Value of Frames

Most people who have antique prints have them in frames and many of the prints you run into at auction or in shops are framed. My focus is always on the value of the prints themselves, but surely the frames for these prints add value to the prints, right? Well, that question is actually fairly complex.

First off, as a rule our shop does not usually add any cost onto a print we have framed versus one that is unframed. So if we happen to have two examples of the same print, one framed and one unframed, they will usually be priced the same way. The main reason for this is that a lot of times someone wants a print that is in a frame but doesn't want the frame. If we added on for the value of the frame, then we would be obliged to knock off that cost if we sold the print unframed and we would end up with an empty frame that was not of a lot of use to us. The way we do it, you can take the print in the frame or out of the frame for the same price, and most people take the print framed and so we are not left with a lot of empty, relatively useless frames.

There are, of course, exceptions to this. If the frame is a really nice "period" frame (perhaps original) or if the frame is particularly wonderful (like the tramp art frame on our Custer's Last Stand print), then we do add onto the price of the print. However, this is the exception rather than the rule.

What this means is that we also do not pay extra for the frames when we buy the items. A number of people will bring us a print and expect to get extra for their frame, but as we won't charge more, we won't pay more. We also tell people they are welcome to keep their frames, but usually the people selling just want to get rid of the whole thing.

This can be very disappointing to people and it seems like it is unfair. As anyone who has had a print framed in the last decade or so knows, framing (especially museum standard framing) is very expensive. The frame for a moderately priced print is often more than the print itself, so how can it be that when you go to sell the print in the frame, you get nothing for the frame?

Well, there is a big difference between buying something "as is" and going out and having something made exactly as you want. If you are selling a print in a frame, the potential buyer has to take that frame or nothing. It is likely not the style, size, color or whatever they might have chosen; it just is what it is. People will usually not pay as much for something like that both because it probably isn't exactly what they want but also because it is a take-it-of-leave-it fait accompli. If someone is ordering a frame, they get just want they want and are having someone make it specially for them. It is much like buying an off-the-rack jacket vs. having a tailor make one specially for you. An existing frame just doesn't have that much value to buyers in the market.

And there is the other issue of whether the framing is "museum quality." A large majority of the antique prints framed today are in frames that are actually causing them harm (this is discussed in another blog). Not only is a buyer of such prints getting a frame that they didn't choose, but the frame needs to be taken apart and put back together to preserve the print.

Now it is true, as I said above, that there are frames which do add to the value of prints, but generally it is wise not to pay extra for a frame. If you really like the frame, ok, but it is also important to see if the framing is museum quality, for if it is not, you will be adding quite a bit of expense to the cost of the print (assuming you want to preserve it) and need to factor that in. There are actually a lot of cases where the framing can actually cause the print to be worth less! And finally, if you are looking to sell framed prints, don't expect to get extra for the frames. It just isn't the way things work.

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.

Prints in frames

In earlier blogs, I discussed the importance of proper framing for prints. Currently, there are framers all around the country who do “museum quality” framing and so a good percentage of the antique prints getting framed now are done properly. This was not, unfortunately, the case in earlier days. It wasn’t until probably about the last twenty years or so that museum quality framing became easily available, and there really wasn’t any such thing prior to about the 1960s. As a consequence, a significant majority of the prints that were framed before the 1990s are not properly framed.

This means that many framed prints are in an environment that has probably already caused them significant harm, and which will continue to do so as time marches on. These prints will typically be in acidic-mats or have wood backing, they will often be glued down to acidic-backings or hinged with acidic-hinges, they will be “repaired” with tape that is harming the prints, they will have insect or mold damage, and they will have glazing that offers no protection from the harmful effects of light.

The sad fact is that the majority of framed antique prints should be reframed. Often when I visit someone’s house and see antique prints, I have to tell them that they really should have their prints reframed. This is often not a popular suggestion, but unless these prints are reframed, they will slowly, but surely continue to deteriorate.

Unfortunately, the problem is not really solved simply by having the prints reframed, for many of the problems caused by the old frame have affected the prints themselves, so that the prints will continue to get worse even when removed from the old frames. The mold, mildew or foxing in a print remains harmful to the print unless treated, and even if these specific issues are absent, any print that was in an acidic environment for any length of time will have absorbed some of the acid from the mat or backing and that acid will continue to break down the paper fibers unless it is treated. So the further sad fact is that the majority of framed antique prints should not only be reframed, but should be conserved as well.

This means, of course, a considerable expense for the print owner. For a typical small folio Currier & Ives print in an old frame, with just standard condition issues, it might cost about $200 to $250 to conserve it and refit it into its frame (that is, put it back in with rag mat, etc.). 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 and reframing, 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.

