The Restoration of Engravings, Drawings, Books, and Other Works On Paper

THE
RESTORATION
OF
ENGRAVINGS, DRAWINGS, BOOKS,

AND OTHER WORKS ON PAPER
This page intentionally left blank
THE
RESTORATION
OF
ENGRAVINGS, DRAWINGS, BOOKS,

AND OTHER WORKS ON PAPER
MAX SCHWEIDLER
TRANSLATED, E D I T E D , AND WITH AN APPENDIX BY
ROY P E R K I N S O N
THE GETTY CONSERVATION INSTITUTE | LOS ANGELES

THE GETTY C O N S E R V A T I O N INSTITUTE
T i m o t h y P. W h a l e n Jeanne M a r i e T e u t o n i c o
Director Associate Director, Programs
The G e t t y C o n s e r v a t i o n I n s t i t u t e w o r k s i n t e r n a t i o n a l l y t o a d v a n c e c o n s e r v a t i o n a n d t o e n h a n c e a n d
e n c o u r a g e t h e p r e s e r v a t i o n a n d u n d e r s t a n d i n g o f t h e visual arts in all o f t h e i r d i m e n s i o n s — o b j e c t s ,
c o l l e c t i o n s , a r c h i t e c t u r e , a n d sites. T h e I n s t i t u t e serves t h e c o n s e r v a t i o n c o m m u n i t y t h r o u g h
scientific research; e d u c a t i o n a n d t r a i n i n g ; f i e l d p r o j e c t s ; a n d t h e d i s s e m i n a t i o n o f t h e results o f b o t h
its w o r k a n d t h e w o r k o f o t h e r s in t h e f i e l d . In all its e n d e a v o r s , t h e I n s t i t u t e is c o m m i t t e d t o address
ing u n a n s w e r e d q u e s t i o n s a n d p r o m o t i n g t h e highest possible standards o f c o n s e r v a t i o n p r a c t i c e .
© 2 0 0 6 The J. Paul G e t t y Trust

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www.getty.edu
Chris H u d s o n , Publisher
M a r k G r e e n b e r g , Editor in Chief
T e v v y Ball, Editor
Sheila Berg, Manuscript Editor
C a t h e r i n e Lorenz, Designer
Pamela H e a t h , Production Coordinator
T y p e s e t t i n g by D i a n e Franco
P r i n t e d in C h i n a
Library o f Congress C a t a l o g i n g - i n - P u b l i c a t i o n Data
S c h w e i d l e r , M a x , b. 1885.
[ I n s t a n d s e t z u n g v o n K u p f e r s t i c h e n , Z e i c h n u n g e n , B u c h e r n u s w . English]
The r e s t o r a t i o n o f engravings, d r a w i n g s , b o o k s , a n d o t h e r w o r k s o n p a p e r / M a x S c h w e i d l e r ;
t r a n s l a t e d , e d i t e d , a n d w i t h an a p p e n d i x by Roy P e r k i n s o n .
p. c m .
T r a n s l a t i o n of: I n s t a n d s e t z u n g v o n K u p f e r s t i c h e n , Z e i c h n u n g e n , B u c h e r n u s w .
Includes b i b l i o g r a p h i c a l references a n d i n d e x .
ISBN-13: 9 7 8 - 0 - 8 9 2 3 6 - 8 3 5 - 8
1. Prints — C o n s e r v a t i o n a n d r e s t o r a t i o n . 2. D r a w i n g — C o n s e r v a t i o n a n d r e s t o r a t i o n . 3. Books
— C o n s e r v a t i o n a n d r e s t o r a t i o n . I. P e r k i n s o n , Roy L. II. T i t l e .
NE380.S3513 2005
76o.028'8-dc22
2005042449
To my mentors
w i t h great appreciation and gratitude
FRANCIS W. D O L L O F F ,
w h o patiently and generously led me into paper conservation,
and
CHRISTA M. G A E H D E ,
w h o i n t r o d u c e d me t o Schweidler and much more

CONTENTS
ix Foreword
xi Preface
1 Editor's I n t r o d u c t i o n
19 The Restoration of Engravings, Drawings,

Books, and Other Works on Paper
207 Editor's Notes on the Text
219 A p p e n d i x | Eleven Case Studies
281 Glossary
285 References
289 Index
302 A b o u t the Editor

FOREWORD
Die Instandsetzung von Kupferstichen, Zeichnungen, Buchern usw. (The
Restoration o f Engravings, Drawings, Books, etc.), originally published in
Germany in 1938 and long o u t o f print, has generally been k n o w n t o only a
few, even in Germany. To those w h o have heard o f h i m , t h e w o r k ' s author,
M a x Schweidler, has often seemed a shadowy figure. He perhaps gained
n o t o r i e t y because his surname is sometimes used as a verb—as in "this p r i n t
has been ' S c h w e i d l e r i z e d ' " — t o describe extraordinarily skillful, virtually u n d e
tectable repairs of Old Master prints. Roy Perkinson, Head of t h e Virginia
Herrick Deknatel Paper Conservation Laboratory at the M u s e u m o f Fine Arts,
Boston, first b r o u g h t Schweidler t o our a t t e n t i o n in 2003 w h e n he was a scholar
at t h e J. Paul Getty M u s e u m . Roy's i n v o l v e m e n t w i t h Schweidler's manual has
extended over more than three decades. The result is this v o l u m e , a w o n d e r
fully readable translation o f Schweidler's text, accompanied by a t h o r o u g h
i n t r o d u c t i o n , copious notes, and an extensive appendix, w h i c h includes eleven
remarkable examples of deceptive, "Schweidlerized" repairs and alterations.
Given t h e t r a d i t i o n o f secrecy s u r r o u n d i n g the practice o f art restoration
d u r i n g Schweidler's era, it is remarkable t o have a d o c u m e n t so full o f revela
tions of repair techniques, most of w h i c h had never been described in earlier
manuals, and t o discover h o w extraordinarily effective these repairs can be.
Roy compares Schweidler's book t o a magician's h a n d b o o k "in w h i c h t h e
a u t h o r pulls back the curtain and reveals the secrets o f his most baffling tricks."
A n d as w i t h magic, k n o w i n g h o w the trick is d o n e helps t h e v i e w e r t o see
t h r o u g h t h e "magic" t o the reality. W i t h this k n o w l e d g e comes awareness.
This b o o k is unique in several ways —as a detailed c o m p e n d i u m o f res
t o r a t i o n procedures, as a remarkably substantive d o c u m e n t o f restoration
k n o w l e d g e and practices in t h e early t o m i d - t w e n t i e t h century, and as a

X F O R E W O RD
t h o u g h t - p r o v o k i n g resource t h a t w i l l likely change h o w one assesses t h e c o n
d i t i o n o f w o r k s o f art on paper. The Getty Conservation Institute has long been
c o m m i t t e d t o publishing seminal texts in t h e field o f conservation t o broaden
and deepen understanding of the discipline's history, m e t h o d o l o g i e s , and
philosophies. This v o l u m e w i l l acquaint a much larger audience w i t h t h e
extraordinary techniques advocated by Schweidler; a n d , perhaps even more
i m p o r t a n t , it w i l l enhance our ability t o discern w h a t may have been d o n e t o a
p r i n t or d r a w i n g after its original creation. Schweidler's discussions o f chemical
processes, in particular, w i l l give us more i n f o r m e d k n o w l e d g e o f w h a t a w o r k
o f art on paper has been subjected t o t h r o u g h o u t its history. W e are pleased
t h a t M a x Schweidler's b o o k is n o w available in English, and w e are grateful t o
Roy Perkinson for bringing this i m p o r t a n t w o r k t o our a t t e n t i o n and for creating
such a rich v o l u m e . W e appreciate his efforts, w h i c h w i l l be o f significant bene
fit t o those w h o care for and admire w o r k s of art on paper.
TIMOTHY P. W H A L E N
Director
The Getty Conservation Institute

PREFACE
O n e day in a b o u t 1967, after carefully scrutinizing an i m p o r t a n t p r i n t in t h e
M u s e u m o f Fine Arts, Boston, the curator o f prints m u t t e r e d , "I t h i n k it's been
'Schweidlerized'!" Overhearing this, I w o n d e r e d w h a t she meant. A n d w h o was
Schweidler? I had only recently begun my training in paper conservation, and
w h e n I learned t h a t it was a repair t o w h i c h she had reacted, I was fascinated
t h a t someone had attained such skilJ in t h e t r e a t m e n t o f prints t h a t his repairs
w e r e extraordinarily difficult t o detect. Clearly it could be disagreeable t o dis
cover repairs in a print w h e r e one had t h o u g h t none existed. But if t h e curator
f o u n d in her collections a print marred by an accidental hole, w o u l d she n o t be
pleased t o have it repaired as skillfully as t h a t w h i c h she had j u s t discovered?
After all, w a s n ' t it often said t h a t a goal of conservation t r e a t m e n t is t o have
t h e o b j e c t seem t o the v i e w e r as if it had not been treated? Was t h e curator
chagrined simply because she had failed previously t o detect an i m p o r t a n t
aspect o f the c o n d i t i o n o f the print? Or was there s o m e t h i n g a b o u t t h e nature
or extent o f t h e repair t o w h i c h she t o o k exception? This was a fine i n t r o d u c
t i o n t o t h e philosophical complexities o f conservation, complexities
t h a t w i l l probably c o n t i n u e as long as there is art t h a t is in need of repair.
Christa Gaehde, w i d e l y respected as a conservator o f great skill, sensitivity,
and experience, i n t r o d u c e d me t o M a x Schweidler's b o o k and t o some o f his
m e t h o d s o f repair. In t h e 1960s books and manuals on conservation or restora
t i o n practices were few, and those t h a t existed did n o t discuss t h e kinds o f
repair techniques practiced by Schweidler. Since t h a t t i m e t h e field o f conserva
t i o n has developed enormously, w i t h consequent g r o w t h in its literature. In t h e
past several years articles have also appeared on t h e history o f conservation —
perhaps signaling t h a t t h e field has attained maturity. I hope t h a t this translation

xii P R E F A C E
w i l l be seen n o t only as a useful and interesting a d d i t i o n t o t h e literature in
English on conservation b u t also as an i m p o r t a n t historical d o c u m e n t .
This b o o k consists of f o u r sections: background and c o m m e n t a r y on M a x
Schweidler's manual on paper restoration; a translation o f the original German
t e x t of t h e second e d i t i o n (1950); an appendix, in w h i c h there are several
instances o f w h a t m i g h t be described as repairs, alterations, or reconstructions
t h a t illustrate some o f t h e practices described by Schweidler. It is my hope
t h a t t h e examples presented in the latter w i l l help t h e reader t o become more
adept at d e t e c t i n g w h a t are often referred t o as "deceptive" or "extremely
skillful" repairs or alterations. The f o u r t h section is a glossary of technical and
chemical terms.
M a n y people helped me t o bring this book t o p u b l i c a t i o n . I am especially
grateful t o Rugela Schweidler, w h o generously made available materials, m e m o
ries, and k n o w l e d g e a b o u t her late husband, Gert Schweidler, his father, Kurt,
and his grandfather, Carl. She kindly o p e n e d her h o m e t o Olivier Masson
(himself a m e m b e r o f an illustrious family o f conservators) and made it possible
for him t o provide me w i t h digital images, p h o t o c o p i e s , and invaluable infor
mation relating t o the Schweidler family, i n f o r m a t i o n I could n o t have o b t a i n e d
by any o t h e r means.
I w o u l d like t o express my gratitude t o Marlies Comjean for her help w i t h
many aspects o f t h e translation. Her patience and skill in ferreting o u t t h e pre
cise meanings.of Schweidler's w o r d s were exemplary. Similarly, I am i n d e b t e d t o
the editorial talents of Faith Smith, for unraveling k n o t t e d tenses and phrases
and t r a n s m u t i n g t h e m into plausible English for an early draft o f the manuscript.
I also w a n t t o thank Christa and Joachim Gaehde for encouragement and for
p u t t i n g up w i t h my numerous questions. August Laube helped me t o obtain
i n f o r m a t i o n on the f o r m i d a b l e "copying-ink pencil," the marks o f w h i c h are apt
t o cause significant problems d u r i n g conservation t r e a t m e n t .
W i t h o u t the generous s u p p o r t o f the National E n d o w m e n t for the
Humanities, this project w o u l d n o t have begun. I w o u l d like t o thank Nancy
Yocco and M a r c Harnly for facilitating my Getty Scholar a p p o i n t m e n t , w h i c h
enabled me t o resume w o r k on this project after having had t o set it aside
for many years. I o w e e n o r m o u s thanks t o The J. Paul Getty Trust; my tenure
as a Getty Scholar gave me t h e u n i n t e r r u p t e d t i m e and extraordinary archival

P R E F A C E Xiii
resources needed t o finish this w o r k . I also recall w i t h great fondness and
thanks all the w o n d e r f u l staff at the Getty Research Institute w h o were unstint
ing in t h e i r patience and helpfulness.
The administration of the M u s e u m o f Fine Arts, Boston, kindly a l l o w e d
me leave f r o m my ordinary responsibilities. A Kress Publications Fellowship
awarded by the Foundation o f the American Institute for Conservation p r o v i d e d
indispensable f u n d i n g t h a t made release t i m e f r o m regular e m p l o y m e n t f i n a n
cially feasible. I am especially grateful t o my colleague A n n e t t e M a n i c k for
superbly managing the paper conservation laboratory in my absence and for
t h o u g h t f u l l y p r o t e c t i n g me f r o m the inevitable day-to-day issues t h a t w o u l d
have d i l u t e d my ability t o focus on Schweidler d u r i n g my w o r k as a Getty
M u s e u m Scholar. Deborah La Camera, w i t h her usual cheerfulness and e b u l
lience, has always been quick t o help me. Gail English, w h o s e g e t - i t - d o n e
energy is legendary, also helped me in countless ways. Thea Burns and Judith
Walsh gave me many t h o u g h t f u l and constructive c o m m e n t s on t h e manuscript
at an i m p o r t a n t stage of its d e v e l o p m e n t .
In a d d i t i o n , I o w e thanks t o Clifford S. Ackley, Christiane Andersson,
D a m o n Beale, John Bidwell, Britta Bothe, Craigen B o w e n , Peter Bower, Irene
Bruckle, Marjorie C o h n , Eva Dencker, A n n e Driesse, James Druzik, Margaret
Holben Ellis, Debra Evans, Richard Field, Cynthia Godlewski, Greg Heins, Kristin
Kelly, Penley Knipe, John Krill, Tom Lang, Shelley Langdale, Brigitte Laube,
Danielle Laube, Elizabeth Limning, Alison Luxner, Rhona M a c B e t h , T i m o t h y
M a y h e w , T. K. M c C l i n t o c k , M a r g o McFarland, George S. N o r t o n , Tom Rassieur,
M a r y Reinsch-Sackett, Sue Reed, Gary Ruuska, Ruth Schmutzler, Kristal
Smentek, M a r t i n Sonnabend, M o y n a Stanton, Marcia Steele, Stephanie
Stepanek, Carol Togneri, M a r t h a Tedeschi, Nancy Turner, Bob Walker, Jeffrey
W a r d a , Stephan W e l c h , Thomas W o l k , and John W o o l f .
Finally, I o w e more than w o r d s can say t o my w i f e , Jean, w h o s e patience
and s u p p o r t t h r o u g h o u t this project were boundless.

EDITOR'S INTRODUCTION
The first e d i t i o n o f M a x Schweidler's book, Die Instandsetzung von Kupferstichen,
Zeichnungen, Buchern, usw., appeared in 1938. In 1941 he produced a n o t h e r
book, Sammeln und Sichten (Collecting and Picking ["Picking" in the sense used
by those w h o shop for antiques: r u m m a g i n g , sorting, selecting, and classifying]),
w h i c h dealt solely w i t h t h e ins and outs o f collecting prints, t h e i r value, those
t h a t are desirable t o collect, and so o n . O n l y once in t h e latter b o o k does
Schweidler say a n y t h i n g a b o u t t h e care and preservation of prints, and this
merely describes a f e w dos and don'ts o f f r a m i n g . In 1950 he published a
revised and enlarged version o f his earlier w o r k on restoration, and it is this
e d i t i o n t h a t is presented here. I f o u n d no d o c u m e n t a t i o n as t o w h e t h e r
d e m a n d f o r t h e first e d i t i o n was sufficient by itself t o j u s t i f y a second e d i t i o n ,
b u t it is possible t h a t t h e n e w e d i t i o n was m o t i v a t e d by Schweidler's desire
(facilitated by his friendship w i t h the publisher, M a x Hettler) t o clarify his text
and increase t h e n u m b e r o f illustrations. In his i n t r o d u c t i o n t o t h e second
e d i t i o n he acknowledges t h a t he had been asked repeatedly "to restrain [his]
s o m e w h a t patronizing, urgent and pedantically repetitious presentation" and
t o provide additional illustrations, w h i c h his publisher agreed t o d o .
W h e n I was first i n t r o d u c e d t o Schweidler's b o o k by Christa Gaehde, I
learned t h a t Schweidler had an elder brother, b u t b o t h figures were always
shrouded in mystery. In some respects, t h e brothers seemed t o occupy a
curious "Siamese t w i n " persona as legendary restorers w h o could (and w o u l d )
do a n y t h i n g imaginable t o transform a p r i n t f r o m some state o f disrepair into
s o m e t h i n g t h a t looked p e r f e c t — u n t i l one looked very closely. One o f t h e
pleasures o f w o r k i n g on this project has been learning a little more a b o u t b o t h
m e n , and also a b o u t their relationship (and difficulties) w i t h each other.
In his b o o k M a x Schweidler states t h a t he was born in Berlin on April 18,

