This is a good example of an 1890s print of a young girl crossing a treacherous bridge with rotten boards, escorted and protected by her Guardian Angel. Like many, the print itself has been cut down to fit an existing frame, in the process removing the name of the publisher, date, title and the artist. Most framed prints of this type often sell for less than $45. However, the frame is often worth much more than the print, as in the case of this large hand-carved Black Forest frame, which can sell for more than $150.

The tenth item in this series of “Unloved Antiques” is late 19th- to early 20th-century religious prints, such as those depicting Patron Saints, Guardian Angels or the Madonna were very popular from the turn of the 19th century through the 1930s. Virtually any Catholic home—particularly those of European origins of the period—would have an image of a Patron Saint in the home.

Depending on the family occupation the Patron Saint could mirror the families’ livelihood, such as Peter the Apostle, the patron saint of popes, fishermen, fishmongers, sailors, bakers,
harvesters, butchers, glass makers, carpenters, shoemakers, clockmaker, blacksmiths, potters, masons, bridge builders, cloth makers. Or it could be St. Anne, who is the patron saint of housewives, grandmothers, cabinet makers, unmarried women, women in labor and miners.

While not mass produced in the modern sense of the term, these images were printed in very large numbers, marketed through church fundraisers or awarded as prizes for perfect attendance at Sunday school or as Confirmation gifts. In some cases, these prints a were part of a family shrine displayed on the mantel piece along with other religious symbols, or simply hung on the wall in a place of reverence. The one shown above is a good example of an 1890s print of a young girl crossing a treacherous bridge with rotten boards, escorted and protected by her Guardian Angel. Like many, the print itself has been cut down to fit an existing frame, in the process removing the name of the publisher, date, title and the artist. In some cases, these prints have been matted, with the matting covering the publishing information.

The only way to view this information—if it is still intact—is to remove the print from the frame and matting. Removing the old paper backing and matting will not lower the value of prints like this and replacement of both will actually enhance what little value they have rather than depress it. Most framed prints of this type often sell for less than $45.

However, examples like this one in a nice, large hand-carved Black Forest frame* can sell for more than $150, largely due to the value of the frame rather than the print. Dealers often buy religious prints with salable frames like these and replace the print with more marketable examples of the same period.

* Black Forest frames of this type generally date from the late 19th century and are generally referred to as “Black Forest Carvings,” after the fact that most of them were thought to have been produced in the Black Forest region in Germany. Black Forest carvings are more often than not actually Swiss in origin rather than German. However, recent research indicates the bulk of it was made in the Swiss town of Brienz, where by 1910 some 1,300 carvers were working in the vicinity to fill the demand of Victorian tourists who were taking in the spas of Brienz, Luzern and Interlaken.

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Previous “Unloved Antiques” articles:

• Unloved Antiques: ‘Limited Edition’ Collectors Plates
• Unloved Antiques: Singer Sewing Machines
• Unloved Antiques: Decorator Prints
• Unloved Antiques: Commemorative Whiskey Decanters
• Unloved Antiques: ‘Bronze’ Flatware
• Unloved Antiques: 1847 Rogers Brothers Flatware
• Unloved Antiques: Hummel Knockoffs
• Unloved Antiques: National Geographic Magazines
• Unloved Antiques: Dragonware

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

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“Cupid Awake” by photographer Morris Burke Parkinson. This print was produced from 1897 through to the 1920s, if not later, and distributed by the Taber Prang Art Company of Springfield, Mass., and often sells for less than $50 in a good frame.

The third item in this series of “Unloved Antiques” (read the first two installments here and here) is the Decorator Print, like this one titled “Cupid Awake” by photographer Morris Burke Parkinson. This print was produced from 1897 through to the 1920s, if not later, and distributed by the Taber Prang Art Company of Springfield, Mass., and often sells for less than $50 in a good frame.

