By Arnie Landsman

There are so many wonderful pieces of art that we see on a daily basis that show signs of age, humidity and early framing practices. Most likely the biggest offender has been improper handling in the past. We see problems that include tears, foxing, staining, discoloration, mold, buckling and frequent water damage.

Water damage can occur directly, or may simply be from humidity. A severe problem is the prints and documents which have been "laid" to ordinary cardboard. The cardboard is often brown and "burned" and with much foxing.

The conservation and preservation of art should be a concern to us as well as the consumer. Generally, I like to begin my classes with discussions of the types of paper art and provide a description of each printing process. That way, the conservator will be able to decide on the best approach to remedy the problem.

In dealing with vintage prints, there are three main categories of graphic art technique: Intaglio, Relief and Lithography. Intaglio pieces include engravings, dry point, etchings, mezzotints, etc. Engravings can be on metal, such as steel or copper or wood or even stone.

In evaluating a piece of paper art that requires restoration, one must assess the type of printing process that was used, the mounting (which more than likely was improper) and what can be done to help this piece of art. Some pieces just aren't candidates for restoration, so don't develop a cavalier attitude toward someone's artwork. This is a learned process that is acquired with practice and good judgment. It doesn't happen in a week or two. But it is a craft that can be learned. Excellence can come, but only with experience.

Let's discuss earlier and improper mounting first. The art may be glued to the wood or cardboard backing. These materials cause a great deal of acid damage to the paper due to the lignin in the wood pulp. Over the years, the substrate contracts and expands and will frequently warp. The paper art can weaken. Be careful when examining items of art in this state, as rough handling could snap a board that may be brittle and dry. With the crack of a board, you may crack the print as well.

Tears in printed art are often a concern and consideration. Edge tears do not present as much of a problem, as they often can easily be covered by new appropriate matting. Repair work on paper art is generally done with paper replacement, putty or spackle-like material. In using any of these agents it is important to get a consistency much like the original paper. I keep a library of period paper scraps. Among the problems you may see will be worm or insect damage.

Stain and discoloration are the most common problems a conservator has to deal with. Once again, this often is the result of contact with acid material. The acid migrates through the cardboard and interacts with the inks, leaving a residue on the surface. When the artwork was "laid" down, it was glued to a supporting board. The first process in the restoration of this artwork is to remove the art from the cardboard. This may be difficult. The board may present more of a hazard than the actual removal of the stain and damage.

There is a considerable surcharge when the art has to be removed from old board. Once the art is removed from the backing, evaluation of the cleaning process can begin. If there is general fading and loss of color intensity, it may be due to light exposure. If a piece is badly faded, I refer to this as being "burned". There is very little that can be done to restore it to its original state. Anticipate poor results or no results.

Humidity is a huge problem. Humidity above 70% can leave paper artwork vulnerable to harm from mold growth and buckling. There is often a musty odor, rusty brads and sometimes featherlike strands and a general haze under the glass. Mold spores attack in the presence of moisture and foxing occurs as small circular patches of brownish discoloration. This can appear on new prints as well as older prints, due to humidity.

The problem is not indigenous to Florida. It is as much a problem in northern areas, where items of art have been stored in damp basements and the cold dampness of winter. Indistinguishable from foxing is rust; this comes from metal filings, which may occur in the manufacture of paper. Insects will infiltrate the frame and their remains can cause staining.

As framers, we are confronted with these problems daily. There are many procedures to restore a client's artwork to its original beauty. If this field interests you, take some advanced training and some simplified techniques. That way, a conservation-minded framer can properly treat and restore a customer's valuable art.

Arnie Landsman resides in central Florida where he operates a custom frame shop and restores fine art. Arnie moved to Florida from Virginia. He an his wife are both retired physicians. Arnie has presented courses in paper restoration techniques and has written articles on the subject.