2 E D I T O R ' S I N T R O D U C T I O N
1885, b u t I have been unsuccessful in d e t e r m i n i n g the date o f his d e a t h . Max's
elder brother, Carl, was, according t o some, the more skilled and experienced
restorer. 1
Carl Schweidler was born in 1884 and died in 1962 in Berlin. His son,
Kurt, was born in Berlin in 1910 and died in 1981 in Gockhausen, near Zurich,
Switzerland. Kurt was also w e l l k n o w n as a restorer o f prints. Kurt's son, Gerd,
was born in 1944. Kurt and Gerd left Berlin in the 1960s, at a b o u t t h e t i m e the
Berlin Wall was erected, and settled in Toffen, near Bern, before m o v i n g t o
Gockhausen. Gerd died in 1992 in Gockhausen. 2
Carl Schweidler's s o n - i n - l a w gave him a copy of the first e d i t i o n of Max's
b o o k on August 5, 1938, inscribing it t o "the o t h e r S c h w e i d l e r — f o r his edifi
cation and i n s t r u c t i o n " — w o r d s t h a t are loaded w i t h irony. (This a n n o t a t e d
copy is in t h e possession o f Regula Schweidler, the w i d o w o f Gerd Schweidler.
The inscription is signed "your son-in-law," leading one t o assume t h a t Carl
Schweidler must have had a daughter, but w h e t h e r she or her husband were
also involved in restoration is n o t k n o w n . This inscription is w r i t t e n in a style
t h a t is different f r o m all the o t h e r annotations in t h e book, w h i c h are u n d o u b t
edly by Carl, given t h e i r level of k n o w l e d g e and detail a b o u t Max's life [see
note 5, b e l o w ] and authoritative observations on t h e materials and techniques
o f restoration.) Carl had already prepared a postcard t o be mailed t o his clients
in w h i c h he states emphatically t h a t he and the a u t h o r o f t h e f o r t h c o m i n g book
on restoration are n o t one and the same. A c c o r d i n g t o Regula Schweidler, the

3
publication o f . t h e b o o k led t o a p e r m a n e n t rupture in relations b e t w e e n Carl
and M a x . Surely Carl never deigned t o purchase a copy of his brother's book,
b u t w h e n his s o n - i n - l a w gave him one, he n o t only read it b u t made a n u m b e r
o f annotations as w e l l , many in the f o r m o f exclamations a b o u t w h a t he regard
ed as errors or misstatements. Some o f t h e most interesting, amusing, or rele
vant o f these notes have been a p p e n d e d as endnotes t o the translation, w i t h
the initials "C. S." t o identify t h e m as Carl's. 4
W h e n I first learned o f t h e existence o f a copy o f Max's first e d i t i o n w i t h
Carl's annotations, I w o n d e r e d w h a t effect these c o m m e n t s m i g h t have on
my understanding and assessment o f the text. I also w o n d e r e d w h y the p u b l i
cation o f t h e b o o k had caused such animosity b e t w e e n t h e t w o brothers. Was
it simply t h a t Carl was upset t h a t M a x had divulged "trade secrets"? From
Carl's annotations in the 1938 e d i t i o n , it is quite clear t h a t he was critical o f

E D I T O R ' S I N T R O D U C T I O N 3
and disagreed w i t h some o f Max's statements. Occasionally he articulated w h y
he disagreed, b u t usually he merely n o t e d t h a t he was o f a different o p i n i o n
and did n o t elaborate. Carl was especially angered t h a t his y o u n g e r b r o t h e r had
overstated his experience in r e s t o r a t i o n . Rather than the t h i r t y t o fifty years o f

5
experience claimed in t h e book, he notes t h a t M a x had w o r k e d as a restorer for
no more than eleven years prior t o publication o f t h e book. Carl writes t h a t as
o f 1927, M a x began w o r k i n g as a restorer "at his instigation," a l t h o u g h M a x was
at the same t i m e a dealer in art, engaged in political activities, and w o r k e d as a
" p o e t and writer, as his main profession." He also notes t h a t in 1 9 2 7 - 2 8 he had
allocated t o M a x a considerable a m o u n t of w o r k f r o m his o w n commissions b u t
subsequently mentions t h a t he had had t o "remove [from a Rembrandt p r i n t ]
the spots t h a t [his] brother messed u p . " It seems t h a t Carl felt t h a t Max, b o t h
6
by asserting long experience and by publishing techniques t h a t must have been
learned f r o m h i m , had betrayed his trust, for w h i c h he could n o t forgive M a x .
If Carl's assessment of the extent of Max's experience is accurate, it is rea
sonable t o suppose t h a t some, if not most, o f t h e techniques and practices
described by M a x were those o f his brother, although it is also possible t h a t
M a x developed variations o f his o w n , or t h a t in some instances he m i g h t have
misunderstood the procedures o f his more experienced brother. 7

It is u n f o r t u
nate t h a t Carl's annotations are so brief and t h a t he did n o t publish his o w n
version of his m e t h o d s . For our purposes, however, it may be less useful t o
k n o w w h e t h e r Carl or M a x or b o t h e m p l o y e d a specific t e c h n i q u e than it is t o
understand in w h a t way t h a t restoration procedure m i g h t affect the appearance
and c o n d i t i o n of a print or d r a w i n g , and t o apply k n o w l e d g e o f such techniques
t o the examination o f w o r k s of art. For example, k n o w i n g t h a t there is a w a y
t o split a p r i n t or d r a w i n g into t w o layers (pp. 1 0 4 - 5 ) can be e n o r m o u s l y useful
if one happens u p o n a p r i n t t h a t has been delaminated and reassembled (see
Durer, Adam and Eve, in t h e A p p e n d i x ) , but w i t h o u t this k n o w l e d g e such a p r i n t
m i g h t escape d e t e c t i o n . 8
The dearth before the 1950s o f substantive publications dealing w i t h c o n
servation o f prints and drawings makes Schweidler's book interesting as a his
torical d o c u m e n t . A m o n g the f e w scattered publications t h a t existed in earlier
centuries, one o f t h e most significant is Essai sur la restauration

9
des anciennes
estampes et des livres rares, by Alfred Bonnardot, w h i c h appeared in 1846 and is

m e n t i o n e d by S c h w e i d l e r . 10
Bonnardot cites w o r k s f r o m t h e early eighteenth
century. Nevertheless, serious, consistent a t t e m p t s t o c o m p i l e k n o w l e d g e based
on sound scientific principles and t o assess the l o n g - t e r m effects of treatments
are n o t f o u n d until the t w e n t i e t h century. The 1930s saw i m p o r t a n t additions
t o the scant literature on t r e a t m e n t of w o r k s of art on paper. In 1932 t h e Fogg
A r t M u s e u m began publication o f its Technical Studies in the Fine Arts series,
w h i c h included several articles on this subject. H. J. Plenderleith published The
Conservation of Prints, Drawings, and Manuscripts in 1937 (one year before the
first e d i t i o n o f Schweidler's b o o k ) . There are a f e w o t h e r sources in English f r o m
this p e r i o d , b u t none of the i m p o r t a n c e of these t w o . 1 1
Readers w i l l hardly have begun The Restoration before e n c o u n t e r i n g a t o n e
or manner like t h a t o f t h e stern schoolmaster w h o rewards infractions o f the
rules or inept performance w i t h a sharp rap on the knuckles. Schweidler
reserves his strongest w o r d s , however, for those b u m b l i n g entrepreneurs w h o
carry on restoration as a sideline b u t have neither the skill nor t h e experience
t o see t h a t t h e y are causing more harm than g o o d . This has always been t h e
lament o f seasoned practitioners w h o recognize t h a t j u d g m e n t and experience
are precious, hard-earned c o m m o d i t i e s . Warnings and notices o f caution are
c o m m o n t h r o u g h o u t the book, as the a u t h o r tries t o reconcile his desire t o
c o m m u n i c a t e w i t h t h e fear t h a t his w o r d s w i l l simply give courage t o the
unskilled and t h e r e b y p r o m o t e damage. Sometimes, however, one may w o n d e r
w h e t h e r a w a r n i n g is a c o n v e n i e n t means o f avoiding a c o m p l e t e explanation,
or perhaps a t e c h n i q u e t o avoid confessing his o w n lack o f k n o w l e d g e .
Schweidler cautions against treating stains in colored prints unless the restorer
has the necessary expertise, y e t he is reticent t o explain w h a t constitutes such
expertise or h o w one can attain it. W o r k on prints colored w i t h gouache is
m e n t i o n e d , b u t rather than describe t h e relevant techniques, Schweidler
observes only t h a t this requires great skill.
The fear t h a t c o m m u n i c a t i o n a b o u t m e t h o d s may spawn dangerous ama
teurs still exists a m o n g today's conservators, b u t the balance has s w u n g away
f r o m secrecy t o w a r d open c o m m u n i c a t i o n . In this regard t h e act o f w r i t i n g his
book is evidence t h a t Schweidler is a m o n g those w h o hold a m o d e r n c o m m i t
m e n t t o p r o m o t i n g k n o w l e d g e and i n f o r m a t i o n , t h o u g h he is sometimes cagey.
He held t h e c o n v i c t i o n t h a t only t h r o u g h fuller c o m m u n i c a t i o n could t h e

destruction of art objects in t h e name of restoration be curtailed. "It is high
t i m e t h a t these offenses are discussed openly so t h a t s o m e t h i n g can be d o n e
a b o u t t h e m , " he writes (p. 3 6 ) . He describes t a k i n g a colored print (albeit one
o f little value) t o a glazier's s h o p 1 2

and arranges t o w a t c h the p r o p r i e t o r subject
it t o a t r e a t m e n t t h a t is ultimately disastrous. Schweidler t h e n announces his
i d e n t i t y and revels in t h e chagrin o f the merchant. Here w e see the crusader
and stern schoolmaster, as well as a smug, o b n o x i o u s egotist. Those w h o share
his disapproval o f those w h o damage artworks t h r o u g h their i n c o m p e t e n c e may
derive at least a little vicarious pleasure f r o m this story, b u t his m e t h o d is cer
tainly heavy-handed. Schweidler professes, however, t o use the same yardstick
t o measure his o w n performance, and it is this a t t i t u d e t o w a r d the demands o f
his w o r k t h a t is interesting and even inspiring.
A recurrent image t h r o u g h o u t the book is the restorer as physician.
Schweidler often refers t o pictures as "patients," insists t h a t pictures should
"recuperate" after t r e a t m e n t , and indicates t h a t removal o f certain problems
requires "surgery." M o l d stains are regarded as t h e o u t w a r d manifestation
o f a "contagious illness" of the paper. He even refers t o the "skin" and " b o d y "
or "flesh" o f a sheet o f paper. This image is related t o h o w he views t h e m e a n
ing of "restoration." "In our field one may n o t create the new, but brings the
old into order" (p. 138). Though these w o r d s sound s o m e w h a t a w k w a r d in
English, t h e i r meaning is clear. The restorer is t h e healer, the physician. His
goal is t h a t the patient should be g o o d as new, w i t h o u t evidence t h a t he was
ever ill.
A laudable goal in medicine, it sounds equally g o o d w h e n applied t o
restoration. Yet art objects, unlike h u m a n beings, do n o t have inherent powers
o f recuperation t o assist t h e efforts o f the "doctor." Should w e try t o make t h e
object look j u s t as it did w h e n it left the artist's hand? If not, h o w m u c h evi
dence o f age or disfigurement can w e accept? Should w e try t o carry a treat
m e n t t o t h e extent t h a t no one can easily tell t h a t damage has occurred?
Should w e reconstruct missing parts t o replicate the losses convincingly, or
should the v i e w e r be a l l o w e d t o perceive, h o w e v e r subtly, these deficiencies in
t h e original? These are some o f the most perplexing and endlessly fascinating
questions t h a t arise in t h e t r e a t m e n t o f art objects. O p i n i o n s a b o u t goals and
techniques f o r treating artworks vary w i t h t i m e and w i t h regard t o the specific

object under discussion. 13
Some o f Schweidler's o w n attitudes t o w a r d these issues can be gleaned
f r o m his remarks: "A cleaned print should under no circumstances look as if it
had been t r e a t e d . . . .The character, t o n e and w a r m t h o f t h e p r i n t have t o be
preserved at all costs" (p. 109). Yet elsewhere he observes t h a t if a p r i n t loses
its vividness in baths, " n o t h i n g is t o be d o n e b u t t o restore t h e beautiful and
pristine appearance by skillfully r e t o u c h i n g " (p. 9 4 ) . Even if replacing c o l o r i n g
lost as a result o f a t r e a t m e n t could be d o n e so well t h a t it makes the p r i n t
look as if it were n o t t r e a t e d , the fact is inescapable t h a t some o f t h e original
c o l o r i n g has been lost.
Here w e come up against a central p r o b l e m in conservation. W h a t if
achieving a specific goal requires compromises: the stain can be r e m o v e d , b u t
a color m i g h t change, an ink m i g h t be diminished in intensity o r — e v e n more
s u b t l y — t h e strength or aging properties o f the paper m i g h t be adversely affect
ed? It seems t o me t h a t in t h e past f e w decades, there is more willingness on
the part o f conservators, curators, and collectors t o articulate the real c o m p r o
mises and risks o f treatments at t h e same t i m e t h a t t h e benefits are considered.
Surely w e w o u l d agree t h a t having t o make such choices is one o f t h e reasons
t h e field o f conservation can be so d e m a n d i n g . One o f t h e major achievements
in t h e field o f conservation in t h e past several decades is t h a t w e have begun
t o realize t h a t certain procedures may result in i m p r o v e m e n t s in the appearance
o f an a r t w o r k b u t may p r o m o t e deterioration in the f u t u r e . The use o f t h e t e r m
"conservation" is itself a manifestation o f this awareness because it includes the
meaning o f t h e older t e r m "restoration" — d e n o t i n g action taken t o ameliorate
damage or d i s f i g u r e m e n t — a n d also the need t o ensure preservation o f t h e
object, w h e t h e r or n o t there is any a t t e m p t t o i m p r o v e its o u t w a r d appearance.
M a k i n g i n f o r m e d decisions t h a t skirt disaster, c o n t r o l risks, and ultimately meet
t h e requirements o f b o t h preservation and aesthetics is a source o f deep satis
faction f o r everyone involved, conservator and curator alike.
Schweidler often seems t o the m o d e r n reader t o go t o o far in carrying o u t
a desire t o make a treated object look untreated. Should one, as Schweidler
suggests, refold a letter after t r e a t m e n t so t h a t it looks as if it had n o t been
treated? Should a book be dried such t h a t the pages are caused t o buckle in the
way t h a t old books s o m e t i m e do? If t h e plate mark on a p r i n t no longer seems

t o stand in relief, should it be re-created w i t h the p o i n t of an appropriate tool?
Or are these steps g o i n g beyond w h a t is required and into a realm w h e r e
d e c e p t i o n is t h e goal? All conservators take pleasure in being able t o carry o u t
a t r e a t m e n t in such a way t h a t the v i e w e r cannot detect it. There is magic in
making a w h o l e o u t of the parts. Schweidler w o u l d have been c o m f o r t a b l e
w i t h the image o f the restorer as a magician w h o is capable o f c o n j u r i n g up
t h e desired appearance. But w h a t a b o u t the magician's audience? W i l l it simply
acquiesce t o the d e c e p t i o n , or w i l l it cry "Fraud"? Or are the effects o f such
magic likely t o c o m p r o m i s e another goal, t h a t of l o n g - t e r m preservation?
Even if t h e question is limited t o w h a t is permissible for t h e sake of visual
effect, w h e r e does one draw t h e line b e t w e e n skillful repair and deception? Is
the issue o f d e c e p t i o n inherent in the nature of the repair, or are there o t h e r
factors t h a t must be considered? Schweidler was aware t h a t a skillful repair had
t h e potential t o deceive and professed concern t o avoid deceit. In one instance,
he cautions t h a t in t h e repair o f stamps any additions have t o be minor, or one
runs the risk of being considered a forger (p. 199). Elsewhere, in c o n j u n c t i o n
w i t h d o i n g r e t o u c h i n g after adding a margin, he says t h a t even if one carries o u t
the r e t o u c h i n g o f t h e f r o n t w i t h great care and delicacy, "you are still far f r o m
having achieved a d e c e p t i o n . The back w i l l betray the added margin" (p. 123). In
o t h e r w o r d s , one cannot be accused o f forgery if by merely l o o k i n g at the back
one can easily d e t e r m i n e w h a t has been a d d e d . .
Having been f o o l e d by a d'eceptive repair—that is, discovering t h a t a p r i n t
has been "Schweidlerized" —is frustrating, especially if t h e price paid was t h a t
for an o b j e c t in perfect c o n d i t i o n . But if one day an a r t w o r k one owns sustains
damage t h r o u g h an accident, one w o u l d surely w a n t t o make the evidence o f
t h e damage as invisible as possible, provided t h a t the l o n g - t e r m effects on t h e
object were n o t adverse. In this hypothetical circumstance, w o u l d one insist
t h a t the repair be d o n e in such a way as t o reveal its presence? Or w o u l d one
prefer t h a t t h e repair look virtually perfect and p u t the burden o f honesty a b o u t
its presence on t h e w r i t t e n and photographic d o c u m e n t a t i o n t h a t ethical c o n
servators n o w routinely provide? The idea o f a self-revealing repair is t h e basis
o f t h e t e c h n i q u e called "trateggio," in w h i c h t h e visual characteristics of the
r e t o u c h i n g are designed specifically t o give discrete indications o f w h e r e por
tions o f a painting have been lost. D e p e n d i n g on the nature o f a loss and the
a r t w o r k itself, however, this approach may be u n a c c e p t a b l e . 14
I still marvel at h o w g o o d the M u s e u m o f Fine Art's (MFA's) impression
o f t h e Housebook Master print looks (see A p p e n d i x , fig. A.7). A n d neither I
nor, I am sure, the curator w o u l d be likely ever t o propose t h a t the repairs be
removed only because they are deceptive. Deceptive t o w h o m ? The visitor t o
t h e MFA? This complicates t h e discussion s o m e w h a t , in t h a t one could argue
t h a t by n o t telling t h e visitor t h a t t h e art object he or she is v i e w i n g is n o t as
perfect as it looks, a museum is being deceitful. To this one m i g h t c o u n t e r t h a t
it is a d u t y o f a museum t o present its objects so t h a t the v i e w e r is able t o per
ceive t h e m in a way t h a t best conveys w h a t the artist was t r y i n g t o say and t h a t
d r a w i n g a t t e n t i o n t o its flaws is like c l u t t e r i n g the page o f a novel w i t h endless
f o o t n o t e s . To push this analogy further, perhaps one could say t h a t t h e repairs
should be like endnotes; t h e y are there t o be f o u n d as a matter o f record b u t
do n o t stand in t h e way of the main text.
Perhaps in the end it is n o t a p r o b l e m t h a t a repair was d o n e so w e l l as t o
be almost undetectable b u t rather t h a t there was no disclosure o f this fact.
W h e n I first began my training in paper conservation, auction catalogs rarely
m e n t i o n e d any c o n d i t i o n problems, b u t t h e y gradually began t o i n t r o d u c e
phrases such as "skillfully repaired tear at l o w e r left" or "a small loss at right has
been beautifully repaired." O n balance, a virtually undetectable repair can
indeed be a g o o d goal o f a conservation t r e a t m e n t , provided t h a t its presence is
appropriately d o c u m e n t e d . Having said this, discussion o f the benefits and dis
advantages o f a theoretical repair has t o lead t o practical issues. Is it acceptable,
for the sake of an excellent repair, t o scrape away some o f t h e fibers o f t h e o r i g
inal, as required in Schweidler's m e t h o d ? Or w o u l d some o t h e r approach (paper
pulp, Japanese tissue, etc.) be g o o d enough for this specific a r t w o r k ? H o w w i l l
the t e c h n i q u e and material used be likely t o age? A n d h o w m u c h is one w i l l i n g
t o do t o t h e original solely for the purpose o f repairing a defect? A t times t h e
forces o f the marketplace have required t h a t everything necessary be d o n e t o
create t h e illusion t h a t a print was in perfect c o n d i t i o n : a tear in t h e sky of a
Rembrandt landscape w o u l d be repaired by r e m o v i n g all o f t h e sky and splicing
in a n o t h e r sheet o f paper (see A p p e n d i x , pp. 2 3 0 - 3 1 and note 5). I w o u l d hope
w e never see those days again: respect for t h e integrity o f a w o r k o f art
is reflected in today's conservation principles and practices by emphasis on