Such old prints are often the fodder for “Lost Treasures” stories one often finds in the media, such as “Old Print Found at Curb Worth Thousands!” or “$5 Yard-Sale Art Find Turns Into $80,000 Winner” headlines. While this does sometimes happen, the odds of it happening to you or me are right up there with winning the lottery; something like at 14 million to one. Even at these odds, we all still keep an eye out for that neglected Picasso in the dumpster, the Raoul Dufy watercolor in an outhouse at a country auction and the perennial favorite, rare Currier and Ives prints, like “Home to Thanksgiving,” in a box lot of old sealers.

The fact is that these finds are generally low-cost copies of the works of a famous artists, made from the turn of the 19th century through the 1940s and sold in Five & Dime stores. Some, particularly the Currier and Ives variety, were formerly a page from an insurance company or feed store calendar Grandma thought too pretty to throw out and framed it. So, apart from stories in the media of great finds, why are these prints believed to be so valuable? Like many unloved antiques it’s all about perception and the aura of mystery. Unlike a great many antique items such as china, figurines, furniture and lamps that are identifiable by well-documented markings, the markings on prints are often deemed the realm of the art expert’ to decipher, and the general public the perception often is that if an Expert is Needed = Big Value. While experts do have their place, and should be consulted if there is any doubt at all, there’s much you can do on your own to determine what you are looking at.

There are whole books devoted to identifying prints, their editions, biographies of the artist and the publishers involved, and I highly recommend that anyone interested in such information to pick them up. But there is one simple trick you can use that eliminates much study of those dusty volumes and requires only the use of a dollar-store magnifying glass and remembering one small word: “Dots.”

Copies of original prints are images made up of thousands of tiny colored dots. You can usually spot these dots with a cheap magnifying glass.

Mass-produced 20th-century prints are produced much in the same way newspapers put photographs into print: with an image made up of thousands of tiny colored dots (as can be seen in the blown up image above). If you look closely at a picture in a newspaper, the entire image is made up of a series of tiny dots, looking almost like a honey comb. The vast majority of original prints are various forms of etchings, engraving or lithographs, all of which have their own unique markings, and require some training and practice to identify, but one thing they won’t exhibit is the all-over honey comb of dots found on a mass-produced print.

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

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This lithograph print in the style of George Wright is something that often comes in for appraisal. Those new to the subject will often have a hard time telling the difference between lithography, etchings, engravings and offset printing.

One item we see more of than just about anything else in the appraisal & antique business are late 19th- to early 20th-century “equestrian prints,” generally depicting fox hunting, or as Oscar Wilde put it, “The unspeakable in pursuit of the Inedible.”

Equestrian prints of were quite popular during this period, most were based on the work of famous 18th- and early 19th-century artists. The prints themselves were produced in a variety of formats, such as lithographs*, etchings, engravings and offset printing. The one above, like most of this type is a late 19th-century English print, this one is after originals by George Wright (British, 1860-1942), who is best known for his horse portraits, hunting and coaching scenes.

Each type of print has its own value, lithographs and etchings produced by permission of or by the original artist tend to be the most valuable, as their production is limited by the process itself to under 1,000 copies, as the quality of the print declines with each copy due to the wear on the printing plate or stone. Prints of this type are generally marked with the title of the print, the name or signature of the engraver/artist, the publisher, date and address. In some cases, an edition number can also be found, which indicates the number of the edition and size of that printing run, for example the numbers “250/800” would indicate the print was number 250 of 800 copies printed.

Unmarked prints, such as the one depicted, are nearly always mass produced “offset printed” examples, produced much the same way as modern posters. These were made in great numbers to fill the rising demand for decorator art by the middle classes during the late 19th century. In many cases, such prints were often used on calendars, and later cut down to fit existing frames, the titles and artist’s reference removed.

Values for these pieces are still rather modest because they still remain available in large numbers. Today, the mass-produced examples like this one—matted and in a good frame—often sell as decorative pieces in the $75-$150 range.

