PrincetonAudubon.com

Audubon Print Conservation and Restoration

with Recommendations

By Ron Flynn

Beginning with the Havell (1826-38) Edition, and on through the Imperial Folio, Bien, and all the Octavo Editions up to 1870-71, the original Audubon prints are roughly 130-175 years old today. Except for the Bien edition, which was printed on a lesser quality paper containing some wood pulp, all the other original Audubon Editions were printed on the highest quality cotton rag wove paper. This paper should last for several hundred years or more. However, antique paper MUST be cared for if it is to last that long. A fairly large number number of individual Audubon prints coming on the market today are showing up with signs of flaws and physical damage associated with 130-175 years of handling and poor storage conditions. It is also likely that many, if not most, of these prints have become acidic.

pH and Acidity –

The acidity of most all materials can be easily measured. The results are expressed using a numeric scale called pH. The scale has values from 0.0 to 14.0. On this numeric value scale, 7.0 is neutral. Numbers below 7.0 indicate degrees of acidity, and numbers above 7.0 indicate degrees of alkalinity. A pH of 9.0 is ten times more alkaline than 8.0. It is the same progression on the acid side. A pH of 5.5 is ten times more acid than a pH of 6.5, and a pH of 4.5 is one hundred times more acid than a pH of 6.5. The original paper that the Audubon prints were made from was slightly acid to begin with. This was caused primarily from the water used to make the paper pulp, and from impurities, like iron and copper, imparted into the paper pulp from the machinery used in making the paper. These early 19th century papers likely had a pH of 6.5-7.0. This “built in” acid level will initially contribute, over many years, to damage and slow deterioration of the paper fibers.

Causes and Signs of Paper Acidity –

The main causes of increased acidity in the papers of Audubon prints are: airborne pollutants, excessive and improper handling, and improper matting and framing. Over years, airborne pollutants from industry, pollutants from smoking in the home, plus pollutants from heating with wood, coal and oil, will turn paper more acidic. The paper will darken overall (age toning), or darken along the three unbound edges (edge toning).  Excessive handling and page turning will leave natural oils from the skin on the paper. If the hands are dirty, this may show up immediately as finger smudges. However, these deposits may only darken and show up after many years. Another sign that the paper might be more acidic from handling is the appearance of numerous handling creases. They can easily be seen on the verso by viewing with a light across the paper (raked light). Also, the paper will feel somewhat more pliable or limp and slightly wavy around the edges. Finally, the use of improper matting and framing materials will assuredly turn the print more acidic. Any print that was framed 10-20 years or more ago will surely have signs of acid damage. In the years prior to truly acid and lignin free framing materials, top and back mats were made from wood products. A print in contact with such materials would darken to a brown or gray color. A so-called mat burn would appear on the face of the print where the top mat contacted it. The entire back of the print could have acid burn from whatever was used to back the print. Additional acids from the above sources will migrate into the print and accelerate the damage to the paper fibers and hasten the deterioration of the print. All acidic paper will eventually deteriorate, but the deterioration process can be stopped and prevented with proper conservation treatments.

Other Types of Print Damage and Their Causes –

Storing or displaying prints in areas with excessive humidity can cause the formation and growth of molds and foxing. Molds actually feed on and weaken the paper fibers, and discolor the paper. If the excessive humidity or moisture is seasonal, the print paper will become cockled from alternating expansion and contraction. The progression of foxing will make your print unsightly in time. Storing or displaying prints in areas of high heat will dry out the paper causing embrittlement and accelerate its deterioration. Finally, exposing prints to any source of light for prolonged periods will cause yellowing or darkening of the paper, fading of the colors, and paper embrittlement. Ultra violet radiation from the sun and fluorescent lighting is the most damaging.

Tears in prints usually appear along the margins as a result of careless page turning. However, weakened or deteriorating paper can tear or split anywhere when handled. A fold or crease may have been done for a reason or accidentally, and would be difficult to completely correct. Careless handling usually causes small paper losses such as a missing corner or chips along a margin. Offsetting, the transfer of ink from another print or text sheet, can occur at the time of production or can happen when a volume is stored for long periods with excessive moisture or humidity. Stains from water, wine or other liquids occur accidentally when prints are viewed while drinking, or when prints are stored in low areas of the home where floodwater or backed up sewer water can get to them.

