The 1824 map of the state of “Illinois” by Anthony Finley shows the early development in the south of the state.

People buy antique maps for many reasons. Some buy for the art or decorative value of the maps and others buy for the history, whether that history is personal, local, national or global. Some buy a few maps to frame, some buy for investment, to some build collections on very specific topics, or by a certain cartographer.

Until the late 1800s, most maps were printed using one of three major techniques: engraving, etching and lithography. These printing techniques yielded black and white images. Color, if desired, was added by hand, using watercolors. Maps printed in color replaced maps colored by hand during the 1880s. A few attempts at printed color appear earlier, and a few hand-colored maps lingered into the early 1890s. But the decade of the 1880s was one of major transition.

The earlier maps from the 16th to 18th centuries were frequently embellished with decorative features. The maps title and publishing information were frequently surrounded by ornamental scroll work, sometimes with pictures or portraits called a cartouche. Usually, the cartouche is found in a corner of the map, where detail is unknown or less important. Cherubs, ships, mythical sea monsters, native inhabitants or animals and historical scenes from the geographical area being represented can also be found. When these factors are combined with the limited scientific capabilities of the time, misinformation brought back by explorers—and the propagation of errors by plagiarism—many early maps are more works of art than science.

Starting in the latter half of the 1700s and continuing until the 1870s, the trend away from decorative flourishes to more utilitarian maps was much more gradual than the rapid change from hand-coloring to printed color that occurred in the 1880s.

Maps have historical significance on many levels as well. Some people buy antique maps as a tie to their personal history or heritage. (I began collecting maps of Maryland after moving to Chicago around 1970 as an emotional tie to “home”). Because of the number of professionals being transferred around the country, I have sold maps to many people for the same reason. Some others buy maps of a favorite vacation spot or the area of their summer homes.

Others collect maps because of an interest in local or national history. A collection of maps of Illinois from statehood in 1818 to the turn of the 20th century shows the growth and development of the state. Many people are surprised to learn that most of the development in early Illinois was down state. This is because most of the settlers arrived by river, either the Ohio or the Mississippi. This is graphically represented by the development of counties from south to north, in the map pictured, published by Anthony Finley in 1824.

The western section of the “Map of the United States” from the McNally’s System of Geography, 1856.

Some antique maps have great historical significance. Some represent great discoveries for the first time, or changes in boundaries or political status. After I bought my first map of Maryland, I started looking in antique shops and antiquarian bookshops for more maps and atlases while traveling on business (I have been a corporate dropout for 20 years now). On one trip to Minneapolis I found seven school atlases from the 1830s to the 1870s. What fascinated me was that every map of the United States west of the Mississippi showed different states, territories and boundaries.

You wouldn’t believe it, but Chicago hasn’t always appeared to be in Illinois. Some maps I have seen put the Windy City in Indiana, others in what is now Wisconsin. These were not mistakes; they simply show the changes in proposed state boundaries to accommodate lake access for all three states.

The development of territories and states west of the Mississippi is a fascinating study, which has generated very high demand for maps of the west from 1800 to about 1880. Notice the differences in the two maps of the U.S. West, published only three years apart. Political changes in Europe over the centuries have provided a wealth of collecting possibilities.

There is a wide range of collecting possibilities with antique maps, as they are available from the 1500s to today, from miniatures to wall size, from less than $50 to many thousands of dollars. Many maps from the 1800s can be purchased for less than $100.

Most antique maps that are available today have been removed from atlases and other books. The obvious reason is that books, with their protective cover or boards, are much more durable than an individual sheet of paper.

The western section of “Colton’s Map of the United States of America,” published by Johnson and Browning, circa 1859 or 1860. Note how Arizona and New Mexico have been divided on a North/South axis rather than East/West.

Many atlases have been disbound over the years to sell the maps individually. In many cases, this was done because the atlas had sustained some damage, despite the protective binding, that has made it undesirable as a collectible atlas or book. In some cases, maps have already been removed by previous owners, the book might have serious water damage or staining to a significant portion, or pages may have been partially eaten by insects or rodents. There are a variety of conditions that can make an atlas unmarketable.

Many common atlases, and some not so common, have been broken up simply because the total value of the individual maps exceeded the value of the atlas as a complete book. Sometimes dealers, and especially eBay sellers, fail to take into consideration that only a few of the maps will sell quickly and they may not live long enough to sell all of them, or even enough to exceed the value of the complete atlas. I no longer break up atlases that do not have significant flaws, even though I have in the past. It is partly because I hate seeing a perfectly good book or atlas dismembered, but also for more practical reasons; having taken apart six or seven nearly identical atlases over the years, I am now stuck with multiple copies of the least desirable maps.