* If you come across a print and are not sure what you are looking at, use these definitions to determine what you are looking at:

Lithography (if you are not sure, it is pronounced: le-thah’gruh-fee): In the graphic arts, a method of printing from a prepared flat stone or metal or plastic plate, invented in the late 18th century. A drawing is made on the stone or plate with a greasy crayon or tusche, and then washed with water. When ink is applied it sticks to the greasy drawing but runs off (or is resisted by) the wet surface allowing a print—a lithograph—to be made of the drawing. The artist, or other print maker under the artist’s supervision, then covers the plate with a sheet of paper and runs both through a press under light pressure. For color lithography, separate drawings are made for each color.

Etching: An intaglio printing process in which an etching needle is used to draw into a wax ground applied over a metal plate. The plate is then submerged in a series of acid baths, each biting into the metal surface only where unprotected by the ground. The ground is removed, ink is forced into the etched depressions, the unetched surfaces wiped, and an impression is printed. Also, both the design etched on a plate and an impression made from an etched plate. Too often confused with engraving.

Engraving: A method of cutting or incising a design into a material, usually metal, with a sharp tool called a graver. One of the intaglio methods of making prints, in engraving, a print can be made by inking such an incised (engraved) surface. It may also refer to a print produced in this way. Most contemporary engraving is done in the production of currency, certificates, etc.

Offset Printing: The printing process in which an inked image on a metal or paper plate is transferred to a smooth rubber cylinder and then to the paper.

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

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Ben T., while helping to clear out his aunt's garage, found a small print he thought might be worth something. By using WorthPoint’s “Ask A Worthologist” service, He now knows it’s an etching or aquatint of a Charles M. Capps print.

Ben T., being the thoughtful and helpful nephew, has been helping his aunt go through all the stuff that has accumulated in her garage over the years. While “stuff” might be a generous term to most of the garage’s content, one item caught his eye. Not wanting to toss out something that might be valuable, Ben turned to WorthPoint’s “Ask a Worthologist” service. The question was forwarded to me. Here is the question:

“I’ve been clearing out my aunt’s garage, helping her sort out what she calls it “the treasures from the trash.” Most of the stuff appears to be just trash, but seeing how valuable art appears to be turning up in the news a lot, I thought I’d get you to look at this print. It doesn’t look all that old, and is quite small, measures about 5 inches x 9 inches. As you can see, it’s picture of one of those old Kansas-style farm houses, it has a title “Night Silence” and signature Charles M. Capps that looks like pencil below the picture.”

I was able to identify the artist, who is quite well-known. Ben will have to have it authenticated in person, but this is what I was able to tell him: A very nice find, and though it’s not all that old, I’m glad it didn’t get tossed into the trash pile. Based on the images and the size your print, it is an Etching/Aquatint by Charles Capps (1898-1981), but you’ll have to have this piece physically examined to verify it is an original. As for the artist himself, Capps was born in Jacksonville, Ill., and studied at the Academy of Fine Arts in Chicago and the Pennsylvania Academy of Fine Arts before moving to Wichita, Kan. He’s best known for his depictions of New Mexico, mainly the adobe architecture of Santa Fe and Taos. Capps, a member of the Prairie Printmakers Society, the Society of American Etchers and the Chicago Society of Etchers, was awarded prizes in 1941 and 1948 by the Library of Congress, which houses his some of his work. Other pieces by Capps are in the National Academy of Design, Swedish National Museum and the Carnegie Institute. Generally, his prints were runs in numbers of less than150—typically 75-100—signed and numbered in pencil. In total, Capps did about 80 different prints. This example, “Night Silence,” dates from 1934 and was part of an edition that ran 75 copies. Such prints would be numbered to indicate their place in the edition, e.g. 34 / 75. The fact it is not numbered could mean it was an “artist’s or printer’s proof.”*

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In the current market, copies in this edition and others of similar vintage, subject matter and size by Capps list with galleries in the $1,500-$2,200 range. *The term “artist’s proof” is usually used to describe an impression of the finished print that is identical to the numbered copies. There can also be printer’s proofs which are run by the printer to see how the final image appears, or are copies the printer is allowed to keep. These are generally not included in the count of a limited edition; sometimes the number of proofs could number 10 or more in a small run of less than 100 prints. Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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Jessie D. discovered a print titled “To the Society of Goffers At Blackheath” similar to this one while trying to recycle an old frame. By using WorthPoint’s “Ask A Worthologist” service, it was learned that the print could be a 19th century reproduction of the original.