The worst situations we run into are where someone has a house full of antique prints that need conservation and reframing. The work on all of them can add up to a considerable total. In these cases we often suggest that a plan be designed to have them done over a period of time. Pick the most valuable or the worst condition prints and have them done, then do another one or two in another six months or a year, and so on, so that over time you can have all your prints preserved.

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 and reframing. 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 $200 or so to restore and reframe 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 are not properly framed. Whatever value they currently have will leach away as the prints continue to deteriorate.

Conservation of prints

I am off tomorrow for Atlantic City to do appraisals for the Antiques Roadshow. This is the beginning of filming for the fourteenth season of the program, which my partner, Don Cresswell, and I have worked on as print and map appraisers for all but the first year. I am a fan of the show, for I know relatively little about antiques outside our specialty, and from every episode I learn something new. Also, our regular appearances on the show have certainly helped increase recognition of our shop. However, there is one somewhat negative consequence that the show has had with respect to antique prints and maps, that is that it has inadvertently led some people to think that prints with condition problems shouldn’t be conserved.

The problem is that a fair number of times, appraisers have explained how, for instance, a highboy is worth $20,000, but would have been worth twice as much if it hadn’t been “restored.” The mantra that appraisers often cite is “don’t restore, because ‘original’ condition is more desirable.” This is absolutely true for antique furniture and some other antiques, but not for prints. I have been filmed a few times on the show remarking that this rule-of-thumb does not apply to prints and maps, but most people remember the story about the lost value due to restoration, without understanding that it doesn't apply to all antiques. At least once during every stop, someone will bring in a print to my table at the Roadshow and proudly tell me how they haven’t had the print restored so as not to loose any value. This is, of course, not the right thing for antique prints.

The basic issue is that for, say, furniture, the old stains, patina, worm holes, etc. do not threaten to harm the item. They do affect the appearance of the piece, but if not “corrected,” the issues will not cause the item to fall apart. For prints, on the other hand, condition problems affect not only the appearance, but also the survival of the prints themselves. Foxing, acid burns, the old wood backing on frames, tears, mold, and even waterstains can all cause further harm to a print. For most prints that have condition issues, if they are “left alone,” they will eventually be destroyed. Thus for an antique print with condition problems, conservation does not hurt value, but rather enhances value and can prevent its destruction.

There is, of course, a difference between conservation and restoration. The former is treating a print so that it will be preserved, that is, so that any harmful elements of its condition are removed. One can conserve a print and have it look just the same as it was before conservation. This is the minimum that a print collector should do. Most antique prints that one comes across “in the wild” will have harmful elements, usually at least acidic content, but also often foxing or mildew or the like (this is especially true for framed prints, the subject of a future blog). Such prints are often in acidic environments, from which they should be removed. And then tears and holes can also cause problems, for they are places a print can more easily be further damaged, and thus these should be repaired. I strongly urge all print collectors to make sure any prints they purchase are stable or, if they are not, to have them conserved.

So what about restoration, that is the “improving” of the appearance of a print. As discussed above, this sort of thing can significantly hurt the value of furniture. Does restoration hurt the value of prints? Over-restoration can hurt the value of a print. If a print is over cleaned or the color “enhanced,” so that the print looks “new,” then yes, the value can be lowered. However, as long as the restoration is done with sensitivity, it will almost always increase the value of a print, not lower it.

Why is this? Interesting question. I suppose some of it is the fact that antique prints often need conservation and even minimal conservation—-such as repairing holes or tears and deacidification--tends to “improve” the appearance of a print, so such improvement has a positive connotation for prints, rather than a negative one. I think also it is because many prints are used for decoration, and frankly, a sensitively restored print works better for decoration than one with spots and acid-burns.

In any case, our recommendation is that for every print which is purchased, that has not already been conserved, i) it should be examined and conserved for preservation if needed (and, of course, subsequently cared for properly), and ii) that there is no reason that the print should not be restored as long as it is done with sensitivity and not over-restored. The worst thing a print collector can do is to buy a print in bad shape and then keep it that way.

Framing art on paper

This is the second part of our blog of the care of art on paper (click here for first part). Here I will give our recommendations for the proper framing of prints. The manner in which a print is housed in a frame is the most important factor in the preservation of that print. There is no question that proper framing (often called "museum quality" or "conservation framing") is more expensive than not bothering with the recommendations below, but by properly framing a print, you will preserve it over time, whereas not to do so will likely lead to its ultimate destruction.

The following are the important factors involved in archival framing.