preserving as m u c h as possible o f t h e original material o f the a r t w o r k .
Clearly this b o o k raises many philosophical and practical issues; b u t t o
return t o t h e b o o k itself, if one had t o identify t h e most i m p o r t a n t aspect,
surely it w o u l d be Schweidler's explication o f t h e subject o f structural repair o f
w o r k s on paper. It was this t e c h n i q u e for w h i c h he and, especially, his brother,
Carl (from w h o m M a x probably learned the t e c h n i q u e ) , became best k n o w n .
I k n o w of no o t h e r a u t h o r before Schweidler w h o had such an understanding
o f t h e t e c h n i q u e o f chamfered repairs. 15
Schweidler indicates the i m p o r t a n c e
of this t o p i c by i n t r o d u c i n g t h e subject w i t h the heading, "Actual M e n d i n g or
True Restoration" (pp. 1 0 9 - 2 2 ) . He is obviously fascinated w i t h the magical
effect achieved w h e n a damaged sheet of paper once again appears w h o l e .
To emphasize t h e d e m a n d i n g nature o f the process of m e n d i n g , he admonishes
the reader t h a t one must practice for many long hours before u n d e r t a k i n g
repair o f an object o f value and t h a t one must be in the best o f m o o d s before
proceeding w i t h the w o r k . His a t t i t u d e t o w a r d the w o r k — h i s stringent require
ments o f absolute cleanliness and extreme delicacy in t h e use of tools — m i g h t
seem in keeping w i t h a t e x t b o o k on surgery and w i l l probably find a sympa
thetic response a m o n g paper conservators today.
In describing t h e process o f m e n d i n g , Schweidler offers a n u m b e r o f observa
tions a b o u t paper t h a t are still valid and are an indication o f his familiarity w i t h
its properties. For example, he distinguishes b e t w e e n t h e color o f paper as seen
in reflected light and its color as seen w h e n t h e sheet is held against t h e light
(p. 110). Two papers may look quite similar under one kind o f lighting b u t may
appear radically different under another, and t h e implications o f this difference
for t h e repair o f paper cannot be ignored.
The specific m e t h o d o f repair advocated by Schweidler is sometimes
referred t o as t h e " c h a m f e r e d " or "inlay" repair t e c h n i q u e , b u t there seems t o
be no standard phrase. Schweidler simply uses t h e w o r d repair. The basic
process is w e l l k n o w n and requires t h e shaving d o w n o f t h e back of t h e picture
a r o u n d t h e edges o f the loss or tear. Typically t h e shaving begins t w o or three
millimeters f r o m the edge o f t h e tear or hole. As one approaches the edge, t h e
paper is shaved d o w n m o r e and more until finally, at t h e edge itself, the t h i c k
ness is reduced t o scarcely one layer o f fibers. After selecting a piece o f paper
t h a t is as much like the original as possible and c u t t i n g it t o t h e required size
and shape, t h e m e n d is fashioned by shaving d o w n its edges in such a w a y t h a t
w h e r e v e r the original is thickest, the m e n d is thinnest, and w h e r e v e r has been
shaved d o w n t o only a f e w fibers, the m e n d is n o t t h i n n e d at all. In theory,
w h e n the m e n d is pasted into position, t h e c o m b i n e d thicknesses o f t h e origi
nal and t h e m e n d w i l l t h e n be perfectly u n i f o r m and hence t h e repair w i l l be
unnoticeable, even w h e n the sheet is held against the light.
Theory is one t h i n g ; practice, another. Schweidler describes some o f t h e
obstacles t h a t m i g h t t h w a r t efforts t o achieve a satisfactory repair. There may be
shiny places along t h e perimeter of the repair. Buckling o f either t h e original or
the m e n d , or b o t h , may occur. The reflectance, gloss, or texture o f a m e n d may
differ f r o m the original. Traces o f dirt along a tear may be unnoticeable until
after t h e repair has been c o m p l e t e d . Obviously, the patience, dexterity, and
attentiveness o f a w a t c h m a k e r are essential for this kind o f w o r k .
Also necessary is ah e n o r m o u s supply o f papers o f every p e r i o d , color,
texture, and c o n d i t i o n . Partly because of this d a u n t i n g requirement, many c o n
servators t o d a y t e n d t o rely more on the use o f paper pulp w h e n filling losses,
or t o use Japanese papers t o reinforce a tear. A n o t h e r obstacle, however, is t h e
ethical consideration of w h e t h e r it is permissible t o remove any part o f the o r i g
inal at all in order t o effect a repair t h a t is virtually unnoticeable. Still another
o b j e c t i o n m i g h t be t h a t it can be difficult, if n o t impossible, t o predict h o w a
specific repair.paper is likely t o age in comparison w i t h the original. Some years
ago, I saw a M e r y o n p r i n t on pale blue-green paper t h a t had a fairly large
chamfered repair. The repair was n o w a cream color and i m m e d i a t e l y stood
o u t . Surely t h e person w h o selected t h e paper years ago was careful t o select a
closely m a t c h i n g color before e x p e n d i n g the a m o u n t o f t i m e and care required
t o effect t h e repair.
There are other procedures interspersed in the text t h a t are likely t o raise
some eyebrows. For example, a long section concerns h o w t o create false plate
marks and false margins. The description o f h o w t o split a banknote may give
pause t o an agent o f the United States Treasury, b u t t h e agent's alarm w i l l be
matched by t h e p r i n t lover w h o encounters t h e suggestion t h a t one could also
split a p r i n t t o use it as a l a m p s h a d e ! 16
The reader w h o is schooled principally in restoration traditions published

in English may discover certain practices or techniques t h a t are unfamiliar,
although most are less unsettling than those j u s t m e n t i o n e d . A f e w w i l l be
m e n t i o n e d here, b u t space does n o t a l l o w c o m p l e t e discussion of their possible
harm or benefit. The i n t e n t is t o let the b o o k stand on its o w n as a d o c u m e n t
in t h e history of conservation and as a source book on w h a t m i g h t have been
d o n e over t h e years t o prints, drawings, and books. Baths of w i n e vinegar are
often m e n t i o n e d as a remedy for stains or overall discoloration and as an " a n t i
d o t e " for chlorinated bleach. A solution o f a l u m i n u m subacetate ("essigsaure
Tonerde") is suggested as a means o f p r o t e c t i n g pastel pictures ( w h e n sprayed
on t h e back o f t h e picture) against recurrence o f m o l d g r o w t h and as an a d d i
tive t o gelatin sizing applied prior t o retouching. Sunlight is suggested for t h e
bleaching o f discoloration or stains, and although Schweidler considers t h e
m e t h o d quite satisfactory, he observes t h a t the lack o f constant availability o f
sunlight is an obvious disadvantage. 17

Use o f sunlight and artificial light t o
reduce stains has recently attracted a t t e n t i o n in this country, and therefore
Schweidler's reference is interesting (see Keyes 1 9 8 4 : 1 0 0 - 1 0 4 ; Van der Reyden
1988:73-106).
O t h e r materials used by Schweidler w i l l be familiar t o today's practitioners,
t h o u g h t h e details or conditions o f t h e i r use w i l l likely be different. Both h y d r o
gen peroxide and calcium h y p o c h l o r i t e are e m p l o y e d for removal o f a variety
o f stains. A material t h a t is no longer as familiar is so-called bleaching s o d a . 18
Initially I assumed t h a t this must simply be a n o t h e r c o m m o n name for calcium
h y p o c h l o r i t e , in large part because in directions for using "bleaching soda" (as
on p. 55) it is clear t h a t this is a dry material, like a powder. Thus one m i g h t
assume, as I d i d , t h a t "bleaching soda" is the same as "bleaching powder," t h a t
is, calcium h y p o c h l o r i t e . (The confusion is heightened by Schweidler's occa
sional use o f t h e w o r d bleach as shorthand for bleaching soda; e.g., p. 102.)
In fact, bleaching soda is a mixture o f s o d i u m carbonate and "water glass"
(sodium or potassium silicate). 19

Schweidler is certainly quite aware t h a t papers,
inks, and o t h e r media can be adversely affected, even destroyed by such sub
stances. He f r e q u e n t l y cautions a b o u t the danger t h a t chemicals present t o
colored prints. A t one p o i n t he suggests t h a t it m i g h t be a g o o d idea t o have
a second copy o f the p r i n t on hand, j u s t in case (p. 75). A n d although he sug
gests certain "harmless cleaning agents" (p. 3 8 ) , he cautions t h a t even a " g o o d ,

familiar h o m e remedy" can be remarkably p o w e r f u l (p. 5 6 ) .
N o t a b l e for their absence are references t o m e t h o d s f o r r e m o v i n g stains
caused by pressure-sensitive tapes, synthetic adhesives, and o t h e r products o f
o u r m o d e r n era. Similarly, there is no substantial discussion o f t h e deterioration
caused by acidity or g r o u n d w o o d pulp papers and boards, w i t h w h i c h w e are
all t o o familiar today. In reading this book one m i g h t justifiably become a little
nostalgic for an age in w h i c h many of t h e materials e n c o u n t e r e d .now had either
yet t o be invented or were n o t yet recognized as injurious.
Some o f t h e i n f o r m a t i o n presented is useful t o keep in m i n d w h e n e x a m i n
ing a w o r k o f art on paper. For example, one o f the first clues t o t h e presence
of a skillful repair is an unexplained buckling o f t h e paper. As Schweidler
observes, 20
buckling of a repair can be a p r o b l e m for t h e restorer, b u t as an aid
in d e t e c t i n g repairs such buckling can be i m p o r t a n t evidence. Gentle, overall
buckling is, o f course, a c o m m o n and normal feature of any sheet of paper, and
on occasion residues o f adhesive may cause localized cockling or d i s t o r t i o n ;
however, w h e n t h e buckling seems more p r o n o u n c e d in certain areas, or if t h e
area o f buckling seems t o have a discernible contour, close examination is in
order. Light f r o m a small, high-intensity lamp directed at a very shallow angle
across t h e surface of t h e paper—"raking light" —is an invaluable aid f o r this
purpose. 21
Similarly, unexpected change in the surface texture —considered by
Schweidler a defect in t h e repair—may indicate the presence o f a m e n d . It is
n o t unusual for t h e perimeter o f a m e n d t o be s m o o t h e r than either t h e sur
r o u n d i n g paper or the m e n d i n g paper. This loss o f t e x t u r e is due t o t h e bur
nishing caused by pressure o f t h e knife edge used t o shave d o w n t h e paper.
M o r e o v e r , the texture o f the paper selected f o r the m e n d may differ subtly
f r o m t h a t of t h e original. I l l u m i n a t i o n alternately under raking light and
reflected light is helpful for discovering these textural differences. Incidentally,
Schweidler's description o f h o w t o create w i r e lines in paper w h e r e there are
none, a n d , by extension, false watermarks, may be disconcerting, b u t I should
p o i n t o u t t h a t so far o n l y t w o instances o f a false w a t e r m a r k have been f o u n d
in t h e collection o f t h e M F A (see A p p e n d i x , discussion of Urs Graf and
Schongauer). It is possible t h a t this practice may be rather u n c o m m o n , given
t h a t it involves scraping away paper fibers and t h a t t h e scraping can be detected
w i t h l o w - p o w e r magnification.
Schweidler describes a process for stretching prints in order t o flatten t h e m
after t h e y have been repaired, t o dry t h e m after various aqueous treatments,
and t o m o u n t t h e m on a s u p p o r t prior t o framing. This t e c h n i q u e involves, first,
attaching n a r r o w strips o f paper t o all edges on t h e back o f a print. Then, w h i l e
the p r i n t is slightly d a m p f r o m t r e a t m e n t , these strips are attached t o a rigid
support, and t h e print is a l l o w e d t o dry. As t h e p r i n t dries, it tends b o t h t o c o n
tract and t o stretch s o m e w h a t , b e c o m i n g flatter in t h e process. It is n o t surpris
ing, t h e r e f o r e , t h a t t h e precise dimensions o f prints often differ from impression
t o impression, a l t h o u g h some variation in size may also occur because o f varia
tions in p r i n t i n g pressure, differences in the moisture c o n t e n t o f t h e paper at
t h e t i m e o f p r i n t i n g , and other factors peculiar t o t h e p r i n t i n g process. This
stretching procedure may also explain w h y n a r r o w remnants o f paper are s o m e
times f o u n d on t h e edges of the back o f a print.
Schweidler's b o o k is likely t o stimulate a variety o f reactions, including a n t i
quarian curiosity, fascination, respect, surprise, and, occasionally, astonishment.
It deserves consideration as a d o c u m e n t t h a t grew o u t of a period w h e n it was
b e c o m i n g more w i d e l y u n d e r s t o o d t h a t those w h o a t t e m p t t o treat problems
associated w i t h w o r k s o f art must accept broader responsibilities t h a n in t h e
past. Conservation, as opposed t o t h e narrower concept o f restoration, soon
became useful as a t e r m t o convey these w i d e r concerns. Schweidler indicates
t h a t records o f treatments should be kept. He stresses t h a t those w h o w o u l d
like t o w o r k in this field shduld first acquire proper training and n o t regard such
w o r k as a mere sideline. Furthermore, he asserts t h a t it is i m p o r t a n t , t h r o u g h
one's w o r k , t o save an art object, n o t j u s t for decades, b u t for t h e f u t u r e . The
b o o k is evidence in itself o f an i m p o r t a n t n e w a t t i t u d e — t h a t t r e a t m e n t o f art
w o r k s is t o o i m p o r t a n t t o practice in secrecy and t h a t open c o m m u n i c a t i o n
is essential.
F u r t h e r m o r e , there are o t h e r aspects o f his b o o k t h a t are distinctly m o d
ern and in accord w i t h current practice. Though it seems sometimes as if he
assumes t h a t simply because a material is used in t h e h o m e , its harmlessness is
ensured (e.g., pp. 3 8 , 5 6 ) , at o t h e r times he is aware t h a t some materials may
indeed be h a r m f u l . He r e c o m m e n d s testing inks and o t h e r media in advance o f
t r e a t m e n t t o d e t e r m i n e t h e i r solubility and assess the risks o f aqueous treat
m e n t (pp. 81, 9 4 , 146). A n d a l t h o u g h one can o b j e c t t o d a y t o his having carried

o u t more extensive restoration or reconstruction of a p r i n t than necessary in
order t o achieve the illusion t h a t n o t h i n g was d o n e t o it, he also stresses t h a t
bleaching may not be necessary and t h a t a simple w a t e r bath (although usually
c o n t a i n i n g vinegar) may be sufficient t o achieve desired results (see the section
"Brightening and Cleaning," pp. 5 1 - 5 7 ) .
The second e d i t i o n was used in this translation because it a m p l i f i e d , clari
fied, and illustrated topics t h a t were only t o u c h e d on or were ignored in t h e
first e d i t i o n . In the initial stages o f w o r k , accuracy o f translation was the goal,
b u t having d o n e that, it became clear t h a t most readers w o u l d find t h e results
much t o o tedious and stilted. In subsequent stages, t h e approach has been t o
try t o enhance t h e readability o f t h e text w h i l e n o t d i s t o r t i n g or c o r r u p t i n g the
i n f o r m a t i o n it contains. Nevertheless, the c o m b i n a t i o n of technical details and
Schweidler's pedantic tendencies are hard t o ignore. T h r o u g h o u t t h e t i m e I
have w o r k e d on this book, I have tried t o r e m e m b e r t o treat it as a d o c u m e n t
in its o w n right, w i t h o u t g e t t i n g bogged d o w n in passing j u d g m e n t on specific
m e t h o d s , although f r o m t i m e t o t i m e I have added notes either t o clarify c o n
fusing passages or t o provide useful, relevant i n f o r m a t i o n n o t contained in t h e
original. I hope t h a t additional historically interesting w o r k s in o t h e r languages
w i l l eventually be b r o u g h t t o readers of English. In particular, I hope t h a t some
one w i l l undertake the task of translating B o n n a r d o t . 22

It w o u l d be fascinating
t o have a closer look at the practice of print restoration in the m i d - n i n e t e e n t h
century. There is a g r o w i n g interest in the history o f this field, and there are
several articles t h a t w o u l d be of interest t o those w h o wish t o pursue this
f u r t h e r (Clarke 2 0 0 1 : 4 9 - 5 5 ; D o n n i t h o r n e 1 9 8 8 : 1 6 - 2 5 ; Kosek 1 9 9 4 : 4 1 - 5 0 ;
Stevenson 1 9 9 0 : 4 2 0 - 2 4 ; 1995:111-25; Walsh 2 0 0 0 : 3 8 3 - 9 0 ) .