Jessie D. found an old print hidden behind a framed mirror. Not wanting to toss out something that might be valuable, Jessie turned to WorthPoint’s “Ask a Worthologist” service. The question was forwarded to me. Here is the question:

“This print was found when I was removing a discolored mirror from an old frame I wanted to use. It was under the wooden backing, between it and the back of the mirror. The mirror has hung behind a door in a spare room in my grandmother’s house for years and nobody knows anything about it. It appears quite old, but is in good condition. There is a title on it that reads, “To the Society of Goffers At Blackheath,” and near the top is printed “R. Powell of London.” The piece is about 28 inches by 20 inches. Any information you could provide would be great. We don’t want to throw away a fortune.”

I was able to identify the print and the printer through the photograph, but without inspecting it first-hand. Here is my reply to Jessie:

Well it’s not worth a fortune, but has an interesting story. This print has a long history, and is one of the most copied of the early golf prints. The original “To the Society of Goffers At Blackheath” was based on a painting by Lemuel Francis Abbott (1760-1802) and was issued by Valentine Green as a Mezzotint print, circa 1790. It is one of the first golf portraits ever published, and the Blackheath golf course depicted in the print was a primitive five-to-seven-hole golf affair, its members being wealthy merchants.

Based on the records that survive from those early days, the Blackheath club had 45 members at the time depicted in this print. The print itself shows William Innes (1719-1795), Blackheath’s captain, and an unnamed Greenwich Hospital Naval pensioner serving as caddie. Originally, it was printed in black & white and hand-tinted. Of the 50 first-issue prints, it is estimated less than 15 are still in existence.

Like many early Mezzotints prints, this one has been reproduced as lithographs, etchings, offset prints, etc., since the early 19th century. Without actually physically examining the print, it is difficult to determine the date of issue. But most prints were produced from the late Victorian period to 1920s. The clue to the origin of your print, though, is the name “R. Powell Of London” and the dimensions, both of which match the earlier reprints, which could make this a 19th century reproduction of the original.

Most of these early reproductions currently sell in Fine Art Auctions more than any other market, where the Powell prints list with presale estimates in the $400-$600 range. More recent 20th-century examples of this print can sell for less than $50.

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

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This etching titled "Christ Preaching" is a powerful image. Originally completed by Rembrandt in 1652, it is a grand example of the engraver’s art, but just one of many of Rembrandt's work reproduced over the years.

Rembrandt Harmenszoon van Rijn (Dutch-Born July 15, 1606 – Died October 4, 1669) is generally considered one of the greatest painters and printmakers in European art history and the most important in the period that historians call the Dutch Golden Age. While most of us could never afford an original “Old Master” Oil painting by Rembrandt, other forms of art such as etchings by the master are another thing all together. It is still possible to buy an original authenticated Rembrandt etching produced during his working life for under the price of a new compact car, but from there it gets into the murky realm of restrikes of his work and reproductions.

There are no etchings more of a problem to appraise and authenticate than Rembrandt’s. Rembrandt made over three hundred prints altogether, covering a wide variety of subjects such as portraits, landscapes and nudes. There were at least two editions during his life and five after his death. Other copies of his work or after his style can date back to Rembrandt’s own period, but the bulk of them are the work of etchers of the late 18th and early 19th centuries. The vast majority of these copies differ substantially in style from the originals in most cases with the exception of the work of one man, Amand Durand.

The engraver Durand (1831-1905), spent a large part of his working life re-creating Rembrandt’s etchings in very fine detail. Unlike other artists, instead of basing his copies on old worn plates or reworking them, Durand used fine quality originals of the first and second state etchings of Rembrandt’s works. Durand’s original etchings were so detailed and true to the originals that they were purchased by the Louvre Museum in Paris, the French Biblioteque Nationale and by major collectors throughout Europe and the USA.

