wave to it.I think I see some mold under the glass also.Would it be worth having it professionally cleaned and looked at? Should I have the matt replaced? Thank you!

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    Replies
    1. We do not deal at all with modern prints, so I cannot really reply based on value. However, if there is mold under the glass, you should definitely have the print removed, treated for the mold, an then put back in with a totally new mat.

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  105. I have an engraving of “Large Horse” by Durer. It is from the original plate, but is obviously a re-strike. (Watermark: “Van Gelder” – Dutch paper company from 1800 or so) Research shows that the most likely re-strike dates are 1906 or 1935. Does a re-strike like this have much value??

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  106. This comment has been removed by the author.

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  107. I have an engraving print by W.H. Bartlett, 2809 -1845. It's called "The Green At Fredericton". (I live in Canada). It's in pretty good condition, however, there is a water stain on the side of the white edge, leading into the image a little bit. It's not too dark, but I'd like to remove it. It's a gift for a family member/collector. Thanks

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    1. It is not that difficult a thing to clean a print of this size, but we do not provide information for individuals on how to do so, as the process can lead to the destruction (either short-term or long-term) of the print and we do not want to be responsible. You can find sources which provide information on this, but if you do this, make sure you learn not only how to remove the stain, but how to neutralize any process you used so that the print will not fall apart over time. These prints do not have a huge amount of value, so it usually does not make sense to pay a paper restorer, so it is something you can look into. Good luck.

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  108. Pardon my error in the previous post:
    "engraving print by W.H. Bartlett, 1809 -1845."
    James

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    1. Thank you for your prompt reply. I wasn't aware this forum is for professional restoration people, but I will looking a local restoration professional in our Ontario area. Thank you
      James

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  109. I have 2 prints of etchings by Erhard Amadeus Dier. One is from a series done in 1919,"Zwolf Fantasien Aus Ernsten Tagen"; the other is from the same period and appears to be from the same series but I am not sure. Each print is signed in what seems to be pencil. I also have vellum sheets for each print. they are in fair condition but have started to yellow/brown uniformly over the whole print( lightly, not too dark yet) and one has 2 slight wrinkles. Size is approx 11x 14. I also have a Vivitone print
    #286 "An Uninvited Guest" in it's original frame and mat that has started to darken slightly. I have no idea of the value and have no interest in selling or otherwise profiting from them: but I would like to know the best action to take to ensure they will survive a while longer. Just conservation or restoration?

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    1. Obviously, conservation is always necessary to preserve. Restoration can, though, make your enjoyment more. You should find a paper conservator to do the work for you, get the costs and then decide how the extra (assuming there is an extra) fits in with your desires. It is really a person/financial decision.

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  110. I have just learned a very expensive lesson. A litho sepia print by Maude Goodman was in my husband's grandparents house. Somewhere in a move the glass was broken. It has been in sheds, attics , hot , cold etc for many years. Now my daughter is interested in having this and several other prints for her home.The silver fish, bugs and time have not been kind and the damage is probably irreparable. NOW I find that these prints are more valuable than I thought. Please encourage people to look after their prints better than I have done ! thank you for your blog. I came across it because I hoped it would be possible to restore the print...but now I do not think it is.

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  111. I recently acquired a pair of 9" x 12" Maxfield Parrish prints titled "Bellerophon" from 1909 and "Jason and the Talking Oak" from 1908, both published by Collier & Son. They are in matching frames from that time period, one of which has broken open and let in a good bit of dust. Even so, the prints look to be in near fine condition, with some fading on both and loose dirt on the one but no apparent big issues. They don't even seem to be glued down.

    Now, I got these in an auction lot with no idea that they were valuable - they were grouped with a couple of antique frames I wanted and were a surprise bonus. I intend to sell them, but I am seeking advice regarding what to do about their frames. I can't afford to go the extra mile and get the acid in the prints themselves neutralized, but I figure it might be worthwhile to see them refitted with protective glass and acid-free backing. Is this a good thought, or would it be better to leave them as-is and let the collector who purchases them look after those details? I am especially concerned about the one that has gotten dust inside. The frame is still generally whole, just broken open a bit in a back corner, so I can't safely access the inside to clean it out without the help of a professional framer anyway.

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    1. Any print which has been in a frame from the early 20th century will have acidic content, as the backing used will be acidic and the acid will have migrated to the prints. There really is no point in changing the backing and glass if you are not going to deacidify the prints (it is sort-of like locking the barn door after the horse has bolted). If you do not wish to fix them up yourself, I would simply keep the frames together as best as possible and let the buyer fix them properly.

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    2. Thank you very much for your professional advice. Though they came into my possession by coincidence, I want to do well by these prints and their eventual owner. If there is little point in fixing up the frames without taking advanced steps to conserve the prints, I will list them as-is with a note that their buyer should consider getting them treated. I sincerely appreciate your help.

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  112. I have recently obtained a print//litho??? Don't know which...it's is bt Henri de Talouse Lattec entitled zeros Vanne how do I go about finding out which it is and if it has any value..beautifully matted and framed...I'm at a loss...knowing anything about this piece...any info would be greatly appreciated...Thanks

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  113. I am very new to this topic. I have what I believe to be a print. I have seen a replica of it, which looks like a photograph copy titled "Apple Blossoms" online. The artist is Carrier, signed bottom right. Bottom left is a copyright F.A.INC. I can't seem to find any other information about it. I dusted it with a soft bristled brush which livened it up some, but it seems to have an overall yellowing, including the frame. Perhaps nicotine. It is not under glass and has some scratches. Can you offer any suggestions as to finding out what it is and if it is worth cleaning and/or restoring. I love the work. It seems to be an excellent quality of paper on board. Thanks.