It is my hope that seeing several options for collecting maps will help you select an area of collecting and focus your collection. A group of one hundred maps not connected in any way may be easier to assemble, but the result is an accumulation, not a collection. This is not necessarily meant as a criticism. Accumulation is probably an apt description of my maps and atlases. Possibly, I have an accumulation of small collections. However I describe them, I have bought antique maps that appeal to me and fit into my varied interests. As I plan to write several more articles in the coming months, come along with me as I travel along different routes to consider the different areas of map collecting.

Brian Meyer has been collecting, buying, selling and valuing antiques since the late 1970s. Born in Baltimore, he moved to Chicago in the late 1960s. He is an antique dealer, estate sale conductor, speaker and owner/operator of Chicago Antiques Guide. He appears at several appraisal events in the Chicagoland area each year.

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A map of New York State published by Robert Pearsall Smith of Philadelphia in 1860, purchased for $90 at a yard sale.

Daniel J. came across an antique map of New York state at a yard sale. He engaged WorthPoint’s “Ask a Worthologist” service, and it was forwarded to me. Here is Daniel’s question:

“I don’t know much about this map, as I picked it up at a yard sale for $90. The owner said he got it at an estate sale where it had been rolled up and stuffed into a canvas bag. It’s an 1860 map of New York State with the name Robert Pearsall Smith 1860 on it. It measures 65 by 71 inches and is in pretty good shape with some fraying on the edges. It looks really interesting, but I’d rather sell it than keep it if it’s worth anything.”

You shouldn’t have any trouble selling it Daniel. Robert Pearsall Smith of Philadelphia was a leading publisher of lithographic maps at this time. Between 1847 and 1864 he produced some 400-500 editions of city, town and county maps. He also supplied local surveyors with special transfer paper and ink, and then contracted with various lithographic shops in Philadelphia to print copies. Smith would retain full rights and copyright from the surveyors in exchange for a specific number of maps.

By the middle of the 19th century, the American map making industry expanded tremendously; a result of market demand from the growing railroads and canal systems, and westward expansion. Additionally, the tripling of the population of the United States between 1810 and 1850 increased the pool of consumers and the demanded for maps of all kinds. Pearsall filled this demand for good maps, which would be available to customers at a low cost.

In the current market, these pre-Civil War maps are highly sought after items—largely due to the fact that many of these maps were confiscated during the war and received rough usage in the hands of both Union and Confederate forces—and few now remain. Today, comparable examples of this wall map in restored condition can sell for more than $6,500. Even examples in need of some restoration, like yours, sell in the $1,000-$2,000 range.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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Properly Framing Your Documents, Prints and Maps

By Rick Badwey

My start in the archival framing business occurred about 20 years ago when I bought and sold rare coins and fiscal/historical paper related items: Confederate bonds, early currency, etc. During this time, I would get items framed for resale. In time, I encountered problems with frame shops working on my artwork. Among other things, they used lower quality materials and methods. It was during this time, I decided to get into the business.

During my years of owning the business, I have come across numerous documents, autographs, as well as other art objects damaged by improper framing techniques and materials. This included a mat burn around the perimeter of a document caused by the item being in contact with an acidic mat board. As an active participant in the field of manuscripts, it bothers me to see these pieces deteriorate in front of my eyes by an industry that should have the knowledge to know otherwise. Even skilled restoration techniques from a trained conservator may not be enough to restore damaged items to their original condition.

This article will examine framing and mounting techniques and materials which should be used in the framing process. Framing, if done properly, will provide many years of pleasure and appreciation. While at the frame shop, the collector or dealer should ask questions to the manager on duty regarding the framing of his or her documents. It is important to know how the framer will handle and frame your items for preservation and enjoyment.

There are some terms which need to be discussed. Conservation refers to the materials and methods used in the framing process to preserve and protect the item being framed. Related terms such as archival, preservation and museum quality are often used as well. Unfortunately, I have seen many framing establishments use these terms without actually employing them. Glazing refers to the glass or acrylic (i.e. Plexiglas) material that is placed into a frame. Finally, “acid free” may not really be! This term is very loosely used, and in most cases, may be a misnomer. Materials, such as mat board and foam backing, are sold to the framing industry with this labeling, when, in fact, the opposite may be the case. These materials may contain contaminants, such as wood pulp, that may harm artwork over a long period of time. Make sure that the framer uses materials that have a solid rag (cotton) based ingredient which may not decompose or outgas over a period of time.

Most collectors are not well versed on framing and take their valuable items to a local frame shop entrusting their skills. When entering the shop, the first thing you need to do is examine the overall appearance of the frame shop. Their walls speak volumes! If the shop has inexpensive metal framed contemporary entertainment posters adorned on the walls, you need to ask yourself “Would this place be a good candidate to frame my rare George Washington signed letter?”