NOTES His fees were based on the amount of
work he had done and not on the increased
value of the graphic once the yellow or spotty

1 I am grateful to Jane MacAusland for having piece of paper had gone through his hands.
given me a copy of the f o l l o w i n g obituary His extraordinary character, his loyalty, and
w h i c h , according to Regula Schweidler, was his ability to remain silent were tested during
printed in the Frankfurter Allgemeine Zeitung, the war when he did not declare the graphics
February 7, 1962. The obituary was w r i t t e n by that he was entrusted with by foreign art
Erhard Goepel, a w e l l - k n o w n art historian. dealers as enemy property. He kept the art
work carefully wrapped in his basement in

Carl Schweidler was born at a time in Berlin
crates, and there it survived the bombings.
where his name was still spelled with a "C."
These graphics were valued at several hundred
His name had already become a legend in
thousand German marks.
the world of engraving while he was alive—
With the huge water containers, the
probably because publicity was not important
presses, and the shelves filled with very well
to him. In contrast to his brother who also
organized folders of old paper, his work space
restored engravings, Carl never wrote a word
in his apartment in the Flemingstrasse resem
about his craft. Even in conversation, he never
bled a laboratory. Sometimes it seemed more
mentioned a word about his small or big trade
like the chamber of an alchemist when sulfur
secrets. Schweidler learned the craft of lithog
or chlorine vapors would rise. It was facing the
raphy like Menzel from the ground up in an
commuter train track. Carl Schweidler used to
environment that is reminiscent of Glasbrenner.
cut the damaged spot of an engraving where
After he was done with his apprenticeship he
a little corner or border was to be added with
became self-employed and invented processes
an Exacto knife and hold it up against the
to clean and restore graphics. The peak of his
windowpane, so that the bright light would
career came in the 1920s when the prices for
illuminate the watermark and the texture of
old graphics at the auctions of the C. G.
the paper. Every time a train would go by
Boerner auction house in Leipzig tremendously
he would pause because the window would
increased and the buyers and collectors were
shake and continue his work once the train
therefore able to pay more for the restorations
had passed.
of the graphics. For decades he was regarded
as the best in his field. He liked to work for The walls in the living room were deco
connoisseurs, who were able to fully appre rated with works by Theodore Hosemann, who
ciate his often complicated and crafty work had also started as a lithographer and whose
as well as his sensitivity—among them Gustav dry, anecdotal humor Schweidler appreciated
Meyer, Hans Boerner, Richard Gutekunst, as much as his technically perfect paintings. In
August Klipstein, Heinrich Eisemann, Eduard the evening Carl Schweidler would sit down at
Trautscholdt. His success was based on his his piano, play, and sing songs of Berlin in his
deep artistic understanding of old graphics. high-pitched voice. He would serve his guests
While restoring works by Durer and Schongauer a cold beer. To everybody's surprise, the old
he was striving to reconstruct the brilliance of gymnast would all of a sudden do a somersault
the piece of art, and while restoring works by or stand on his hands. Even into his old age
Rembrandt he tried to recapture the richness he had a steady hand. After he had a stroke at
of the predominant colors. In his unassuming age seventy, he accepted engravings only for
manner, he used to say that the most impor cleaning. He could not live without doing
tant thing while in restoring a damaged work. He lived to be seventy-eight years old.
engraving etching was to find paper of that era His assistant and friend B. Drescher who had
that had the same characteristics as the origi emigrated to London and his son Kurt
nal. His extraordinary talent in drawing would Schweidler, who moved to Bern last year,
have put him in a place where he could have continue his craft in a virtuoso style.
done remarkable work on heavily damaged 2 Private correspondence f r o m Regula
sheets—but he knew not to exceed the ethical Schweidler, via Olivier Masson. I understand
limits in his work as a restorer. He always had that Kurt and his son were encouraged, and
a folder at hand where he kept the leaves that perhaps aided, to come to Switzerland by
he had refused to restore because too much of Kornfeld and Klipstein, dealers in fine prints.
the original had been lost. [Private correspondence f r o m Joachim Gaehde.]

3 The postcard says, "Based on a number of 1912-14 [age 2 7 - 2 9 ]

inquiries, I w o u l d like t o draw your attention a dealer (presumably in art)
t o the fact that I am not the author of the 1914-18 [age 2 3 - 2 9 ]
soon to be published book, Die Instandsetzung military service
von Kupferstichen, usw. Carl Schweidler." Carl 1919-27 [age 3 4 - 4 0 ]
underlined his o w n first name and also gives dealer, maker of silhouettes, and painter
his address as follows: Berlin N W 4 0 , of landscape views
Flemingstrasse 11. 1 9 2 7 - 3 8 [age 4 2 - 5 3 ]
a restorer "at my [Carl's] instigation,"

4 Because Carl's notes are in the 1938 edition
dealer, party member, and p o e t - w r i t e r
and because there are instances in w h i c h the
"as his main profession"
text has changed or is no longer present in the
1950 edition (the one presented here in trans Carl states that he did restoration w o r k for
lation), there is no way t o reproduce a f e w of Max f r o m 1919 t o 1927 and that it was he, not
these notes w h e n there is no corresponding Max, w h o was d o i n g restoration w o r k during
text. On the w h o l e , however, only a few notes that period. He also notes that he handed over
had t o be o m i t t e d . One such note, at the to Max more than 6,100 marks' w o r t h (more
beginning of the book, relates to a statement than $19,000 w o r t h , in 2002 U.S. dollars) of
that was no d o u b t especially infuriating t o Carl. "restoration w o r k for w h i c h / [Carl] was respon
Max says that f o l l o w i n g service in the military, sible." Perhaps Carl is trying to make clear that
it was he w h o introduced his brother (Carl) to it was only through him that Max received
the business of restoration, "considering that he commissions for restoration. Perhaps he is also
was suited [to the profession]." In a marginal trying to suggest that giving over t o Max such
note, Carl states, "I cannot say that about remunerative restoration projects was an act
'Uncle Max.'" In the margin at the b o t t o m of of generosity.
this same page, Carl writes, "A person is suited
6 See translation, note 84.
t o become a restorer of antique prints w h e n he
possesses craftsmanship and a broad knowledge 7 On p. 82, Max states that oxidized lead w h i t e
of the artwork that was given over t o him in a should be treated w i t h either citric acid or
trusting manner." Clearly Carl felt that Max was hydrochloric acid. Carl made an emphatic note
not such an individual. in his copy of Max's book that this is w r o n g ,
and indeed Carl is correct in saying that dilute

5 On page 2 of the copy he had been given of
hydrogen peroxide is the appropriate material
the 1938 e d i t i o n , Carl w r o t e a chronological
to use.
outline of his brother Max's life. The obvious
impetus must have been Max's allusion on 8 See Walsh 2 0 0 0 : 3 8 3 - 9 0 for an interesting dis
that page t o his "more than t h i r t y years of cussion of examples of this practice that she has
experience," and this chronology was Carl's f o u n d in the collection of the National Gallery,
demonstration that this claim was false. In the Washington, D . C , and on related historical
1950 e d i t i o n , Max alludes t o his experience information.
indirectly, referring sometimes to his "years

9 For more on earlier manuals and books on
of experience," and elsewhere (p. 89) says that
t r e a t m e n t of prints, see Stevenson 1995:111-25.
he had "been using hydrogen peroxide for
about t h i r t y years." On another page (p. 204), 10 Alfred Bonnardot ( 1 8 0 8 - 8 4 ) published a
he says, " M y friends have a great advantage: limited edition of his book, Essai sur la restaura-
I have revealed to t h e m the experiences of tion des anciennes estampes et des livres rares,
my fifty years of professional life." Carl's brief in 1846. A revised edition was published as
chronology of Max's life is as follows: Essai sur I'art de restaurer les estampes et les
livres in 1858, and a German translation f o l

1885
lowed in 1859 (Stevenson 1995:117).
born
1 9 0 4 - 6 [age 19-21] 11 A m o n g the f e w that come most readily to mind
military service are Beaufort 1927; Gunn 1911; Scott 1921, 1923,
1907-11 [age 2 2 - 2 6 ] 1926; and Buck 1918.
w i t h Carl ("was also barkeeper at the

12 See glossary.
Cafe Streng")
13 For a fascinating discussion of such opinions as
they apply t o sculpture, see Podany 1994.

E D I T O R ' S I N T R O D U C T I O N
V
14 One might achieve a "pure" means of repair 22 Our librarian at the MFA informed me that
that in no way could be confused w i t h the orig an English translation was done in 1932 as a
inal, only t o find that the materials employed thesis (Ann Arbor, M i c h . ) , but this is not avail
are aesthetically so alien that the result is self- able except by requesting photocopies of
defeating. See Podany 1994. On the use of selected pages.
"trateggio," see Hoeniger 1999.
15 In a survey of historical approaches to treat
m e n t of works on paper, D o n n i t h o r n e (1988)
remarks that there seems t o be less d o c u m e n
tary information available on the subject of
repair than on any other aspect of treatment.
M o s t writers seem to be satisfied w i t h suggest
ing that repairs of holes should be made by
c u t t i n g similar paper to fit or, if part o f an
image were missing, by using an appropriate
p o r t i o n o f another print. Overall, "the preferred
m e t h o d of repair was to apply an overall sec
ondary support (backing or lining)" ( D o n n i
t h o r n e 1988:19).
16 As astonishing as this is t o print lovers today,
in some respects this could be viewed as an
extension of one o f the long-standing functions
of prints as decorative objects. Prints have been
used, for example, as the basis for a poor man's
"reverse glass painting" (Hinterglasmalerei), in
w h i c h one affixes a print t o the reverse of a
glass pane in a clock case, thins it d o w n by
removing much of the paper fibers so as to see
the design, and then finally paints the back
w i t h oil paint t o provide color, w h i c h can be
seen f r o m the f r o n t side through the glass. M y
favorite and perhaps the most breathtaking
examples of the decorative uses of prints are
the "Print Rooms" of eighteenth-century
England, in w h i c h prints (having had their mar
gins removed) were glued o n t o the painted
walls of a sitting r o o m in a country house, such
as at Uppark and Calke Abbey (see National
Trust 1995:76; Gore 1991:97; Colvin 1985:55).
I am grateful t o Curt DiCamillo for directing
me t o these examples.
17 See pp. 67 and 163 and note 55 in the trans
lated text.
18 See glossary.
19 See glossary.
20 See the section, "Actual M e n d i n g or True
Restoration," pp. 1 0 9 - 2 2 , below.
21 See, for example, the discussion in the
Appendix about the print by Rembrandt,
Landscape with a Cottage and a Large Tree, and
the Raimondi, Massacre of the Innocents.

THE R E S T O R A T I O N OF ENGRAVINGS, DRAWINGS,
B O O K S , AND O T H E R W O R K S ON P A P E R
Past Mistakes and New Methods in the Removal of Age-related

Damage to Cultural Treasures in the Graphic Arts
DIE INSTANDSETZUNG
VON
KUPFERSTICHEN, ZEICHNUNGEN,
BtJCHERN USW.
Alte Fehler und neue Methoden bei der Beseitigung

von Altersschaden an graphischem Kulturgut
von
MAX SCHWEIDLER
Restaurator in Berlin
BUCHBINDER-VERLAG MAX HETTLER, STUTTGART 1950

Fig. i .
Copy of an engraving depicting a
papermaker (from 1680)
CONTENTS
25 Foreword to the First Edition
27 Preface to the First Edition
28 Preface to the Second Edition
29 Subject Register
33 Various Thoughts about Restorers, Their Workshops,

and Their Work
37 Studio Room and Equipment
39 The History of Paper
41 Paper Manufacture
46 How to Obtain Old Paper
48 Handling Damp Paper
51 Brightening and Cleaning
58 Removing Prints from Backings
64 When May One Work with Chlorine? (General

Observations on the Treatment of Prints and Books
with Chlorine)
66 Antidotes for Chlorine
67 Treating Black-and-White Prints with Chlorine Water
72 The Cleaning of Colored Prints
78 The Chemical Treatment of Color Prints
81 The Cleaning of Drawings
84 The Cleaning of Books
89 Hydrogen Peroxide
91 The Treatment of Various Stains
93 The Removal of Spirit Varnish

96 Starch Paste
98 Strengthening Severely Damaged Prints
99 Tinting, Color Preparation
100 Examining and Preparing the Paper
104 Splitting Paper
106 General Remarks about Paper
109 Actual Mending or True Restoration
123 The Addition of a Margin
127 The Artificial Plate Mark
130 The Stretching of Prints
137 The Stretching of Drawings on Stretchers or Strainers
138 Retouching
143 The Treatment of China Prints Mounted on

Copperplate Papers
146 The Treatment of Manuscripts
147 The Treatment of Prints on Parchment
149 The Chemical Treatment of Painted Rice Paper
151 Restoration Work on Large-Size Paper
152 Tips
156 Chats about Old and New Restorations of Books
160 The Storage and Preservation of Engravings
168 The Storage and Preservation of Books
171 Important Printmaking Techniques
196 Additional Hints for the Restorer of Postage Stamps
204 Summary
FOREWORD TO T H E FIRST EDITION
It is with special pleasure that I write a few words as a foreword to this unique profes
sional book by my friend Max Schweidler. Over a period of many years I have admired
the art of the author, much in the same way as he has quietly admired my work. We
both worked, each in his own way, toward the same goal, the protection and con
servation of works of great cultural value. Our heavy workloads long prevented us
from establishing contact with each other, though we both longed to do so. Finally,
Schweidler's intention to put down in a book his extensive knowledge and expertise in
the field of copperplate restorations brought us together. I witnessed the creation of
his book with special interest since I myself had earlier worked in the same field in
which the author has achieved unsurpassed mastery over the course of many decades.
Despairingly, I had read during all these years many articles about restoration
work, in professional books and journals, which betrayed the incredible ignorance of
their authors and a sad, general lack of knowledge about the subject, and I longed
for the moment when, finally, a real expert in the field would find the time to end
this incredible nonsense. I knew that nobody was better equipped to do so than Max
Schweidler, and consequently I was overjoyed when about two years ago he surprised
me with a voluminous manuscript and the request to look it over sometime and to give
him my opinion. It was a real pleasure for me to follow Schweidler's statements, and
it was helpful to Schweidler when I, as an expert, would ask for more extensive expla
nations here and there. Mutual visits filled with interesting discussions were very
informative for me and brought the work to its completion.
Now that Schweidler is sharing his broad knowledge with the professional world,
he will certainly receive widespread appreciation there. But appreciation will also
come from the owners and the curators of collections of copper engravings and art
prints of all kinds, since his book is exactly what is needed to prevent a great deal
of damage.
I would like to point out here — emphatically—what the author himself also men
tions in his preface, namely, that this book is not to be considered an entertaining
piece of literature but rather is to be studied carefully and attentively if the user wants
to be successful in his work.
But not even the thorough study of this book alone will be sufficient to reach the
level of expertise in the restoration of copper engraving that can only be attained by
firm, unbending willpower and constant practice.
26 R E S T O R A T I O N O F E N G R A V I N G S , B O O K S , D R A W I N G S , A N D O T H E R W O R K S ON P A P E R
Many years of hard work and numerous disappointments, which, however, never
discouraged but rather stimulated him, have brought the author to the indisputable
mastery that he to this day strives to continually expand.
Thus I wish Schweidler's book complete success, a success that will first of all
benefit the conscientious user and will culminate in the preservation of great cul
tural treasures.
DR. HUGO I B S C H E R 1
Berlin-Klein-Machnow, July igs8

P R E F A C E TO T H E FIRST EDITION
Anyone who has only a small amount of time available and thinks he might be able to
finish my book on the streetcar, or somewhere else in between other activities, is bet
ter off leaving my book alone. It will not do him any good. It is not just an entertaining
piece of literature, a pleasant chat in more or less beautiful words.
I sat down, and from years of professional experience, I recorded facts that are
supposed to be of use to those who have, in the same way as I, set themselves the goal
of preserving cultural treasures. What I have written down has to be thought over and
studied. The processes have to be clarified. Repetitions in the text cannot be skimmed
over as boring; an attempt has to be made to follow each point.
That requires leisure and the most comfortable and quiet corner in the house and
peaceful hours. I would especially like to address discerning and ambitious young
people who have recognized the weaknesses and mistakes of earlier times.
But the contents of my book should also be of assistance to adults and should pro
vide them with many kinds of insights. The special literature in this field is still so
poor, so meager, that I think my statements may be considered a somewhat enriching
contribution. Unfortunately, the authors of many treatises, with the exception of
Bonnardot in Paris, are not real experts in the field. When a subject to be described
2
and explained is known only by hearsay, then — as one knows — a lot of damage can be
done. I certainly do expect that a lot will change in this field after my book has been
read in interested circles.
Numerous illustrations will clarify several hints better than the text alone could.
I had to be rather pedantic about the details of my descriptions so that no mis
understandings would occur.
Minutely detailed explanations seemed absolutely necessary to me in order to
finally put an end to the vandalism inflicted on precious cultural treasures. Whoever
follows my instructions and advice will certainly contribute to the goal of transmitting
these treasures in the best possible condition to future generations.
I hope that I have also provided some stimulus for my colleagues. I would be
happy if my work could lead to an exchange of ideas and arouse criticism, because
both can only lead us closer to the goal.
THE AUTHOR
P R E F A C E TO T H E SECOND EDITION
In the preface to the first edition of this book, I had asked my readers to supply me
with additional material about restoration methods that had not been discussed up to
then, with the intention of making them available to the readers of future editions. Up
to this day—the first edition of my book has now been out of print for several years —
from among the numerous letters I have not found one suggestion that could show me
and my readers new ways. However, I have been asked several times — maybe not quite
rightly so — to restrain my somewhat patronizing, urgent, and pedantically repetitious
presentation and to make my book clearer by adding more illustrations.
As far as it seemed possible and useful, I have incorporated these suggestions
into the new edition. I thank my friend and publisher Max Hettler, who in spite of
major time-related problems agreed to publish this second edition. He also made it
possible to satisfy the requests for an increase in picture material by including a num
ber of new illustrations.
In addition to numerous questions about restoration problems, a great many
works have been sent to me for evaluation. I was happy to take on this often somewhat
problematic special task with the hope that I might be able to give the younger, ambi
tious and enthusiastic friends of our sparsely populated restoration profession some
encouragement.
I would like to thank everyone very much for their interest and the manifold stim
ulating ideas in their letters.
THE AUTHOR
Spring 1949
SUBJECT REGISTER
PAGE 33 VARIOUS THOUGHTS ABOUT RESTORERS, THEIR WORKSHOPS, AND

THEIR WORK
Earlier methods of treatment—Mistakes in glaziers' shops and bookbinder shops—
Instruction in trade schools —Influence of owners of color prints —Disadvantages of
alum paste —The mounting artist
PAGE 37 STUDIO ROOM AND EQUIPMENT

Furniture —Harmless cleaning agents—Tube poles —Hangers—Wood pulp
cardboard—Paper supplies
PAGE 39 THE HISTORY OF PAPER

Writing materials—Papyrus plant, papyrus—Animal skins and parchment—Paper
PAGE 41 PAPER MANUFACTURE

Manufacturers of paper—Raw materials —Pulp and vat—Forming the paper—Sizing
the surface — Sizing in the paper pulp — Couching— Stamper—Washing potcher—
Mold—Watermarks—Wire lines —Bleaching of rags —Bleaching machines
PAGE 46 HOW TO OBTAIN OLD PAPER

Visiting an antiquarian bookseller—Watermarks—Storing paper
PAGE 48 HANDLING DAMP PAPER