After Durand’s death in 1905, his original copper plates were obtained by the French firm of book publishers, Dominique Vincent et Cie. They mainly published the works for book illustrations to the Bibliotheque Nationale and the Louvre as duplications of Rembrandt’s etchings, but art prints were also apparently produced from Durand’s original plates as well, and in some cases later being mistaken for the originals.

In 1985 an American art dealer purchased all the original Durand copper plates from the Dominique Vincent family. Today the American Fine Art Editions company is still printing Durand’s copies from his copper plates, and you can get these latest printings of Durand vision of Rembrandt’s work for $120-$200.

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

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Currier & Ives lithograph “Attacking a Right Whale.”

From 1834 to 1907 the firm of Currier & Ives provided for the American people a window on their country’s development from a rural society to an industrialized one. Highly detailed and colorful, these are prime examples of the work of “America’s printmakers.” For nearly three quarters of a century, Currier & Ives provided “Colored Engravings for the People,” and in the process, became the visual chroniclers of 19th-century America.

Some of the finest artists of the day were engaged by the firm to produce a variety of prints, including images of newsworthy events and prints depicting every subject relating to American life: sports, games, home life, religion, entertainment, views of cities and so forth. Sporting and Western scenes were created by A.F. Tait, while Frances Flora Palmer provided the majority of landscapes produced by the company, and George Durrie was the artist responsible the famous New England winter scenes.

Because of the popularity of Currier & Ives prints, they have been reproduced extensively since the 1920s as decorator prints and calendars. The calendar prints were often removed and framed, and after 90 years, they look very convincing as originals. Determining the authenticity of a Currier & Ives prints is not a project for a novice collector, but there are many things that point to an original, one being size.

The Currier & Ives prints were made in four main sizes: a very small sized folio with images measuring less than 7 inches by 9 inches; a small folio with image areas of 8 inches by 10 to 12 inches; a medium size folio with image sizes 9 to 10 inches by 13 to 19 inches. A great many of the reproduction are in modern paper sizes such as 8 x 10, 8 1/2 x 11, or 11 x 17 inches.

The Currier & Ives lithograph above titled, “Attacking a Right Whale,” is was what is called a “large folio print,” being one of the larger sizes used by this company. The original print measures 16- 3/16 inches x 23-12/16 inches exactly. A print of this title in any other size is a reproduction. When examined under a magnifying glass, the image in a reproduction appears as a series of small dots, much like you see in magazine or newspaper images. In the current market (September 2009) an original sells for more than $3,500 at auction, while 1930′s to 50′s
copies (when identified) often sell for less than $50.

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

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Lot 27 and 28, two companion works by Erté (Romain de Tirtoff, 1892-1990) featuring Hera and Zeus. The signed and numbered color screen prints with embossing, printed in 1981, are excellent examples of this master’s work. The estimates are low for this highly collectible artist at $700-$1,000.

Ertés Hera

Erté's Zeus

Lot 29, the 1987, pencil-signed, gelatin-and-silver print photograph of Grace Jones by the Hollywood celebrity photographer, Greg Gorman. Gorman known internationally for his cover art that has appeared on Esquire, Life, Interview, Vogue and the Rolling Stone magazines is probably best known for his photo portrait of Jimi Hendrix that launched Gorman’s career. Estimate for the photo is $500-$800. A Buy Now investment.

Gorman's Grace Jones

Lot 72, a heavy hitter in the form of the soft-ground etching of Renoir’s “La Danse à la Campagne.” With an estimate of $12,000-$18,000, this rare etching with a stamped signature is in excellent condition and would be a starting point for a new collection or a superb addition to an existing one.

Renoir's "La Danse"

Lot 75, the crowning piece of the show, Rembrandt van Rijn’s etching of “Christ Disputing with the Doctors.” Irrefutably Rembrandt, the etching is signed and dated 1652 in the plate. This remarkable piece is going up with a conservative estimate of $6,000-$10,000.

Rembrandt's etching

Lot 180 features a landscape by one of Salvador Rosa’s followers that we have seen at auction in 2007, “Landscape with Figures.” The oil on canvas inscribed Salvator Rosa Galeria Conte Di Caserta is in good condition and has a similar estimate to its ’07 estimate of $800-$1,200.

