A private collector brought this print to The Center several months ago. To a critical eye, the print was in poor condition: the sheet was soiled and distorted, and there were two tears that were barely visible except upon close inspection (see figs. 1-3). The tears required intricate repair work to realign the edges and provide necessary structural support to the compromised sheet, while keeping the repair as discreet as possible. After the piece was safely returned in its improved condition, the collector wrote the following testimonial for us to share:

When this vellum document arrived at The Center, it had experienced severe water- and age-related damage. Over the course of many years, the vellum had rotted and subsequently it exhibited severe distortion, in addition to having been stored folded in quarters. Moreover, the pages were wet, causing irreversible pigment migration between the touching pages; the water also left several water stains throughout.  In addition to the fold creases, there were horizontal creases down the center of the sheet, tears at the lower left and around the edges, and a large loss at the lower right.

The toothy grin of this sketched lady belies the extensive damage to the paper she is drawn on: tears and punctures from broken glass, crumpling and creases from poor handling. How much work will it be before she can smile contentedly again?

When the paper conservation staff here at The Center first encountered this massive and fragile poster, we immediately noticed that, along with water damage, the current housing was inappropriate for the longevity of the piece: The frame was an inadequate depth, and the sheet was in direct contact with a large and fragile piece of glass. Initially, due to the lack of spacers or mat, the poster appeared to be adhered to the glass which would have complicated matters greatly. Upon further examination, it was determined that a layer of discolored varnish on the surface of the piece was creating this illusion. In addition to the problem varnish, this work exhibited many areas of extremely tight distortion; these were the result of an earlier and unsuccessful effort to back the piece to fabric and mount it to a Masonite board.

This small print by Pablo Picasso was executed in 1905. Both figures are partially surrounded by ghostly images beautifully created with dry point; on the left, there is the hint of a cape along with evidence of changes in the figure’s stance and placement on the plate. The figure on the right seems to have a shadow behind the head and upper arm. The two acrobats in conversation give the viewer the opportunity to think about their exchange.

The two maps we will discuss in this article were created in the late 19th century. The linear images were the result of a very exacting printing technique called engraving, which permitted the engraver to work only with single lines and closely placed hatch marks to create shadows. This is especially apparent where water is depicted near land. The engraving technique is nicely illustrated in the Map of North America, engraved by H.S. Tanner, Philadelphia, in 1822.

The print collection at Albion College is an enormous and important teaching tool. With great art history lessons to offer, this collection can give students, scholars, collectors, as well as the interested public, so many examples of printmaking techniques and styles. This print by Albrecht Durer is a good example.

The Chinese Tariff Map came to The Conservation Center from a private collector who clearly understood the physical limitations of its condition. Our initial observations of the map made it clear that this would be an enormous and complicated treatment challenge. The best description of the paintings layers would be: paper on paper, then adhered on fabric. These very old layers beneath a much older painting or primary support helped us immediately understand that the panorama painting’s condition problems had a long history.