Obtaining valueless engravings—Yellowed and foxed papers—Engravings as
supports—Bathing a print—Removing damaged sheets from the tray—Damaged
margins—Using a tube pole
PAGE 51 BRIGHTENING AND CLEANING

Removing loose dust—Soft and hard erasers—Caution, copying-ink pencil! —The
cold bath—Submerging a sheet—Print and support on the tube pole—Small parts
of print floating off—Brightening of a water stain with slightly acidic water—Local
treatment of minor spots—Turning over a moist sheet—Removing dirt that resists
the eraser
PAGE 58 REMOVING PRINTS FROM BACKINGS

Dry cleaning—How to pour boiling water on a sheet—Removal on the tabletop—
Removal from backings—Dissolving glue and alum paste—Dissolving flour paste
with cold water—Cold paste, cold water—Warm paste, warm water—Removing
wooden strainer—Weighting down a sheet—Behavior of hard and soft paper during
removal—Removal of colored prints—Use of a glass pane—Flour paste and starch
paste as removal agents
PAGE 64 W H E N MAY ONE WORK W I T H CHLORINE? (GENERAL OBSERVATIONS

ON THE TREATMENT OF PRINTS AND BOOKS W I T H CHLORINE)
Harmful formulas — Preparation of chlorine water — Chlorine extract—Labels —
Storage
PAGE 66 ANTIDOTES FOR CHLORINE

Use of sodium hyposulfate and vinegar
PAGE 67 TREATING BLACK-AND-WHITE PRINTS W I T H CHLORINE WATER

Use only diluted chlorine water—Local treatment—Treat sheets only when moist—
Absorbent and nonabsorbent supports—Dabbing—Blending in with the
surrounding—Rinsing
PAGE 72 THE CLEANING OF COLORED PRINTS

Treatment of colored prints in the bath —Local treatment only—Immediate use of
an antidote—Glaze, tempera colors—Only treat one sheet at a time—Color sample
as model—Drawing of endangered areas—Description of colors—Ox gall as an aid—
Blotting paper—Treatment of gummed prints
PAGE 78 THE CHEMICAL TREATMENT OF COLOR PRINTS

Accumulate experience! — Use only weak agents! — Take special care with French
color prints —Each color print has sensitive colors—Treat sensitive parts later, bold
colors first! — Use antidotes undiluted—Once again, utmost caution!
PAGE 81 THE CLEANING OF DRAWINGS

Examining the drawing—Not every drawing can tolerate water—Drawings high
lighted with white —Do not use a paintbrush—Add small amounts of chlorine water—
Caution with chalk drawings! — Caution with drawings in pastel, pen-and-ink, and
watercolor!
PAGE 84 THE CLEANING OF BOOKS

Removing the binding—No chlorine baths—Local treatment the same as for engrav
ings—Strengthening the surrounding—Cleaning without unbinding—Cleaning
severely damaged books
PAGE 89 HYDROGEN PEROXIDE

Content of hydrogen peroxide solutions—Pure bath only 5 percent solution —
Hydrogen peroxide in combination with chlorine water—Treat when half-moist
PAGE 91 THE TREATMENT OF VARIOUS STAINS

Carbon tetrachloride for fresh grease spots —Bleaching soda for old oil spots —
Chlorine water for slight foxed marks and slight water stains — Chlorine extract for
severe foxed marks and severe water stains —Hydrogen peroxide for lightening—
Sorrel salt for ink writing—Hydrochloric acid combined with chlorine extract for
severe stains of any kind—In combination with bleaching soda for watercolors and
especially stubborn stains—Cleaning requires more than one procedure—After each
procedure, antidote and bath—Treat fresh grease stains on dry sheets—Moisten
sheets for all other stains —Bleaching soda affects printing! —Treatment of back side
PAGE 93 THE REMOVAL OF SPIRIT VARNISH

Cleaning while moist—Repetition of the spirit bath — Mottled patches—Shiny
patches—Removing the lining after removal of the varnish and sizing
R E S T O R A T I O N O F E N G R A V I N G S , B O O K S , D R A W I N G S , A N D O T H E R W O R K S ON P A P E R 31
PAGE 96 STARCH PASTE

Rice starch—Different preparation of paste for different uses
PAGE 98 STRENGTHENING SEVERELY DAMAGED PRINTS

Strength of sizing—Sizing on the stretching board
PAGE 99 T I N T I N G , COLOR PREPARATION

Subtle tinting—Avoiding greenish or grayish shades—Tint prints while m o i s t -
Preventing spots—Dark shades require repeated tinting—Cleaning expertly
PAGE 100 EXAMINING AND PREPARING THE PAPER

Strength of paper—Expansivity of paper—Skin or texture—English papers—Papers
without wire lines — Examining mending papers — Buckling of pasted places —
Softening hard papers—The use of bleaching soda—Gelatin and aluminum sub-
acetate—Making soft papers colorfast
PAGE 104 SPLITTING PAPER

Examing paper before splitting it
PAGE 106 GENERAL REMARKS ABOUT PAPER

Consider the upper surface — Shaving paper—Hard papers —Soft paper—Watch out
for impurities in the paper—Never stretch an engraving artificially
PAGE 109 ACTUAL MENDING OR TRUE RESTORATION

Six basic prerequisites —Paper pulp —Shaving of damaged parts —Use paper of
the same shade as the original—Tinting after repair—Utmost cleanliness—Breaklike
ridges — Shaving soft and hard papers — Shaving box—Windowpane — Implanting wire
lines —Handling the knife—Tearing the mending paper
PAGE 123 THE A D D I T I O N OF A MARGIN

Work in accordance with diagram —Consider expansivity—Marking—Shaving is the
same as for a repair—The addition of a margin to book pages
PAGE 127 THE ARTIFICIAL PLATE MARK

Examining the paper—Examining the print—Weak proofs, weak plate marks —Sharp
proofs, sharp plate marks—Soft plate marks—Use a sample proof—Observe subtle
details —Positioning the plate mark
PAGE 130 THE STRETCHING OF PRINTS

Stretch when the print is more than half-dry — Sheet has to be wavy on the stretching
support—The edges of the sheet have to be fairly dry—Watch the guards—Testing the
tension —Never dry a sheet with heat—Moisten the back of colored sheets —Distorted
plate marks —Rub creases, breaks, restored places when tension starts—Watch the
plate marks —Let restored places and plate marks dry faster—Cover surrounding with
paper or moisten again —Use hot glue —Dry sheets horizontally—Forty-eight hours
of stretching—Cool room —Removal from the stretching support—Use protective
cardboard—Let the sheet rest
PAGE 137 THE STRETCHING OF DRAWINGS ON STRETCHERS OR STRAINERS

Stretching procedure the same as on the stretching board —Rub mended places
before stretching—Use protective cardboard—Holes in the cardboard—Distortion
of the frame
32 R E S T O R A T I O N O F E N G R A V I N G S , B O O K S , D R A W I N G S , AND O T H E R W O R K S ON P A P E R
PAGE 138 RETOUCHING

Examine mended areas —Shape paintbrush —Light hand—Pen—Glass pane allows
looking through —Strengthening or diminishing retouching—Applying color half-
moist—Bleeding of color—Major retouching according to sample—The spraying
method—The pencil as retouching tool
PAGE 143 THE TREATMENT OF CHINA PRINTS MOUNTED ON COPPERPLATE

PAPERS
Work wet on wet—Thin paste — Remove blisters and creases working from the
center—Tears in China papers
PAGE 146 THE TREATMENT OF MANUSCRIPTS

Testing the ink—Caution when moistening—Strengthening—Restore the original
appearance
PAGE 147 THE TREATMENT OF PRINTS ON PARCHMENT

Cold treatment—Never use hydrochloric acid—Careful when stretching! — Double
guards
PAGE 149 THE CHEMICAL TREATMENT OF PAINTED RICE PAPER
PAGE 151 RESTORATION WORK ON LARGE-SIZE PAPER
PAGE 152 TIPS

Treatment of Japanese woodcuts—Posttreatment—Sandpaper—Rough linen—Do not
apply paste thickly—Remove shiny spots—Treatment of prints on Japanese p a p e r -
Silk prints—Layering sheets to dry—Removal of breaks, creases, folds —Heavily
yellowed pages—Various procedures
PAGE 156 CHATS ABOUT OLD AND NEW RESTORATIONS OF BOOKS

Old mistakes—New methods —Simplified techniques —Closing of wormholes
PAGE 160 THE STORAGE AND PRESERVATION OF ENGRAVINGS

Protection of framed works on paper—Portfolio —Box—Attaching h i n g e s -
Cardboard—Removal from the box—Preservation —Sun treatment—Strengthening-
Mounting—Stretching—Framing—A word to customers and framers — Stretching
under glass —Dust-free framing—Protective cardboard—Small creases —Hanging on
the wall—Attachments —Glass cleaning—Observe four basic rules —Prevention of
water stains —Protection from the wall
PAGE 168 THE STORAGE AND PRESERVATION OF BOOKS

Removing dust—Storage on shelves —Removal of larvae —Glass case —Partitions —
Museum air—The bookbinder's work—Notes —Card index
PAGE 171 IMPORTANT PRINTMAKING TECHNIQUES
PAGE 196 A D D I T I O N A L HINTS FOR THE RESTORER OF POSTAGE STAMPS
PAGE 204 SUMMARY

VARIOUS THOUGHTS ABOUT RESTORERS,
T H E I R W O R K S H O P S , AND T H E I R W O R K
Before proceeding to a discussion of var has even happened that a pair of engrav
ious prints and engravings, I would like ings that truly belong together have been
to raise the question: Does every engrav separated. If these prints had been kept
ing or print really have to be cleaned together or the heirs had made some
when it shows a small spot or a faint water kind of special arrangement, a much big
stain? I refuse to treat individual deco ger sum would have fallen into their laps
rative engravings when it is only these upon the sale of the prints as a pair.
problems or a faint yellowing that disturb If the owner of such valuable engrav
the alleged aestheticism of their owner. ings gets together with a glazier who 3
Many collectors, I am certain, will share is just as ignorant, of the prints, real
my point of view. disaster will strike. It is hard to believe
In many cases I have been able to that such vandalism of great cultural
convert the owners of colored prints to treasures is still possible in the twen
my way of thinking. The treatment of tieth century.
such prints holds absolutely no risk for While they are still in trade school,
anyone who has made it his profession for young people should gain an understand
decades. But there are alleged experts ing of these treasures. The basic values,
who gladly take on any commission and the fundamentals, should not be hidden
enthusiastically follow the wishes of their from them. A glazier does not only put in
clients. That is an absolute disgrace! windows; he likes to find other sources of
These experts have very little under income. Often in a small glass shop, run
standing of the real cultural value of any by a glazier, you see pictures and frames.
work entrusted to them for cleaning, and If you go into such a shop, you often find
they do not care at all whether they deal portfolios filled with engravings, even
with a print by an Old Master or one that individual pictures specially displayed.
is merely decorative. Frequently, the And that raises the question of
owner himself does not have a proper whether the glazier knows anything
understanding of the valuable prints that about engravings or various kinds of
he might have inherited. What other prints. I think that only in the rarest
explanation could there be for the fre instances does the owner of such a shop
quently indiscriminate distribution of have any general understanding of
engravings from a big inheritance? graphics. A small shop certainly would
Often, a complete set will be divided not carry any important works, but the
among three or four families and thus be customer might be under the impression
separated. If the new owners, the heirs, that he is entering a picture shop.
were a little more sensitive to the real Young people in specialized trade
value of these works or sought profes schools should be taught the technique
sional advice, valuable sets would not be of engraving. A young person who
broken and scattered in all directions. It devotes himself fully to his trade will
gladly accept such instruction. And then heavy alum paste! Was there nobody
valuable cultural treasures will no longer around who noticed? Nobody who would
be subjected to vandalism. sue? Was there not a soul in the shops
And if I may now indulge in a brief who had the smallest inkling of the trea
backward glance to reveal earlier crimes, sures involved? Almost all of Europe was
it will become obvious how these blessed with this kind of expert, and
experts —I am referring to our dear unfortunately, there are still many of
friends in the glass trade—have unwit them busily at work today!
tingly destroyed precious cultural trea Often, I have been able to admire
sures because of carelessness or lack of such experts abroad, but, unfortunately,
knowledge. I especially salute these I have also witnessed many things in
friends. Germany which can only cause a real
How often it has happened that expert to shake his head in sorrow. When
those pictures have had to be restored valuable pictures —now ruined—still
again. Since I especially salute these smell of chlorine, when white residues of
friends, it is only proper that I deal with chlorine bleach make the pictures look
them specially too. Time must be made milky white, when several kinds of
for this, particularly since some open opaque colors are applied even today,
accounting ought to be done. An then there is little evidence of the high
accounting that is seriously overdue! cultural standing of a nation. I have to
What have these friends not done ask once again: Where are the trade
in the area of bleaching! In particular, I schools? Is there nobody who can teach
mention bleaching because the process the young people? Does no understand
could not in most cases be called clean ing of such treasures exist?
ing. I cannot enumerate all the crimes Nobody should be allowed to clean
one by one since this would require too valuable engravings without at least a
long a paragraph. But let us look at some minimum of previous experience! Once
random cases. Some workshops have an engraving has been made lily white by
revealed their offenses to future genera means of the dangerous bath of chlorine
tions by putting their seal—a stamp with bleach, it has not only lost its intimate
the name of the workshop —on the back charm, but print and paper have been
of the print. Valuable old engravings as considerably endangered.
well as fine color prints from the eigh A dark corner in an untidy workshop
teenth century were entrusted to these cannot possibly be the right work space.
masters. And how did they treat them? The cleaning process can take a lot of
They cut off the margins if small mildew time and should, therefore, never be
stains or water stains happened to dis undertaken after a day's work. Often, the
turb them. Dark spots on the print were owners of color prints are themselves to
made lighter with opaque white paint; blame because they assert that an expert
water stains and small stains were would be too expensive. Frequently, the
smeared over as well; and finally the owner agrees to the treatment of a print
print was mounted with alum paste! 4
by an amateur and is even happy with the
And if the margin had actually been seemingly successful result. You can hear
spared for once, a mat was pasted on with remarks like, "The print is completely
white again, as if newly printed!" In 1934 concern to anyone who uses too much
an art dealer told me, "A new client just alum paste in his work.
bought four sporting prints that were The objection that a small amount of
very well preserved, for fifteen hundred alum protects the starch paste, prevents
marks [somewhat less than $5,000] " 5
it from spoiling, and makes it usable at all
When asked, "Can you also frame times can only be considered valid for
them?" the art dealer said. "Of course I mass productions that are exposed to air
can do the framing." "Well, then I would a great deal. But when working with art
like the margins cut off so that these prints—unfortunately, often the basic
engravings will match my other prints!" knowledge for a proper recognition is
And that happened in 1934! There are a lacking—please boil the starch paste
few good frame shops in Berlin and other from scratch! Have you not perhaps
major cities that you can trust implicitly. noticed on occasion that alum paste has
These establishments will refuse to destroyed valuable prints?
undertake the repair of engravings, even It is often impossible to separate a
minor and less valuable ones, and will print that has been mounted to an under
refer them to a skilled expert. lying layer with alum paste without dam
I will now very briefly mention book aging it. Alum paste is not water soluble.
binders, who treat papers —I cannot Therefore, a number of manipulations
spare these friends altogether either, have to be employed so as not to damage
for I am particularly annoyed with the the valuable print. If the separation is
7
enormous importance they assign to successful and the print must be

alum paste. What other "crimes" these restored, it will be resistant to water. The
friends have committed will be evident slippery part of the paste can be
to everyone after a glance through my removed, but the alum itself is very hard
book. Why the constant use of alum to get out.
paste, which is such an impediment to And even if one insists on using
restoration? After all, every work should deep window mats that cause old prints
be treated according to its own needs. to appear to be swallowed as into the
And how many members of this noble "depths of the sea," one should not apply
trade have come to me after it was too paste to two-thirds of the margins of the
late? Is it not possible to prepare a starch prints as well. It is a bit more work, but a
paste specially for art prints? No, the little guard can be put around the print
8
ready-made paste is easier. The paste 6

and brushed with starch paste, and a
pot is filled to the rim and the paste must good deed will have been done.
be used. Wrong, dead wrong, and dan And one more thing! If one worked
gerous! Even if you tell me that all muse more wet on wet, many a disappointment
ums and libraries abroad and at home could be avoided. 9
work in this way! It cannot be assumed I would like to take this opportunity
that everything that happens at these to give a message to the mounting
places is right, unless a responsible artists. It is not part of the preservation
10
restorer is conscientiously minding his or embellishment of a valuable print to

duties. Since I would like to make a final prick it with a needle in order to put on
clean sweep, my remarks should be of a face mat or a window mat. The print is
only placed on the cardboard for reasons then put the copy on the cardboard and
of ease, I do not want to say "laziness," put the needle pricks into the cardboard
and the area to be cut out is then marked or the copy—a hundred of them, for all I
by puncturing the print with a needle, care—the print would not have lost any
instead of making a tracing of the print of its value.
and then treating the copy with needle It is high time that these offenses
pricks to one's heart's content. This are discussed openly so that something
involves about five minutes of extra can be done about them. I only mention a
work, and the print will have not have few cases here, but the attentive reader
been ruined. will find in my later descriptions many
Only a little while ago an "artist" that could also be included. It is my
produced a mat for a small oval print. intention to make my colleagues aware of
The value of the print: 1,500 marks the high degree of conscientious and
[somewhat less than $5,000]. It so hap 11
clean work that is necessary for each
pened that I was called to give an opinion restoration. Whoever is willing to rise
on the picture and found out at that time above his station should be conspicuous
that the so-called artist had put more not for "inexpensive" but for "good"
than twenty needle pricks in the stippled work. Again and again, one should
margin. If the master had just taken ten remember the old adage: "First think,
minutes to trace the oval print and had then begin!"
STUDIO ROOM AND EQUIPMENT
A cheerful room with a water supply is a poles will have to be beveled a little on
must. If you only occasionally clean a one side so that they can be inserted in
small print, the bathroom or even the the slot of a hanger which is fastened to
kitchen will do. The tray that receives the the wall [see figs. 3,10].
prints has to be positioned in such a way The hanger consists of two separate
that the water can flow over a spout into pieces of wood, 7 and 10 cm wide respec
a drain [in a sink]. The tray should be tively and about 3 to 4 cm thick. The two
custom-made by a plumber. Zinc is best pieces are arranged in such a way that
for this. A tray measuring about 60 x 75 the 7 cm wide piece is put on top. The
cm will probably be sufficient. The bot lower, 10 cm piece supports the pole
tom of the tray has to be completely flat, when it is put in the hanger, and the
and it should have a raised rim, about 5 upper piece provides resistance. The
cm high, so that it can hold enough clearance between both pieces of wood,
water. A 150 cm rubber hose is required therefore, has to be just enough to allow
for the incoming water and for rinsing the insertion of the pole (see fig. 2).
off the prints. A second tray would be
12
The poles mentioned above are
appropriate if you have to work with absolutely necessary for all kinds of dif
chemicals occasionally. The first tray ferent sheets. For prints on especially
would then be used for rinsing and the
second for receiving the rinsed prints.
The 150 cm hose is long enough so that
the second tray can be put next to the
first one. A bucket should be placed
under the spout of the second tray if
its water outlet cannot be connected to
the drain.
Fig. 2.
A wooden pole can be used for hang (a) Hanger; (b) cross section
ing and manipulating the prints [see fig.
17]. (I bought an old jalousie that had
13
been used in the entrance door of a store. thick papers, however, even these poles
The painted bars are slightly rounded.) would not be sufficient. To prevent these
The rounded edges on the four corners of papers from breaking or folding, one
the wooden pole and the small indenta must construct the following: a card
tion in the middle are important. If you board tube, from 60 to 75 cm long and
put a sheet of paper over wooden poles with a diameter of 6 to 8 cm has to be
with sharp edges, it is guaranteed to made smooth with sandpaper or emery
break during rinsing! So do pay attention paper. Its two open ends are covered by
to that! The size of the poles is optional, cardboard lids into which a circular
depending on the size of the tray. The opening has been cut. These openings
Fig. 3-
Tube pole fastened to the hanger
should only be large enough to allow a Additional equipment includes