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  114. A really interesting blog, having recently acquired an original engraving by Lumb Stocks RA of the Wellington & Blucer Meeting at Waterloo, originally painted by Maclise I set about researching this huge piece, I after much searching discovered that the Art Journal 1875 reports a cost of £7872.00 to produce including Lumbs fee of £3500.00 for the engraving and a total of 19000 impressions from the plate of which not many survive today. There is some brown discolouration, I am seriously considering some restoration work in order to preserve it, any suggestions? Thanks

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    1. This is an impressive prit, but the large size means that it will be pricey to conserve. The browning is probably from acid (especially so if it is in a frame or was framed). The acid will eventually destroy the print, so conservation would not only make it look better, but would preserve it.

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  115. Thanks Chris, I'm near London Ive searched and come across many restorers, is there guild or any recommendations, I think its worth doing.
    Gary...

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    1. Sorry, I am not at all familiar with the business in the UK

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  116. I have recently purchased a Stuart Davis work. Summer Landscape. I believe it is a lithograph. However it is not signed in pencil. The signature is in the plate. The frame verso has Summer written in pen and 6/13 also in pen. Has a copyright symbol MMA. I have done research and during that time 1952 the Museum of Modern Art's owned the original Summer Landscape. What I'm wondering is how do I find out if this was a print or a lithograph. Also would it be worth restoring has some damage? Came from a public library. Measures 18 1/2" h x 26 3/4" w thank you

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  117. Good morning. Great blog! I apologize if I’ve missed this elsewhere, but I have two lithographs that I believe to be original issue Gould hummingbirds from the Monograph of the Trochilidae works. I paid virtually nothing ($2 + shipping from someone online) for them as they were framed “incorrectly” with oval matting covering the title and maker, etc. When unframed the paper seems sturdy but the acid darkening in the off-center oval is quite dark. I’m wondering if these can realistically be restored to a point where they can be framed with matting correctly centered and showing the inscription along the bottom “Hullmandel & Walton, Imp” etc. without creating other issues with the artwork. Thank you!

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  118. Hello! A giant "THANK YOU" in advance for your time and any advice! Sometimes we are lucky to find treasures that are hauntingly beautiful and mesmerizing yet comforting. Quite sure my new treasure is a chromolithograph print of "Child With Cherries"/"Yvonne II" by William-Adolphe Bouguereau. Unfortunately, it's quite discolored, darkened,like a sepia filter. Suggestions?

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  119. Hello, really informative blog thank you ! I recently extracted my stuff from a 12 year storage period and two large valuable BOILLY engravings Under museum glass have white mold growing here and there. Will exposing them to light help or worsten the case ? They have been professionally framed so taking them out of the frames is daunting. Two more Boillys on slightly darker paper have dark spots on them, the frames and glass are both period. Any advice would be lovely. I add that my present situation does not allow me to have them restored by an expert. Many thanks Stephanie

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  120. I have a rare, seemingly unpublished, photo (print on cardboard) of Scotty Allen and his winning dogsled team, copyrighted "BB Dobbs" at the All Alaska Sweepstakes 1909, appears to be in original frame. (The Schussler Bros. Gallery went out of business in 1935.) It measures 37.5 x 18.5. I cannot find this particular picture in any archived photo online. It has a water stain but is not buckled, and a crack but not across the whole picture. Can both these flaws be fixed or just the water stain? I want to sell it but wonder if I should leave the choice of a restorer to the buyer. Thank you! I have zero experience choosing a restorer and don't want to ruin it.

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    1. I doubt very much that you would be able to recover your costs if you try to fix the photo and then resell. Definitely leave it up to the buyer...

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  121. Hi Chris! I have a signed, hand colored print of an etching by GB Drake, copyrighted and published by R. Dudensing and Sons, N.Y. City 1891, signature in pencil. It has a title on the back- “Handcolored Scenes” #217, and states that it was styled for Edelen Furn. Co. by MARAD, I'm assuming that's the frame store. It is in pretty good condition, but a few things about it make me want to take it a part in order to preserve it. I work at a frame shop and can do it myself, but I am considering reselling it and do not want to devalue anything by doing so. I don’t know if I should have it appraised or just keep it and frame it how I want. Any advice?? Thanks, Eve

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    1. This sounds like a nice print, but it isn't one that will have value sufficient to worry about. It sounds like you can do well redoing the framing and I would say no reason not to!

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  122. I recently picked up a print from 1780-1790' it was produced by Francesco Piranesi (TAV IIII). it's printed on hand laid paper of the time. And sadly glued to a back board from who ever originally had it framed, I don't know if it's worth restoring nor if possible being that it was glued. It has done splits but the image overall is nice and intact.the edges are the roughest part. It's there a method to possible unglue this, or should I just set it be?

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    1. Not sure if someone will reply with better info but at the time maybe they used animal glue, maybe rabbit skin. You could try to find out how to 'melt' this, maybe by soaking in warm water, try a corner first, or perhaps a hair dryer, not sure, anyway a test in a corner is the best way. I would try soaking then once released if it works drying between sheets of plain paper to prevent warping . Good luck

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    2. BiocleaningAnimal glueAncient paperOchrobactrum sp. TNS15E This came from 'Science Direct', they say that to remove animal glue an enzyme is needed, this one above ! It seems trickier than I had imagined.

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    3. Unfortunately, all sorts of processes were used to glue prints to backing. You certainly can use a water bath (as the print is uncolored), but that might not work and also it is very easy to tear wet paper. It wouldn't be a bad idea to talk to a paper restorer.

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