Virtually all of the above print damage can be treated or corrected by an experienced print conservationist using modern techniques and materials. Some damage can only be partially corrected, but technology is advancing rapidly and the things today’s modern experienced conservationist can do will seem almost miraculous.

What is Print Conservation and Restoration? –

The difference between conservation and restoration may seem somewhat hazy. It is quite likely that an antique Audubon print needing work will receive both conservation and restoration measures. Many print conservationists work alone and would do both the conservation and restoration work simultaneously. If a restoration company had several employees, that firm would still do all the work, but different employees might specialize in different areas of the required work. In any case, one firm or person would do all the required conservation and restoration work, and you would not have to send your prints to separate firms. Print conservation simply means to conserve. It would include any measures or techniques that can be used to stop any damage or deterioration of any artwork. Examples of conservation measures are: repairing tears before they get larger, the use of an anti-fungus gas treatment to kill molds and prevent further damage from them, and the most important treatment, de-acidification, which chemically stabilizes the paper and prevents further deterioration. Restoration deals more with the overall appearance of a print. Restoration procedures are used to restore the paper to as close to its original condition as is possible, while maintaining the original integrity of the artwork. Paper grafting, paper pulp patching and fiber micro-weaving are used to replace missing paper or repair tears. Various marks and blemishes and general soiling can be removed by various cleaning techniques. Discolored or stained paper can be lightened with varying degrees of success, depending on what caused the discoloration or stain. Restoration also involves the cosmetic re-coloring of faded or damaged areas of the image when required.

Finding a Print Conservationist –

Many libraries, museums and other institutions will have conservationists on their staff to maintain their own collections. In the private sector, there are many individuals and small firms, all over the Country, that do this work for collectors, print dealers and smaller institutions that lack their own in-house staff. Finally, there are a few antique print dealers with their own in-house conservation and restoration departments that do work for individuals, other dealers, some institutions and, of course, on the products they sell. In your local area, you can contact local libraries and museums, antique print dealers, upscale art galleries, or simply look in the Yellow Pages. Ask for recommendations for a print conservationist. You can also do a Web search using keywords, or combinations of them, like: conservationists, conservators, restorers, prints, antique, art, etc. At the end of this article, I will have specific recommendations for conservationists that I have personally used. Each has its own distinctive business structure. You can go to the American Institute for Conservation website at http://www.aic-faic.org/guide/form.html and search for a conservationist in your area. However, I searched and contacted 10 listed conservationists here in the Midwest. All turned out to be private individually operated firms. Everyone of them had a minimum fee from $250-$500 to do any work on any print, no matter the size. For octavo sized prints, at the AIC listed firms, their minimum fees are ridiculous and outrageous, when compared to my recommended firms below.

Dealing With a Print Conservationist -

Conservation and restoration work is very time consuming, due to the drying times between the numerous steps in the various processes required for typical conservation and restoration treatments. Combine this with the fact that experienced quality conservationists are in great demand and very busy. You should figure a minimum turn around time, for your prints, of 6-10 weeks for minimal work, and considerably longer for major restorations. If you examine your print closely and read my article on Definitions of Print Damage and Flaws @ www.ronflynn.com , you will have a good idea of what needs to be done to stabilize and restore your print to near its original condition, without compromising the character and integrity of the original print.  At this point, you can contact one or more print conservationists, either by phone or email, and describe what needs to be done to your print. You should expect to receive some sort of ballpark estimate or quote for the costs of the work you describe, and find out about how long it will take to complete this work. BE ADVISED, all quality conservationists will not give you a definite quote for costs until that conservationist has had a chance to personally examine your print. Yes, you will have to ship you print for evaluation and a final quote for necessary and recommended work, AND pay shipping and insurance fees both ways. When a conservationist receives your print, he/she will perform some perfunctory tests before quoting recommended treatments and costs. Do not be surprised if these tests uncover molds or acidic conditions, and that treatments for these conditions are recommended. Treatments to kill and eliminate mold, de-acidify the paper, and add buffering to increase the print’s pH, are highly desirable in extending the life of your print. Once the conservationist has evaluated your print and provided you with a quote for recommended work, be sure to ask how successful the recommended treatments will be in correcting the damage and flaws in your print.