broom handle to be pushed through eas wood-pulp cardboard on which damp
ily. The handle will then be glued tightly papers can be deposited, straw card
to the cardboard lids so that no water can board as a substitute for a small press,
penetrate. After gluing, the tube should and several old, absorbent and nonab-
be well oiled all the way through to the sorbent, yet well-preserved copperplate
handle, and after several days it should printing papers on which to deposit dam
be covered with a layer of shellac or oil aged engravings. These sheets are often
paint. The handle is cut flat at the ends so needed and therefore should always be
that the tube pole can be inserted in the on hand. It is also advisable to acquire
hanger. The tube ensures that even glass or enamel trays for smaller prints.
thick, completely wet papers will not Harmless cleaning agents that
break. I always recommend the use of should always be on hand are plain or
tube poles for the beginner because they cooking vinegar, 14
liquid ammonia, 15
eliminate any small mistakes that might carbon tetrachloride, 16

spirit of wine, 17
occur during the rinsing process. citric acid (in powder form) and bleach
18
The inventory also includes a pail ing soda. 19
and old, absorbent cleaning cloths. A With the help of these simple clean
table with a flat top should be covered ing agents, remarkable results can be
with an oilcloth. This oilcloth should be achieved. Severalflatbristle brushes and
fastened on the sides with several thumb a round brush are also necessary. The
tacks so that it cannot move or slide. different kinds of brushes can be seen
Oilcloth can also be used to support a in later illustrations. A large grit-free
brittle sheet so that it does not get dam sponge 20
is also recommended if you
aged when it is put on a pole for rinsing. want to be fully prepared.
THE HISTORY OF PAPER
Quality paper, that is, paper made only smoothed with shells or stones. Then i t
from the very best materials, is found in was ready for use. If bigger surfaces were
the works and prints produced in the required, the single sheets were pasted
period roughly between 1400 and 1600. together, overlapping only a little, thus
Paper, of course, has a much longer his forming the papyrus roll which was the
tory than that. To give our youth a very book form in antiquity. Up to the second
condensed idea, I would like to talk century A . D . the book roll was predomi
about it briefly. nant but was then replaced by the codex,
The first writing paper was manu our present-day book. The ancient peo
factured in Egypt from papyrus plants. ples used incredible amounts of writing
Let us listen to Dr. Hugo Ibscher, who material for writings of all kinds, much
saved many precious papyri from ancient in the same way as the world's people do
Egyptian, Greek, Roman, and Arab times, today. But while our writings of today are
and whose advice and support was sought subject to rapid decay, the conserving,
after by all foreign papyrus collectors: dry desert soil of Egypt has faithfully pre
The papyrus that has given today's paper served the papyri for us; they are still giv
its name was an excellent writing mate ing us today, after five thousand years, a
rial in the ancient cultures from the third vivid picture of the life and pursuits of
millennium before Christ to about A . D . the peoples of the ancient cultures. 21
1000, and its quality equaled that of our Painting and writing on animal skins in
best handmade paper. Made from the ancient Egypt fell into disuse because
papyrus reed, a marsh plant which grew papyri were more flexible and could be
wild in ancient Egypt but was later culti carried rolled up and because leather was
vated on a large scale for better usage, i t heavy and hard to handle.
was one of the most important articles of Animal skins (from donkeys, goats,
trade for the country of the pharaohs. lambs) became accepted only when
The manufacture of papyrus was very essential improvements in their process
simple. The stem of the plant, as thick as ing were achieved at Pergamon. From
an arm at the lower end, was freed from that time on, the leather was called
its bark, and the core was then divided "parchment." Parchment was often used
into manageable pieces that were cut for writing and drawing but was not able
lengthwise into thin strips. These strips to fully replace papyrus. Only true paper,
were put together vertically so that the introduced by the Arabs, perhaps
edges overlapped slightly, and then a brought from the Far East via various
second layer was laid down horizontally routes, slowly replaced papyrus at the
in the same manner. Both layers were beginning of the ninth century. By then
. bound together by hammering and the process of making paper had been
pressing, and after drying, the sheet adopted on a large scale in Egypt. Since
was rubbed slightly with pumice and the Egyptians were great merchants and
thought in a businesslike manner, most

countries were supplied by them with
this new material—paper. Gradually, the
whole civilized world adopted the paper-
making process and was able to go its
own way, no longer dependent on Egypt.
Only through the introduction of paper
did it become possible to manufacture
books—written and illustrated by hand.
Printing with movable or fixed type
might have been possible on papyrus,
but it was not suitable for copperplate
engravings.
PAPER MANUFACTURE
Earlier papermaking was very primi used for paper. In China and Japan rags
tive compared to today's state of the art. were only used rarely for the manu
The early paper manufacturers were facture of paper. Of course, those papers
small papermaking businesses which are, therefore, much more durable since
employed the help of members of the all their components were processed
family. Rags from the best materials, new. In spite of the above shortcomings,
hemp and flax, were sorted carefully excellent paper was produced in Italy
according to texture and by tumbling or
22
and Spain because the earlier paper man
beating were freed of all kinds of loose ufacturers were careful in examining
impurities, dust, metal, and especially their materials.
small iron particles. Of the many kinds After tumbling the rags and examin
of fabrics, very heavily dyed rags (blue ing them for dampness and color, the
23
and brown) were removed first since early paper manufacturers shredded the
the bleaching process was not yet very rags by tearing them. The heaviest dirt
advanced. and various stains were removed with an
Raw materials were used only rarely ash solution. The solution not only took
for papermaking in Europe, even though out spots and colors but also made the
hemp and flax cultivation flourished material pliable. The rags were ground
until the end of the eighteenth century. to a pulp in mortars. This traditional
Heavily worn pieces of clothing that method of beating had one advantage
could not be used for any other pur compared to later methods: the fibers of
pose—tools for certain trades, such as the fabric were not torn as much and
ropes, nets, and similar objects—were were not cut into as many pieces; instead
Fig. 4.
An eighteenth-century paper mill

Fig- 5-
Sorting and examining the rags
the fibers were crushed completely flat, moved the mold back and forth, lifted it
and yet they formed a uniform mass. The horizontally out of the vat, and shook the
matting of the fibers that were pressed pulp in the mold so that it was evenly dis
together in this way proved useful in the tributed while allowing the excess water
subsequent processing of the paper. If to drain off through the woven fabric.
you try to tear such paper in order to use During this process, a diligent vat man
small pieces for restoration purposes, would remove small particles of impuri
you have to use a little more strength ties from the pulp.
than with newer papers. The pulp in the After the pulp was distributed evenly
mortar was poured into a vat, mixed a lit across the surface of the mold, it was
tle more with water, and was then ready couched. "Couching" is the technical
for forming into paper. Paper was sized term for putting the pulp onto a piece of
with plant and animal products after it felt. To do this, the vat man took off the
had dried completely, although after upper frame (the "deckle"), turned the
1800 the sizing was mixed in with the lower one over, and put it quick as light
pulp itself. ning onto a piece of felt. A new piece of 24
Now, for forming the paper. The felt was then put on top, and the dipping
vat man, the person performing this of the mold was resumed to make the
process, used a device called a mold, next sheet. When about two hundred
which consisted of two rectangular sheets were assembled, they were put
frames, one on top of the other. The under a hand press, together with the
lower frame was covered with a porous felts, to further squeeze out the water. A
fabric, whereas the upper one was com second pressing without felts followed.
pletely open. Both frames were put The sheets were then hung over strings.
together and dipped horizontally into Drying outside during a heavy frost was
the vat of pulp, which had been stirred preferred by manufacturers because the
vigorously beforehand. The vat man frost would turn the papers lighter in
R E S T O R A T I O N O F E N G R A V I N G S , B O O K S , D R A W I N G S , AND O T H E R W O R K S ON P A P E R 43
Fig. 6.
Dipping the mold to form paper

(mid-eighteenth century)
color; that is, they became whiter. The has engrossed himself in the study of
gradual drying outside resulted in much papers for many years can identify where
greater cohesion and compacting of the a specific paper was manufactured.
paper fibers than would have been the Water-powered mills took over beating
case with faster drying in the heat. the rags. As a water-driven gear turned,
Forming a sheet of paper looks so much wooden blocks in the machinery ground
like child's play that it does not seem up the different kinds of fabric. In
to require much skill. I tried it for a Holland paper manufacturing had
short while, and the master only smiled advanced considerably toward the end of
watching me. The vat man has to attain the seventeenth century, since it was
the absolute sureness necessary to get here that so-called washing potcher was 25
exactly the right amount of pulp for one put to use. The rags were cut simultane
sheet. Two hundred sheets from the same ously with sharp and dull knives, which,
batch must not have different weights incidentally, tore the fibers too much. In
once they are dry. Years of experience are a second beater, the Hollander, the cut
necessary to get the weight of a single rags were turned to pulp.
sheet right every time. The porous fabric of the earlier
The completed sheets of paper are molds was only used by very small paper-
sorted; the best ones are taken out and making shops and was soon replaced
used for single prints. In the fourteenth altogether by a sievelike wire screen. In
and especially in the fifteenth century, this mold copper wire was stretched in
papermaking had already become more layers lengthwise and across; the wire
of a factory process because the demand pattern cannot be easily recognized by
had increased enormously after the looking through the paper. A little later
invention of the printing press. Still, arti the wire was stretched evenly; that is, the
sans' workshops continued to make wires ran in one direction, parallel and
paper on a small scale, and anyone who close to each other, and were supported
Fig. 7.
Drying of the formed sheet
by other wires at right angles, 1 to 3 cm of the rags much. Only when chlorine
apart. The watermark was the manufac
26
was used for bleaching did everything
turer's signature and consisted of wire change. The bleaching engine 28
com
shaped by hand and fastened to the wider pletely cleaned all dirt, oil, and color
cross-wires with a fine wire or thread. from the rags. The paper pulp now had a
The marks left by the wires give milky white appearance, whereas before
the paper a ribbed appearance and are it had been light or, often, dark yellow.
clearly visible when you look through it. The chlorine activity was completely
In the space between the wire lines, the neutralized by various acids and repeated
paper is darker, since there is a thicker rinsing of the rags with clear water in the
layer of paper. When I talk in this book bleaching machine. From this time on,
about "wire lines," I am talking about the the sizing process changed. There was no
fainter lines. 27
longer any surface sizing; instead, sizing
Of course, cotton rags and linen rags occurred—as already mentioned—in the
were processed together but only at a pulp itself. Rosin sizing with a dash of
much later date. Paper made from pure alum was mixed into the pulp.
cotton is softer to the touch, more cloth The earlier sizing methods were
like, and was used later mainly for blot more durable than the later rosin sizing.
ting paper. If you tear that kind of paper, The earlier papers have retained their
you find soft, fluffy fibers at the edges sizing up to this day, whereas papers with
of the tear. alum rosin sizing lost a lot of their
Handmade papers up to the end of strength when they were exposed to air
the eighteenth century show a yellowish and light. Outline engravings from those
tinge. There had been no bleaching of days, which were made for hand color
papers in the earlier centuries since even ing, were printed on nonabsorbent paper
boiling-hot lye did not lighten the color because the color would otherwise have
R E S T O R A T I O N O F E N G R A V I N G S , B O O K S , D R A W I N G S . AND O T H E R W O R K S ON P A P E R 45
Fig. 8.
Sizing paper
seeped through. Yet often one can The raw materials for today's news
observe that these colored sheets take print are obtained from pine trees after
up water when they are put into water the bark has been stripped off and the
for several hours. Neither water stains logs have been shipped in wagons to the
nor, especially, foxing, however, should paper mill. Even today, papers are man
appear on these sheets if the paper has ufactured that seem handmade to a non
been sufficiently protected against water professional but have nothing to do with
by the rosin sizing and a weak alum solu handmade processes. The edges of the
tion. Why is it that colored etchings prior paper are torn by hand before the sheet
to the end of the eighteenth century are is fully dry; therefore, it may appear
not susceptible to water damage? handmade. But the edges are abrupt and
Because the papers that were sized with rough rather than wavy, thicker, and
animal glue received a surface sizing. rounded as with the handmade papers.
Paper production by machine, a French Today, individual paper mills still manu
invention, has been known to us since facture handmade papers. These papers
around 1800. 29
are of a much finer quality than the
Because of the great demand for machine-made ones.
paper, lower-quality components were It has been my intention to present
used. Much later, about the middle of the the introduction and development of
nineteenth century, wood fiber and cot paper in general terms so that our young
ton were processed together, and with friends can gain at least a minimum
that the manufacture of high-quality knowledge of the history of paper.
paper steadily declined.
HOW TO OBTAIN OLD PAPER
If you want to become a professional that you have material that is suited for
restorer, it is absolutely necessary to look cleaning and light washing.
for old papers early. You cannot refuse When looking over papers from the
any papers, not even newer ones, eighteenth and nineteenth centuries,
because in the course of time you will you will find many kinds that do not show
encounter sheets that need to be treated, any wire lines and are quite varied in
from many periods. The larger your sup their feel and absorbency. In such cases
ply, the easier the search for the appro you are dealing with English or possibly
priate paper. French papers. Do not reject any paper,
A visit to the used-book shop and a no matter how recent it is! Your paper
dealer in graphic arts can prove very supply has to be constantly replenished!
worthwhile. Just ask for old books that Almost every paper has a watermark
are not complete, damaged single prints, even if you cannot discover it imme
and so on. The main thing is that certain diately. If you can identify papers by their
parts of a sheet, say, half the margin, are watermarks, you have already made con
still in good condition or, in the case siderable progress in the recognition of
of book pages, that greater parts of the papers from different periods. And that
margin are still there. Do not assume that is extremely important! It enables you to
three or four pages from a volume are distinguish old prints from new prints, a
enough. No, a book of one hundred very interesting pursuit. Over the course
pages—if it is an incunabulum (an early of the years, perhaps a million water
printing) — consists of different kinds of marks have been identified, often very
papers. Some papers may be thin and similar to one another. I only name a
cloudy when you look through; different few of this great number: stars, crosses,
wire lines will be strong and clear, or symbols, towers, coats of arms, castles,
wavy and indistinct. Other sheets may be houses, swords, letters, anchors, ani
firmer to the touch, the texture may vary, mals, flowers, pitchers, heads, hands,
and so on. Impurities in the paper as well papermakers' and farmers' tools, crowns,
as on the surface have to be observed names, and dates.
(tiny hairs, particles, little brown spots) Another important point is the
and should be considered an asset to your storage of the paper supply. Diseased
paper collection. Do not reject yellowed papers —foxed and decaying ones —
or foxed paper, so that you can still treat should never be mixed with well-
pictures requiring mending but not preserved papers (see the discussion of
cleaning. It is also recommended that diseases of paper on pp. 162-63). Similar
you pick up such papers in large papers, that is, papers of matching age
and small sizes for your first cleaning and color, are kept in folders with flaps or
attempts. The sheets may even have in boxes. If you are to obtain very early
blemishes, including writing in ink, so papers, it is an excellent idea to ask the
seller about the age of the individual It would also be quite appropriate
book pages, because he can give the to look for prints at this time so that
approximate date of the production of the different techniques can be distin
the work—the year of publication is guished from one another. ("Important
often given at the beginning or the end. Printmaking Techniques," pp. 171-95)
Single prints give the year of publication contains a number of hints on this
in the publishing address. subject.)
HANDLING DAMP PAPER
It seems obvious—at least I assume it somewhat indented in the paper, may be