Landscape by Rosa follower

Lot 104, “Portrait of a Gentleman” by A. Galeotti has a surprisingly low estimate, $300-$500, for a work of this quality and condition. There has been movement of Galeotti’s work with the most recent sale in ’07 at Heritage Auction House. Galeotti’s portrait of Charles I’s three eldest children sold then for $2,390. This portrait will attract attention and represents one of the finest portraits in the sale’s collection.

Galeotti portrait

– By Christopher Kent, a member of the WorthPoint board of advisers and director of evaluations for WorthPoint. He is also an antiques and collectibles generalist, fine-arts broker and president of CTK Design.

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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.

“The Endeavor is to present a painting which will give pleasure without tiring the intellect. Something beautiful to look upon. A good place to be in. Nothing more.”

Parrish focused on painting in the 1920s. His greatest pieces from that period include Daybreak (1922) and Enchantment (1926). During this time, The House of Art published prints due to popular demand. Another shift occurred in his work in 1931 when he left behind his usual themes of androgynous figures in fantastical settings for landscapes. Known as his quiet period, in 1930-1960 all his work, except Collier covers, were landscapes, (see his Brown & Bigelow calendars). In 1961 he composed his last work, Away from it All, but lived to see his own revival in the 1960s before dying at The Oaks in 1966.
Though Parrish used models, he never painted a person live. He chose to photograph his model and transfer the negative onto glass plates. The background was already painted before adding people. He then would project the human images upon paper or canvas. Either a sketch or stencil was produced and then laid upon the final product. His painting technique contributes a lot to his style. Called glazing, Parrish used varnish between each layer of oil paint. Since varnish took weeks to dry, he often worked on multiple projects at once. For more about Parrish’s life and works please see Maxfield Parrish by Coy Ludwig.
Experience and a good eye are best while collecting Parrish pieces. Due to his prolific life in New England, Parrish works are scarcer and higher priced on the West Coast. Collectors should be aware of condition, color, rarity, and size. It is best to utilize multiple factors to determine a real Parrish due to the plethora of reproductions both made in the early 20th century, called old reproductions, and those made today, new reproductions. Also, many sellers will detach illustrations from books and frame them for sale. Cropping is common; especially when there was damage to the piece, but over cropping is a sign of severe damage or a reproduction.
Knowing the environmental factors that can effect Parrish’s work is the first step towards being a wise collector. Since his major medium was paper, the aging process heavily effects value and many factors lead to the deterioration of the paper and color including: temperature, air and light. Ideally, his works should be kept in 45-55% humidity at about 68 degrees Fahrenheit. Without humidity the paper will turn brittle, but with too much humidity the paper softens. Also, air, carrying dust, spores, ash and bacteria, activates acids in the paper, destroying it over time. Often air seeps in due to bad framing or during the framing process. If, during the latter, the paper was exposed to too much air and oil from human hands, small brownish gray spots occur over time. One can clean the paper with mild soap, but it is best to see a professional conservator. Overexposure to light leads to bleached colors and yellowing. Underexposure to light, combined with some humidity and bad ventilation, creates a breeding ground for bacteria and insects. It is essential that collectors’ have a good balance of light and a well-framed work to stay in good condition.
To insure a real Parrish work, one must know the signs of a reproduction. Newer printing processes create shiny, more brilliant color. Also the shaded areas will appear blurry in a reproduction. Some sellers have been known to soak reproductions in coffee or tea, peel back the original backings, and insert a reproduction with a period frame. Therefore, an original backing does not guarantee an authentic picture. Backings are often redone, and some prefer “museum framing” or the use of rag board as a new backing. However, the value goes down with a redone backing. Also, deteriorating old frames can cause damage to the piece and are often replaced. A new frame does not equal a reproduction; so ask questions about any previous damage. Perhaps the most important factor in telling a reproduction is its size. Cropping lowers the value and is often a sign of past damage. Also, many reproductions are larger than the original, so know the size of the piece you are looking for. If there is no frame, the paper itself reveals the truth; older paper is heavier and the back will show patina, a brownish color due to the paper’s age.
Most importantly, use all the tools you can to expose a reproduction, because sometimes the seller is unaware. Some fading is to be expected in original pieces, so if it looks too good to be true, it probably is. The best advice to any collector is to learn more by attending auctions and antique shows. Only by first-hand experience can a collector become a smart collector.