Matting material should be 100% cotton rag.
Of the many types of mat board available, one should use only 100% cotton rag mat board when framing a print. Cotton fiber is 99% acid-free; it is then buffered to pH 8.2 with an alkaline reserve of 2-3% to counteract environmental acids and air pollution which may come in contact with the art. The most deceptively named boards are some "acid-free" mat boards made from wood pulp. While the acid content of these boards has been reduced from that found in the raw pulp, it has not been eliminated. The buffering agents used on the surfaces are only effective against airborne compounds, and do not protect against heat and light activation of acidic elements remaining in the board. For the short term they can be alright, but there is a considerable risk over time.

If there is no mat between the glass and the art work, a spacer should be used.
A spacer is used to keep the paper surface away from the glazing. This procedure is important because high or changing humidity can cause condensation to form on the interior of the glazing surface, and without the air space between the art and the glazing material, this condensation will be in contact with the art work. This may lead to mold, mildew and water spots on the art work or may cause the art work to stick to the glazing.

Hinges should be made of Japanese paper, with natural wheat or rice paste used as an adhesive.
Hinges are the invisible attachments between your art work and the backing board. It is important that these not have any acidic content and that the hinges be easily removable without damage to the art work.

We recommend the use of conservation quality glass or acrylic.
Manufactured to filter out 97 to 99% of ultraviolet rays, conservation quality glazing will protect your art work from fading due to sunlight and bright fluorescent or incandescent light. The advantages of acrylic are that the material is lighter and safer, especially when art work is to be shipped. Conservation glass has the advantage of being less likely to bow in a large frame and being less susceptible to scratches.

All frames should have a paper dustcover stretched across the back.
This prevents dust particles and tiny insects from gaining access to your art work. At the same time, the porous quality of the paper will allow the art work to breathe within the frame.

Try to maintain a stable environment for your art work.
Consistent 70 degrees Fahrenheit and 50% humidity are optimal. Some slow variation in these factors is acceptable over a period of months or years, but any sudden change can be harmful. It is advisable not to hang or store art work on a damp wall, a wall that has been recently plastered, over a working fireplace, or in any area subject to excessive sunlight, heat or dampness.

When cleaning the glazing, great care should be taken.
Be sure to take the frame off the wall. In order to prevent the moisture of the cleaner from seeping into the frame and onto your art work, it is best to clean the glazing in a horizontal position. Use a non-abrasive cleaning product, spraying onto a soft, lint-free cloth, rather than directly onto glazing. Never use glass cleaner on acrylic. While the frame is off the wall, check the dustcover on the back of the frame. If it is missing or has been ruptured in some way, the frame should be taken to a frame shop to determine whether any damage has occurred and to replace the cover.

It is advisable to have your art work in frames evaluated every five to seven years.
Over time, acids and dirt in the environment can have a harmful effect upon your art work.

The care of art on paper

The following are the most important considerations in the preservation of art on paper.

• Nothing acidic in contact with the artwork.
  The most common agent that causes the destruction of art on paper is acid. This can come from the use of either wood backing in a frame or wood-pulp mat board for the art piece. If the artwork has been in contact with such material in the past, it should be deacidified, as acid will likely have migrated from this material and currently be present in the artwork itself.
  
• Matting material should be 100% cotton rag.
  Of the many types of mat board available, we recommend 100% cotton rag mat board for housing art on paper. The most deceptively named boards are some "acid-free" mat boards made from wood pulp. While the acid content of these boards has been reduced from that found in the raw pulp, it has not been eliminated. The buffering agents used on the surfaces are only effective against airborne compounds, and do not protect against heat and light activation of acidic elements remaining in the board. Short term, these are fine, but not for long term storage.
  
• Hinges should be archival
  If hinges are used to attach the art work to mat board, it is important that these not have any acidic content and that the hinges be easily removable without damage to the art work.
  
• Any storage container should either be acid-free or separated by a buffer from the artwork
  If the artwork is to be framed, nothing with acidic content should be in contact with the paper. (Click here for blog on proper framing of prints) If the artwork is to be kept in a portfolio or box, the print should be separated by a buffer from anything with acidic content.
  
• The artwork should be kept away from other destructive factors
  The artwork should be protected from insects, spills of liquids, and sunlight. All these things can cause serious harm to the artwork.
  
• Try to maintain a stable environment for your art work.
  Consistent 70 degrees Fahrenheit and 50% humidity are optimal. Some slow variation in these factors is acceptable over a period of months or years, but any sudden change can be harmful. It is advisable not to hang or store art work on a damp wall, a wall that has been recently plastered, over a working fireplace, or in any area subject to excessive sunlight, heat or dampness.
  
• Handle with care!
  It is obvious, but still important to note that care should be taken in handling art on paper. Paper is easily torn, but dirty or oily hands can also damage a print. With careful and not too frequent handling, gloves are not necessary (in fact, gloves can cause damage by being less sensitive than bare hands), but hands should be clean before touching the paper. Housing the print in a mylar envelope can allow art to be examined while providing protection of the fragile paper