is—that everyone will have to practice weak or separated. A tear, too, could cre
often and diligently before attempts are ate difficulties. These are the small and
made on a good engraving. In any event, big problems during the first moment.
practicing should be done daily in order Eight fingers on top and the thumb
to attain a degree of confidence in the underneath! Under no circumstances
treatment of damp papers. should the sheet be touched only with
After the sheet has been dry the fingertips. No, the sheet has to be
cleaned—I discuss the cleaning procedure supported by at least two joints of each
Fig- 9-
Taking damp sheets out of the tray:
left: Wrong, the fingertips can damage
the print!
right: Right, only the surface of the
fingers touches the print!
later—it is put into a cold bath without finger. The fingertips alone would do
any support. The sheet then has to be
30
damage; they would dig into the soft
taken out of the bath and put over a pole paper and could cause holes or severe
(see "Studio Room and Equipment," breaking. If the thin plate margin is close
p. 37). How is this done? You will say, to the edge of the paper, you have to go
"This is a simple matter." No, my dear far into the center of the paper with your
friends, it is not simple. On the contrary, fingers, even—if possible—into the pic
it is a complicated matter! The sheet has ture itself! Why? The paper is stronger in
to be held with both hands, and the hands the printed part because the black color
have to go far over the sheet, as can be was prepared with oil (carbon black and
seen in the illustration. And why? The linseed oil) and is therefore more durable
damp state of the sheet will immediately in this place when the sheet is taken out
seem very disagreeable when you hold it of the tray. If there is a large tear in the
in your hands. The paper might be very sheet, you have to coax it out by lifting
fragile; the plate mark, which is created the print from the opposite edge. If the
by the copper engraving plate and is edge with the tear were to be lifted first,
the tear would certainly increase. But if your time in doing so. When for practice
you have already gained a little expertise, you take on severely torn engravings on
so that your attempts are fun, and if you very soft paper, you absolutely have to
enjoy your work, the sheet can also easily have one or two supports on hand.
be removed from the torn edge. Any kind First, a healthy paper from your sup
of work that is undertaken cheerfully ply is put into the tray as a support, and
always succeeds. So what remains to be on top of that the badly damaged sheet. 31
done? Practice, practice, and practice When the sheet is ready to be taken out,
again! When you practice, it is essential it is distributed on the support in such a
not to get nervous; the calmer, the bet way that the patient can be lifted out
ter. I do not want to say that you should together with the support. Both parts
become lazy—not at all—only that you will then be hung temporarily over the
should think while working and take tube pole in order to drain. After that,
Fig. 10.
Taking a sheet out of the tray
both parts are carried to the table with with an oilcloth. Not every move can be
the help of the pole and are put down described here; you have to think for
nimbly, without accident. The sheet and yourself. Papers are much too diverse
the support lie on the table or the draw and can bring all kinds of surprises. I can
ing board, the sheet with the printed side only repeat: Practice, practice, and prac
facing upward, the support underneath. tice again. Great sureness has to become
What do you do when you want to see the second nature.
reverse side? You take a second support, If a young man is employed in a
put it into the bath, take it out of the tray, frame shop, by a glazier or bookbinder,
and place it skillfully, without the pole, by an art dealer, in a fine arts print shop,
onto the sheet. The sheet is now enclosed or any other place where he has to work
by the two supports. If you want to see with paper, the technical paragraphs can
the reverse, you have to hang all three give him many details and hints that he
parts over a tube pole, lift the pole up, can use all his life. Adults, too, could cer
and return the parts to the table in such tainly benefit from familiarizing them
a way that the second support now rests selves with the above-mentioned meth
on the table. The first support is lifted ods of treatment. How much damage has
off carefully, and the sheet has been been done by older teachers in the treat
turned over. ment of works of art! I see it as my task to
It would have been possible to turn show young people the correct methods
the sheet over without the second sup for the restoration of prints and books.
port; however, because of the missing The vandalism that has destroyed many
support, the sheet could not have been cultural treasures should become a thing
lifted off the table. If the work had been of the past. Today, altogether different
started without thought, the sheet would methods should be employed, and the
have had to stay on the table until it was restoration itself should be considered
fully dry, which would have been espe culturally valuable. 32
Whoever works
cially unfortunate if, to make matters toward this end is a friend of mine!
worse, the table had not been covered
BRIGHTENING AND CLEANING
This section deals with the slight bright Copying ink that is not removed while
ening and cleaning of prints. I am very dry can cause many problems in the
interested in keeping the means as sim water bath. Its color will start to run,
ple as possible, yet achieving good results. and, even worse, in absorbent paper it
This should and must be our main task. will sink in and appear on the front of the
If the sheet to be treated is a black- print. If this is not taken into considera
and-white print that is heavily covered tion and the copying-ink pencil marks
with soot or has become unsightly with are not removed carefully, the whole
dust, the soot or dust can be removed sheet will have to be treated with chemi
with soft bread or, often better, with a cals, whereas otherwise a water bath
soft eraser. When erasing, do not treat alone would have brightened it suffi
the whole sheet in large streaks but only ciently. Therefore, always pay attention
clean as much at one time as there is to those dangerous copying-ink pencil
room between your thumb and extended markings! The copying-ink pencil should
index finger (fig. n ) . 3 3
Care has to be be employed just as sparingly in a print
taken, of course, that the table is smooth shop as in a bookbindery! Copying-ink
and completely dry. If you try to clean pencils in the office of such a business
large areas, the sheet will be creased, should be specially marked, wrapped
broken, or demolished. If a soft eraser is in tinfoil, for example, so that they are
not sufficient to remove the loose dirt, definitely conspicuous. And now the
try one that is slightly firmer. Erasers water bath! The tray needs to hold just
come in different degrees of hardness,
but never use a very hard one! Such an
eraser should not even be found in a stu
dio! Using a hard eraser could easily lead
to scratches, abrasions, or thin spots. If
the paper is very soft, only a soft eraser
should be used. When small areas of dirt
are left, the remaining traces can be
removed in another way described later.
When both sides of the sheet have
been cleaned off somewhat—be very
careful in the printed area itself, or do
not touch it at all—care has to be taken
that the copying-ink pencil markings are
completely removed from the reverse
Fig. i i .
side. In all cases this writing has to be
34
Cleaning with an eraser. The area to

removed by a dry method, but the paper be treated with an eraser should be
no larger than the span between your
should not be made thin by erasing.
thumb and index finger.
enough water to cover the engravings or gether, and the heavy yellowing has
sheets and have them floating lightly. decreased considerably. The brown color
The bath has to be well acidified with of the water proves the strength of the
table vinegar (it has to have a slight taste bath. The discolored water is drained
of vinegar), 35
and a larger, worthless completely by lifting the tray up a little
print on firm paper has to be put in first
36
on one side and putting a small wooden
as a support for damaged sheets or sheets block under it. The sheet remaining in
with broken plate marks. This print is the tray is rinsed carefully with a hose.
immersed so that it lies on the bottom of The little patient receives a bath of cold,
the tray. Now, the engraving which has clean water so that the vinegar smell dis
been cleaned of the loose dirt—once appears completely. A two-hour bath is
again, look for the copying-ink mark sufficient. After that, the print is put on
ings!—is placed in the tray and the tube pole with the help of the support
immersed. It is best to immerse the print sheet. The tube pole is appropriate so
beginning at one end. I consider it best to that no breaks occur, since in this case
start this bath at night so that the engrav the engraving has to be placed on the
ing can bathe in peace. pole together with the strong support.
When you visit your patient the next To take the engraving out of the tray
morning, you will find that the acidified without having the tube pole roll off, the
bath has been beneficial. The slight pole is put across the sides of the tray in
water stains have disappeared alto such a way that one end rests with the
Fig. 12.
Etching, English School, 1807,
J. Gillray fecit. The dirt was removed
by washing with a dilute soda solution.
flattened side on the edge of the tray. If moved to the hanger and once again
you have an assistant, let him hold the rinsed carefully. Since parts of the print
pole. Next, both sheet and support are might come off, a small sieve should be
pulled out of the water and only placed placed under the spout [of the tray]. This
far enough over the pole that about one- little auxiliary device has saved me a lot
third or one quarter lies on it. When the of trouble.
tube pole is lifted, the two ends of the At this point, I would like to talk a
print can be distributed by turning the bit about floating off small parts of
pole so that they hang down equally. prints. In earlier times, at the end of the
When the sheets are lifted out with eighteenth century, there was a great
the help of a pole, care has to be taken demand for illustrations, and large num
that they are not pulled; that is, no ten bers of engravings were needed. The
sion may be created between the portion printers had plenty of work! A lot was
in the tray and the portion that has been going on! At times, the work was done
hung over the pole. The tube has to be hastily. The papers were prepared and
turned a little bit or the pole has to be placed conveniently in such a way that
lifted high enough so that the part that the printer could always take the damp
is still in the water can be removed. If papers from a big pile. When the printer
you proceed this way, you will certainly placed a piece of paper under the intaglio
not have any disastrous experiences. printing press in order to produce a print
The tube pole with the sheet is now and noticed in the process that the paper
Fig. 13-
The same print during washing.
Fig. 14.
Japanese picture scroll, watercolor,
early eighteenth century. Brightened
halfway by treatment with weak
chlorine.
had a thin spot or maybe even a hole, he damp sheet. The time has been well used;
would tear a small piece off another sheet the sheet has drained off a little bit. It has
and use it to cover the blemish in the to be placed on cardboard to speed up the
paper, often without any adhesive. If you drying process. This simple process of
have a good eye for something like this, bathing has had good results because the
you will be able to recognize these places, slight water stain has disappeared—as
since the patches were applied fast and was seen in the bath—and the yellowing,
carelessly. The copperplate only pressed too, has been reduced considerably. The
the patch on, and the slight oil content sheet should retain a slight trace of yel
of the color held it in place. If, however, low because it looks more attractive
such a print lies in water for several when dry. It is just this lovely warmth
hours, perhaps even in hot water, a sieve emanating from the print that is proof of
at the spout is a wonderful help since it a reasonable method of treatment. And
will capture the fugitive. this is the way it always should be!
After this little chat, back to the At times, a water stain is still visible
even after a twelve-hour bath. Still, that This treatment will certainly be suc
often does not matter. The water stain cessful, and print and paper will not be
may disappear when the print is dry; it affected by it. This last point should and
may only be visible when the print is held must be our goal with every job!
against the light; or it may be so hard to After all these treatments, the sheet
see that it does not disturb anyone. has to be rinsed well. A water bath of
If the water stain or other stains are many hours follows. The last traces of
still clearly visible, somewhat stronger dirt that resisted the eraser have to be
methods have to be employed. Another removed. This work is done on the damp
attempt at removing them has to be print. The sheets are placed into a com
made, and the water stain and the blem pletely fresh bath and stay there for sev
ishes have to be treated locally. A small eral hours so that the dirt can dissolve
casserole dish or pan is filled with boiling a little. The sheet is hung over a pole to
water, and a generous shot of vinegar is drain off quickly and is then placed on
added. A small round paintbrush with the oilcloth-covered table. A flat bristle
hog's hair bristles is dipped into the solu brush is dipped into a pot of boiling
tion, and the water stain and other dis water, and the surface dirt is brushed off
turbing spots are brushed; this is done very carefully, only enough so that the
until success is visible. It is best to treat paper does not get damaged. Of course,
both the front and the reverse so that the small fibers will be raised up, but that is
process is a little more effective. To treat not dangerous, since only a very thin
the reverse of a heavily damaged paper, a layer of the paper is affected in a harm
second sheet has to be employed which is less way. If this treatment of a damp print
given a quick bath and put over a pole to has been practiced often on worthless
drain off quickly. When it is still half sheets, nothing needs to be feared when
damp, this second support is placed over it is tried on good prints. The lighter the
the print. The print lies between two movement of the wrist and hand, the
sheets. All three parts are lifted up, and better the results. A heavy hand might do
the sheet is moved back to the table in a lot of damage.
such a way that the second support lies If the dirt is heavily ingrained and it
on the oilcloth. The first support is becomes necessary to exert great force in
removed and hung over a pole. The order to remove it, another method has
reverse can be treated easily now. This to be employed. Put one heaping tea
method was previously described, yet it spoon of bleaching soda into a small, 38
is always worthwhile to mention it again. one-pint casserole dish, and pour boiling
If the water stain has still not dis water over it. A strong soda solution
appeared in spite of the hot vinegar water, should only be used for the removal of oil
powdered citric acid should be sprinkled paints! 39
Since the printing ink in the
on the water stain and the other blem engraving also consists of oil paint, you
ishes. This can be accomplished with a have to proceed very cautiously when it is
small, flat piece of wood or a small spoon. necessary to use soda. You cannot touch
The effort has to be repeated several the printing; you have to be careful with
times. Finally, the damaged areas can be the title (legend) and should only try the
treated with pure ammonia solution. 37
soda solution "miles away" from any
Fig-15.
Globe, ca. 1800. Brightened with
dilute soda solution.
Iff" ;,' ,,
print. I already mentioned this in the sec For removing the dirt from a damp
tion "Paper Manufacture." There are print, take a wide, flat bristle brush. It is
prints in which the color is a little more advisable to take a somewhat worn brush
resistant. Use common prints to find with slightly shorter bristles on the sides
out about this. -I advise you to practice and somewhat longer bristles in the cen
directly on the appropriate object so that ter. When you have gained sufficient
you become familiar with the enormous experience, you can certainly try many
danger of the addition of soda. You can 40
other methods. For instance, what good
put a little more soda, maybe two heap is a clean margin when the print still is
ing teaspoons, into the hot water and try dirty and margin and picture, therefore,
this solution on a damp copper engrav show a considerable contrast? In time,
ing. You will then comprehend the power practice and experience will allow you to
of a good, familiar home remedy. use the soda solution even on the printed
I have to mention these dangers so part. But I do not exaggerate when I say,
that this work is not undertaken lightly. "It is absolutely necessary to practice a
And if a reader thinks that his first thousand times beforehand." It is also
attempt with soda has been a success, possible that someone is unable to
please believe me: A kind fate was on the acquire the necessary skills because he
reader's side during his first attempt. A does not have the intuition and general
second treatment might not quite meet adaptability. Therefore: Practice, prac
with his approval. 41
tice, and practice again!
For very thin papers and prints you is very disturbing but does not affect any
should not use a large bristle brush but nobler parts, the blemish can be cut out
rather a short and flat hair brush. The with a knife. This kind of work can only
soda process should be used only when be done when one is secure in the saddle.
the top surface is soiled and no dirt is For the time being, hands off! A margin
visible on the reverse. Otherwise, rings that has been treated with a soda solution
of dirt might be drawn from the back has to be dabbed well afterward with a
through the paper, like a water stain, and half-damp sponge, so that the soda solu
could never be removed damp or with an tion does not run across the print when
eraser. This is where the "surgeon" can the sheet is lifted up.
show his skill. When this kind of dirt ring
Fig. 16.
(i) Flat bristle brush; (2) paste brush,
round bristle brush; (3) flat knife for
cutting prints off the stretching boards
REMOVING PRINTS FROM BACKINGS
If the prints that are supposed to be back of the print, you can continue as
treated are mounted on cardboard or follows: with one hand, press down on
other supports, they can be cleaned with the part of the print that has been uncov
an eraser only if they do not lift up or ered, and carefully follow the other hand,
buckle anywhere. which is pulling off the support. If the
The mounted sheet is placed in a front of the print were put on top, you
cold bath and left to its fate overnight. would try to pull it off. Then it certainly
It is always advisable to prepare the bath would be damaged. This little hint should
at night so that no attempts to separate always be observed.
the sheet are made from pure curiosity. After the forced removal of the
This kind of curiosity often carries a support, the sheet is put back into the
severe punishment. tray and is left in water for several hours.
The print is put into the bath with The water is then drained, and just
the printed side facing down. In the enough hot water is poured on the bot
morning it is checked; the water is tom of the tray to lightly wash around the
drained carefully, and a small corner is engraving. I emphasize: Pour the hot
lifted up to see whether it is possible to water on the bottom of the tray so that
separate it easily. If the corner is still the paper of the engraving cannot be
sticking very tightly, the sheet is left in damaged! If water were poured on a very
water for another twenty-four hours. soft paper with a certain amount of force
During this time, no further attempts at (for instance, if it were poured from a
separation should be made. After this spout), the paper could be harmed easily
bath, the water is drained, and if the and a hole could appear. Always remem
sheet still has not separated from its sup ber this!
port, boiling water is poured on the card The hot water only serves the pur
board in such quantities that the sheet pose of making the layer of glue more
swims in it. Let the boiling water take pliable. A sheet that is only glued is not
its effect for several minutes and then difficult to take off. Even if the glue does
try the separation. If the print has come not dissolve completely over twelve
off by itself in the hot bath and is swim hours, it will certainly not prove stub
ming in the water, that is perfect. But if born. A hot bath will make the glue dis
the print is still very tightly attached to appear, and the reverse side will not have
its support, you have no choice but to to be treated specially. But what can be
remove the support by force. Put the done if a sheet, which is difficult to
engraving face down on the oilcloth, remove, is not mounted with glue but
with the support facing upward, and was firmly attached by a bookbinder with
attempt to pull the support off piece by the notorious alum paste?
piece. When one corner of the support It would be more than deplorable to
has been removed without damaging the treat a valuable print in such a way. The
paste has to be removed mechanically, have to be closed up skillfully later on,