References

Flacks, Erwin. Maxfield Parrish. Collector’s Press: Portland, 1998.
Gilbert, Alma.

The Make Believe World of Maxfield Parrish and Sue Lewin. Pomegranate Books: San Francisco, 1990.
“Maxfield Parrish.” http://en.wikipedia….. 12 July 2007.

Some consider one-time Cincinnati resident John James Audubon’s greatest contribution to American art not what he painted, but rather how he painted his subjects. He brilliantly depicted life-size birds and mammals in their natural habitats engaged in everyday activities such as nesting, courting, hunting, fighting, feeding, resting and preening. It was a dramatic break from the static and scientific wildlife portrayals that had been the European tradition for centuries. Immense popularity and widespread reproduction make Audubon’s prints some of the most recognizable and collectible nature works to this day.

Born on April 26, 1785 in Santo Domingo, Audubon was lovingly raised by his stepmother at the family estate in France. In 1803, he was sent to America to manage his father’s estate outside Philadelphia and to avoid conscription in Napoleon Bonaparte’s army. Audubon wandered the countryside, hunting and collecting bird specimens. He conducted the first known bird-banding experiment in North America and invented the technique of arranging birds in lifelike poses suspended by wires.

While working as a taxidermist in Cincinnati, Audubon resolved to put his talents for drawing and knowledge of bird life to use by embarking on a project to draw every species of American bird and publish the results. The epic undertaking became known as the Birds of North America. It took 11 years to publish the entire set of 435 plates (1828-1838). No more than 200 editions were printed, and only two complete unbound sets exist today.

Audubon also published a smaller octavo-sized version of the Birds of North America, as well as an imperial folio size and smaller octavo edition of the Viviparous Quadrupeds of North America. He died on January 27, 1851 in New York City. The text of the Quadruped collection was not published until 1854.

In collecting Audubon prints, it is important to realize that they are among the most reproduced works of art on the marketplace today. Collectors should have some basic facts in hand before purchasing.

A major difference from the original plate size probably indicates a reproduction or trimmed original print. For example, a full original untrimmed plate from the Havell Edition of Birds of North America measures about 39.5” x 28.5” and is printed on watermarked paper with the year of the paper’s production. Presence of either a “J. WHATMAN” or “J. WHATMAN TURKEY MILL” watermark is a guarantee of the print’s authenticity. There are a number of resources to help authenticate Aududon prints.

Value will vary depending on the popularity of the bird or mammal, condition, rarity, provenance and fluctuations in the market place. Havell and Bien Edition bird prints along with Imperial Folio Quadrupeds fetch higher numbers than the smaller Royal Octavo birds and mammal prints. A Royal Octavo Cardinal Grosbeak will sell for more than a lesser songbird, and an Imperial Folio Grizzly Bear will bring more than a common rodent.

Condition is paramount in purchasing an original Audubon. Trimming prints to fit in smaller frames can reduce the value by as much 40 to 50%. It was not uncommon 50 years ago to glue the print to some sort of backing. This can also greatly reduce the value of the piece. Other condition issues such as acid burn, tears, toning or foxing may require the services of a professional conservator.

Whenever possible, purchase from a reputable auction house, print gallery or dealer who specializes in Audubon’s and similar works. They can provide authentication and will fully disclose all condition issues.

About the Author:

Wes Cowan is founder and owner of Cowan’s Auctions, Inc. in Cincinnati, Ohio. An internationally recognized expert in historic Americana, Wes stars in the PBS television series History Detectives and is a featured appraiser on Antiques Roadshow. He can be reached via email at info [at] cowans [dot] com. Article research by Mimi Morgan.

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