Is the staff helpful in answering any concerns you may have with your framing project? Ask to speak to the actual framer who will be working on your documents. Make sure that he or she has the knowledge and care in handling, mounting and framing your artifacts. Ask for a mini tour of the work area. Speak to the owner if you are not satisfied with what you see or hear. It is better to for both parties to have a mutual understanding of what is to be done, then face any problems later.

Now, let’s discuss the proper methods of framing important and valuable manuscripts. Depending on the paper content of the document, hinging/mounting techniques may vary. Vellum, on one hand, would require encapsulation in Mylar or sturdy archival Mylar/rag paper corners. Any type of moistened hinging (Japanese tissue, etc.) may not be strong enough to hold the vellum, thus causing the document to release from the matting. With any type of paper or vellum, encapsulation works very well. Just make sure it has been properly deacidifed before encapsulation to neutralize the paper (vellum does not get deacidified). Other than vellum or thick paper, applying Japanese tissue with proper application is another alternative; however, avoid any non-reversible methods or materials. This means no tapes, glues, so-called acid free mounts or hinges.

Regarding mat boards, make sure only solid archival cotton rag mattes are used, not the more commonly “acid free” mattes, which have a wood pulp base. Framers not familiar with this mat board may recommend this to collectors, concerned that a customer may not want to pay the extra charge for a solid cotton rag matte. If you do not want to pay a slight premium for quality, then be prepared for problems.

On the subject of backings, make sure the frame shop also mounts the document directly onto a 100% cotton rag matte. All too often, I have seen artwork mounted directly on foam or other improper backing, even regular corrugated board! This is harmful to the item being framed because there needs to be a minimum 4 ply rag barrier between the item and the final backing.

Finally, glazing (glass or acrylic) is another important issue to consider. Most of us have heard of UV filtering, etc. This is extremely important. Because of the amount of light that is transmitted in an average room, it is vital that the glazing consists of UV filtering properties, at least 97 percent. A NOTE OF CAUTION: Even with this type of glazing applied to your framing project, it is very important that you still keep your document away from direct sunlight.

A final note regarding your personal framing, please ask the framer to book hinge the finished mattings. This means that instead of tape or gluing down the top mat to the bottom mat (which will cause serious problems), the framer applies an archival hinge to the top and bottom matte, so if you need to remove the autograph from the frame, it can be done easily without the chance of damaging the contents of the frame. Plus, if a document releases from the hinging, if there is double sided tape that was used to attach the top and bottom mattes, the document can slip into the tape and become damaged.

A point needs to be made about purchasing already framed autographic material. We all, including myself, have purchased autographs which have been previously framed. For the most part, the framing jobs have had negative effects on autographs. In these cases, documents have had mat burns, were improperly mounted, and at one time, I have encountered a situation where the mat was affixed so securely around the autograph, it ripped the letter (this framing job was obviously done by a framer who did not want to spend the extra few seconds to apply a proper mat hinge). Unless you absolutely know how the item was framed, take into account what unknown possibilities may be lurking within the frame!

For example, at the time of writing this article, I purchased an Abraham Lincoln document, described as being “archivally matted and framed,” from a well known autograph auction company. Upon receipt, I removed the document from the frame. It was poorly framed as it was mounted directly onto foamcore. And, instead of true conservation glazing, non UV filtering glazing was used. (By the way, a sticker on the back of the framed stated that the glazing was UV filtering!) Lastly, the document was mounted on linen. This was not mentioned in the description, nor was it evident upon inspection outside the frame. I took the document to a prominent conservator to remove the linen.

As a collector or dealer, it is important to know a well-trained conservator to tackle problems including documents affixed to boards, old tape/glue stains, etc. Since almost my inception into the business, I have used Frank Mowery, who is head of conservation of the Folger Shakespeare Library in Washington, D.C. He has more than 30 years experience in the conservation field. I have recommended him to dealers and collectors for many years.

In conclusion, I cannot emphasize enough that collectors and dealers need to take the utmost care in maintaining the condition of manuscripts while in their possession. After all, it is our duty to act as curators for these items so that future generations continue to enjoy and appreciate our nation’s and global history.

Yes collectors there is a Santa Claus! This Christmas has renewed my faith in younger generations. Yes children do have an interest. My 9 year-old grandson asked for folders for his presidential dollar and state quarter collections, along with maps of civil war battles.

My grandson’s request to Santa for maps of Civil War battles really got me excited for the hunt, as it has been a while since I’ve delved into historic map collecting. Since we live in Virginia – home state to historic battles, we have the opportunity to shop around in person and visit some of my favorite local haunts including Williamsburg and Fort Harrison. Onine, I can search through maps for sale at Art Source International to buy antique maps that reference Civil War battlegrounds.

http://www.rare-maps.com/antiquemaps_cwa.cfm

With Santa bringing him a metal detector as well we will have fun hunting for those elusive artifacts of the past and old rusted objects that have found their way into the earth.