since the hot water would not have any and the edges especially will have to be
effect. Take a worn flat bristle brush, freed from tears. A prerequisite for this
drain a little bit of water off, and start is, however, that the sheet has been freed
working with the brush. Of course, the previously of all harmful paste.
washing has to be done very carefully and In earlier times —the fifteenth to
skillfully. Do not treat the whole back eighteenth century—flour paste was
side at once, but wash it piece by piece. used very often for mounting prints. If
This is done best by starting in the upper you have an idea that the mounting
left-hand corner and going to the right. might be from this period, do not use hot
Touch the first spot that is freed from water. Rather, leave the sheet in cold
paste with the fingers of the left hand, water for forty-eight hours; do not pay
and keep on working until all the paste any attention to it, and continue to work
is removed. While the sheet is in the with it then on the oilcloth. It is not a
tray, most of the paste is removed mistake to leave the sheet in water for
mechanically with the brush; then the a longer time even if the assumption
sheet is put face down on the clean oil about the adhesive turns out to be wrong.
cloth. Keep a container of hot water If the support is separated relatively fast,
handy, and proceed with the brush in the flour paste will always leave a striated
same way as before. The very last traces pattern. 43
If you run a knife over a small
of paste must be removed. If any paste area, you can scrape together some paste
is left in spots, these parts will buckle that is easily recognizable as whitish or
considerably when the paper dries. brownish flour paste. If the described
Therefore, you have no choice but to get indications do not apply, you are dealing
rid of the paste completely. with a later mounting method and the
After this procedure, the sheet is put bonding agent may be glue, dextrin, or
back into the tray once again, and a copi starch. The last traces of the flour paste
ous amount of hot water is poured on are scraped off carefully with a blunt
top. The repeated treatment with hot knife. The sheet is then washed thor
water in this case only serves the pur
42
oughly with a bristle brush. In this case,
pose of forcefully attacking the alum hot water would make the paste harder
paste one more time. The slippery part of and the separation more difficult.
the paste will have been removed, but the And something else should be taken
alum itself will not have been taken care into consideration: Starch paste is mixed
of properly. This alum penetrates the cold and then boiled; it goes through a
paper deeply and renders it waterproof. heating process, just as glue. Flour paste,
All these procedures sound a bit brutal as wallpaper hangers used it in earlier
but cannot harm the paper of the print if days, was mixed cold and made ready for
it has been treated expertly. If the print use by adding cold water. If hot water
had been pasted on because of severe were used to thin out the flour paste,
tears and has to be mounted again, it still lumps would appear. It is, therefore,
would not do any harm to pursue to a suc obvious: Paste that was mixed and
cessful conclusion the efforts for the thinned out cold should never be treated
removal of the alum paste. The tears will with hot water. Gold paste —cold water;
hot paste—hot water! In this case, too, the sheet is put into the
Prints that are stretched over a tray with the strainer on top, and clear
wooden strainer are often not simple to water is poured in gradually. The strainer
treat. Wood and paper have quite differ has to be weighted beforehand so that the
ent properties of expansion and contrac sheet does not float. You have to allow
tion. In the past, a few, but unfortunately the sheet to be in the bath for forty-eight
not all, bookbinders or framers stretched hours if you expect any success. The
a thick sheet of paper over a strainer water is then drained, and you can check
before mounting an engraving. In this to see whether the treatment has been
case, removal is not difficult. If one is effective. If this is not the case, boiling
skillful, even without using moisture water must be used to assist the process.
one can loosen a corner; that is, the If you are dealing with colored sport
paper support can be separated from the ing prints, a much more time-consuming
strainer. If it happens that the front side process must be used. To avoid the for
of the strainer is located right at this mation of water stains, the back of the
point, the incision maybe difficult. Gut 44
print has to be dampened again with a
a little into the wood underneath the flat bristle brush. The edges on the front
support and try to create some space are also brushed with water. This process
between the paper support and the needs to be repeated every thirty min
strainer. Just a small corner will suffice. utes. The print can also be put into the
This space is very important because tray vertically, maybe at a slight angle,
the sheet is later put into water to be loos with just enough water added so that the
ened and is left there for twenty-four to margin, up to the printed part, is under
forty-eight hours in order to become sep water. Never forget to dampen the back,
arated from the strainer. The strainer is though, since water stains can form very
lying on top, the sheet face down. If the easily. The margin is left in water for
sheet does not separate from the strainer about one to two hours, and then an
after the water has been drained, the attempt is made to separate it further
strainer, like a tray, will trap the water. with hot water on the oilcloth. Again, on
To prevent this water from forcing its way the front only the margin is dampened,
out, a corner of the support should have whereas the entire back is moistened. If
been loosened from the strainer so that the margin previously soaked in water is
the water can drain. If you have taken brushed with very hot water, small areas
this small trouble, you will be a lot hap will begin to swell, like blisters. Try to
pier in the morning. This procedure of reach these areas with a very flat knife so
loosening a corner dry cannot be used in that the separation can be undertaken
all cases; you have to find different meth gradually. It is also advisable to pour
ods. It is easy enough to say that the sheet boiling water on the margin from the
has to be separated at all costs. If you are front and to start the attempts on the oil
dealing with very hard sheets, that is, 45
cloth only after that. If you want to suc
engravings which have been printed on ceed, you have to try a variety of ways.
Whatman papers, the separation would For the separation of very absorbent
not be very difficult, since such papers papers from strainers, I recommend a
cannot easily be stretched or deformed. local procedure. However, the back may
not be dampened too much, since the dle. This drying can be accelerated
engraving could easily break along the by frequently applying blotting paper to
inner edge of the strainer. the center of the print. When the print is
If the separation is supposed to take halfway dry, the sheet can be lifted up
place in the tray, a somewhat larger glass slightly with the frame but without the
pane has to be put down first. The pur glass pane. Watch the front of the print
pose of the glass pane will be discussed while doing this, to see whether the
again later, but it is also there to prevent whole margin is coming loose. If only a
the strainer, which is only held together few places come loose, let the print care
by glue, from falling apart when the sheet fully slide back onto the glass pane and
is lifted from the tray. To weight the turn it over with the glass pane. You can
sheet, one small board is put across the risk this since the dampness has for the
strainer and one lengthwise, and full bot most part been removed from the sheet,
tles are placed on the boards. The sheet and the sheet can hardly break at the
can be observed easily through the space. inner edge of the strainer. Turning the
The tray is carefully filled with water, and print would have been very dangerous
you may even risk a slight spurt onto the while it was damp, for it certainly would
back of the sheet so that no air bubbles have broken along the inside edges of the
can form. I would recommend another wooden strainer because the absorbed
lengthy cold water bath. After the glue moisture would have made the paper too
has softened, the tray is emptied slowly heavy. The sheet is now lying on top, and
and the weights are taken off. Gradually you can try to lift the margin with a flat
remove small amounts of water inside knife. After separating the sheet from the
the strainer by lifting the glass pane. Now strainer, place it in the tray so that the
carry the glass pane with the strainer to last traces of paste can dissolve a little
the table, and the print, held at a slight more and the small water stains, which
angle, should be seen through the glass have formed as a result of the local treat
pane. You will notice that a lot of bubbles ment with water, will disappear. Old
have formed in the margins, an indica prints from around 1500, and so on,
tion that further separation will be easy. which were colored to the outer edge of
The glass pane is carefully placed back the paper and have been mounted on
on the oilcloth, and the separation is thick supports, are loosened this way:
attempted with warm water. (Never use The back of the sheet is rubbed carefully
hot water since the glass might crack!) with a sponge that is not too wet. This
This small task can also be done in the work is done on a glass pane. Since these
tray. Now the separation should be suc prints were attached with flour paste, if
cessful. Do not move or lift the frame by they were mounted at about the same
force because this will certainly tear the time as they were colored, they can—as
sheet. If the strainer and the sheet still you already know—only be removed
cannot be separated, drain the water cold. The slightly dampened back is then
slowly from the tray, bring the sheet to covered with a starch paste that has not
the table—with the glass pane under been cooked too thick, or else with a rye
neath it—and wait for a while until the flour paste prepared cold, so that the
print has somewhat dried off in the mid layer of paste is 5 to 10 mm thick. Do not
go all the way to the outer edge of the The described methods of separa
sheet with this paste, since it could easily tion can, of course, only be used by an
damage the coloring. This damp, thick expert who has studied papers, with all
layer of paste must now be allowed to their strengths and weaknesses, for a
loosen the support slowly, which can longtime.
take twenty-four to forty-eight hours, If a print is attached to parchment,
depending on the kind of support and only the cold separation method should
adhesive used. Cover the sheet with a box be used. A hot separation would cause
lid, leaving only a small air space so that the parchment to buckle, and the print
the air does not dry out the paste on top. might be damaged. Only a longer stay in
Fig. 17.
Wrong! Right!
Engraving with a tear, incorrectly Engraving with a tear, correctly placed
placed across the pole; the tear will across the pole to drain—without
increase because of the wetness and increasing the damage.
softness of the paper.
The sheet can best be observed if a stool a cold bath can bring the desired results.
is put upside down on the table so that Separating prints or drawings that
the glass pane can be placed on the legs. have been mounted to the inner cover of
When small dark spots appear on the front a book, while preserving the old binding,
of the print, the paste has done its work. can be a very tedious affair. Moreover, if
Remove the layer of paste very carefully these drawings or prints are colored, and
from just these places so that the addition therefore cannot be dampened, the sepa
al moisture cannot do any harm. ration must be done mechanically. Such
After thirty-six to forty-eight hours, prints often have not been attached
maybe even sooner, the layer of paste has directly to the cover but are glued to two
to be removed in any case, and the sepa or three sheets of paper. If there is also
ration is tried mechanically. This will a layer of parchment—the prints have
certainly bring the desired results. The often been added much later—the
traces of paste will have to be scraped off mechanical separation is not quite as
the back very carefully, maybe even dangerous. It has to be performed with
washed off with a flat brush if the color a flat, sharp knife; that is, the wood has
ing permits such treatment. to be laid bare. Also, always remember
that the layers should not be damaged be aware that the dampened part is very
during this mechanical work, since there fragile and that you should be happy to
might be valuable parts in between. advance 1 to 2 cm an hour. When begin
When such a procedure of separation ning this separation, you should let the
does become necessary, it requires the paper dry somewhat in this spot but only
utmost patience. If you have already just enough to be still a little clammy. (A
made a little headway, that is, if one side lot of thinking is necessary in all this
or corner has been lifted up 3 to 5 cm, work so that no damage will be done. The
including small wood splinters, you can individual supporting layers often are
continue working in another manner not attached uniformly; there are places
with the help of a paintbrush. Dip the that have not been pasted or others
brush in lukewarm water and very care where the paste did not adhere.) When
fully brush the back of the part that has all but one of the supporting layers have
been lifted up at the place where it is still been removed, cover this remaining layer
attached. Wait a while for the water to of paper with paste, allow it to become
have an effect and cautiously try to lift loose, and remove it from the back of
the loosened part. Of course, you have to the print.
WHEN MAY ONE W O R K W I T H CHLORINE?
(General Observations on the Treatment of Prints and Books with Chlorine)
You hear quite often that the use of However, I have to say to this Dr. X:
chlorine is very harmful to books and "What do you think a color print would
prints. I fully agree with this opinion,
46
look like if your recipes were to be used?"
and it is more than deplorable that so- You, dear doctor, though to seem
called time-tested remedies, which were ingly disclose valuable advice, have done
still recommended in 1929, unfortu just the opposite. And when one reads on
nately, are being used over and over the title page the lovely words: "Com
again. Among various other inferior rec plete guide to the maintenance, cleaning
ommendations, such a procedure advis and restoration, etc.," one wishes that
ing the use of chlorine has even been you had used your clever pen for another
printed in a treatise. A Dr. X, a pure kind of purpose. More than a hundred
theorist, is the author of this book, and years ago, chlorinated lime was already
he tries to introduce his work to practic in use for "bleaching" paper. However,
ing restorers by referring to the "assis also over a hundred years ago, sprinkling
tance of top experts and curators of state dry chlorinated lime on wet papers was
museums." Verbatim you read there:
47
stigmatized as a great danger to papers.
"Chlorinated lime can be sprinkled dry Dissolved chlorinated lime, as I recom
on the back of the wet sheets of paper; mend it for use, has never harmed
after using it, however, there will be any papers. 50
white lime spots on the print which look Hands off dry chlorinated lime! My
like mold and can only be removed by long experience —not science over
hydrochloric or nitric acids, which dis heard! — gives me the right to say: This is
solve lime easily, and by rinsing with the way to do it! Whoever still thinks that
water." 48
On the cover of the book you he has to use the "time-tested good rem
can also read: "Revised according to the edy" is doing harm, and I hope that his
most recent state of the art by Dr. . . . clients will hold him accountable.
[Hans Bohm]." And that was in 1929! 49
If a person who has no firsthand

experience with the various methods of PREPARATION OF C H L O R I N E 51
treatment for engravings and books and,

just because paper is patient, starts writ Carefully pour 500 g of chlorinated lime
ing away, based on hearsay, it is high time into an earthenware pot with a spout.
that an expert with long-standing practi Such a pot is perfect, since the spout is
cal experience puts an end to such non very useful when the chlorine water is
sense. This shall be done right here! I poured out later. Add about 2 liters of
would almost like to ask my dear friends boiling water to the chlorinated lime,
the glaziers and bookbinders to forgive and close the pot with a lid. After five
me for being so harsh on them! Unfor minutes the chlorine mixture should be
tunately, though, there is no other way. stirred well with a ladle or spoon, and
this stirring should be repeated three also covered with a linen cloth —and
times within the next two hours. If you tightly corked. Store the bottles in the
mix the chlorinated lime at night and dark. If you are very intent on saving, you
proceed as prescribed, it is advisable to can pour boiling water over the chlorine
leave the mixture until the next morn sediment in the pot again and proceed
ing. The foam and the chlorine particles as described. After that, the sediment is
that have not been dissolved are now discarded. The second solution is labeled
skimmed off with a skimming ladle or a "Chlorine water, highly diluted." The
spoon. Wait a while until the chlorine first solution is labeled "Extract."
water has calmed down again after the The chlorine water is now ready
foam has been skimmed off, then pour for use.
the chlorine water through a linen bag Pour very carefully when you use the
into another container with a spout. chlorine from the bottles, so that the
When pouring out the chlorine water, paper does not get "hurt" in the treat
make sure that the sediment of the chlo ment if inadvertently any chlorine sedi
rinated lime does not get into the linen ment has passed through. At first, it is
bag. Next, a supply of well-cleaned, dark advisable to use the extract for practicing
bottles is filled—not quite up to the since the effect could easily be too severe.
neck, with the help of a funnel, which is
ANTIDOTES FOR CHLORINE"
Each paper that has been treated with like chlorine when they are dry. The pure
chlorine water needs a very special bath wine vinegar will also remove any lime
after the first baths (see pp. 70-71). The residue, in case some of it might have
paper has to be "detoxified." The long passed through into the extract when the
previous baths modified the effect of the chlorine was filtered. Diluted hydrochlo
chlorine, but there is still a trace of chlo ric acid is used only when absolutely nec
rine left in the paper, which has to be essary, such as when the chalky residue
removed. from the chlorine is so strongly evident
Table vinegar, for instance, is a that it must be removed.
potent antidote for chlorine. 53
If you Sodium hyposulfate (in small crys
want to use it, first drain the water com tals), as photographers use it, also is an
pletely from the tray until there is no excellent antidote. One should obtain
more foam left. The spout is closed this sodium hyposulfate in any case,
tightly, and a whole bottle of wine vine since it is at the moment somewhat less
gar 54
is poured in. Thrift has no place expensive than wine vinegar.
here, since you are dealing with valuable Take 1,000 g of the supply, pour
prints. Let the vinegar take its effect for boiling water over the crystals in a 2-liter
a few minutes. After a short time, with earthenware dish, stir thoroughly, and
the vinegar still in the tray, let cold water let the solution cool. Pour the solution
run in slowly until the papers are just through a funnel and a linen bag into two
covered with water. clean bottles. Under no circumstances
This antidote requires three to four should the dirty residue of hyposulfate
hours to remove the small remnants of come into contact with the paper.
chlorine. The papers will no longer smell
TREATING BLACK-AND-WHITE PRINTS
WITH CHLORINE WATER
A severely yellowed sheet of paper with want to use a well-saturated support for
unsightly mold stains, which has become it. This wet support will allow the slow
a little lighter through a simple water spreading of the chlorine water, since
bath, shall now be treated to improve only the dry and absorbent support cre
its appearance. ates hard rings on the back.
The paper can be treated in different To dab the print locally, take one
ways. The most natural and most beauti part extract and two parts water. An
ful method is exposing the paper to the eggcup will be big enough to hold this
sun for many hours. The advantages of
55
solution. For dabbing, use a thin white
the sun's rays are well known. However, estompe or pieces of cardboard cut as
58
if you want to use this lightening small as desired. Very unsightly but only
method, you have to have a lot of sun and occasional mold stains or offensive water
time. Such a treatment can last for days stains should be dabbed with this solu
and weeks. To reinforce the effect of the tion. The paper, is dampened in order to
beneficial rays of the sun, the paper has (i) prevent it from being damaged at the
to be put into a bath previously lightly treated spots and (2) allow the chlorine
acidified with vinegar. After the bath is water to mix gradually with the moisture
completed, the paper is put on cardboard present in the paper.
and exposed to the sun. When the paper If you started to work right away
starts to dry, it has to be sprinkled with a with the strong extract, the effect would
weak vinegar solution from a watering be very noticeable and the treated areas
can. This procedure can take weeks, as would stand out sharply against the sur
already mentioned. But will- you always rounding. This is avoided by using weak
have the time and leisure to do this? 56
chlorine water. After the spots have been
Will the sun shine that long? You could
57
treated several times in this way, a moist
and should try this once with an engrav sponge is squeezed out over them so that
ing in black ink to see how truly powerful the water and chlorine solution can com
the effect of the sun is. bine again and a slow blending in of the
If only one area is to be cleaned chlorine water is assured. If the chlorine
(local treatment), a lot of patience is nec water is too weak, the mold stain has to
essary. Put the thoroughly dampened be locally dabbed with a stronger solu
paper on oilcloth but never on card tion and only in its center. The stronger
board—a mistake that is often made, solution then combines with the weaker
unfortunately. Dry cardboard will absorb one, and the weaker solution in turn with
the cleaning agent, creating pronounced the surrounding dampness. Dabbing fre
rings on the back of the print instead quently with a wet sponge is advisable in
of letting the weak chlorine water run any case. If you have removed the stains
evenly over the paper. However, if the on the front, the paper should be treated
paper is severely damaged, you certainly to a lengthy cold bath. After about two
Fig. 18.
Coat of Arms with Skull, German
School, Diirer, 1503, engraving.
Stained by modern ink; completely
cleaned through a water and
chlorine treatment.
hours, take the paper out of the tray and If an engraving is still very brown
place it wet, with the back facing upward, in spite of the preceding treatment with
on the oilcloth which has been cleaned in the vinegar solution or if it still shows
advance. The spots might still be faintly unsightly spots, it has to be lightened as
visible on the front, but they will com described above. During this treatment,
pletely disappear once the paper is dry the areas surrounding the spots are, of
or will just be faintly noticeable with course, also treated since the yellowing is
out being distracting. The back is treated too severe. You start at first in the same
in the same manner as the front. When way: localized dabbing of the front, bath,
you are able to clean a spot locally in such localized treatment of the back. After you
a way that the surroundings of a mold treat the back, the paper is left lying
stain or water stain are not affected or there; it does not get another bath for
lightened as well, you will have been the time being. The back of the paper
quite successful. is brushed with a weak chlorine water
Fig-19.
The same sheet after cleaning
solution. A wide flat bristle brush is the back. However, if dark spots appear
dipped into the weak solution, and the on the front, especially in the lighter
solution applied with a full brush. Do not parts of the print, a careful lightening
rub the brush into the paper but move with chlorine water has to be attempted.
the wet brush back and forth over the In the meantime, the appearance of the
paper like a painter painting a floor. As margin has improved and its color again
soon as the paper becomes light enough corresponds to the pretreated areas. You
and its shade matches the locally cleaned have thus been extremely cautious when
areas, the front can be treated. For this, treating the paper with weak chlorine
the paper is carefully turned over and water. If the localized pretreatment had
only the margins are covered with a weak been omitted and the whole sheet treated
solution. Often, you do not have to cover at once, the paper would have been
the printed part with the solution exposed to a longer treatment with
because it already has been affected from chlorine water and would have been
Fig. 20.
Jan Cornells Sylvius, Dutch School,
Rembrandt, ca. 1645, etching. Nearly
destroyed by fire, the picture was fully
restored by treating it with chlorine
and mending it.
weakened unnecessarily. Even though which contains slight traces of chlorine,

the chlorine water will never damage the should be drained off. The second bath
paper and the print if it is used as previ (the etching remains in the tray after the
ously described, it seems unnecessary to first bath has been drained) will be very
me to treat the entire paper in such away. good for the paper. After another two
I would like to advise you once more, hours, empty the tray completely, care
strongly: Always treat the stains locally fully rinse off with the hose any foam that
first and then proceed to lighten the might have formed, close the spout with
whole sheet, and the latter only if it is a cork, and pour a small amount of chlo
absolutely necessary. rine antidote into the tray. Slowly pour in
After the treatment, rinse the paper some water, just enough to have the solu
well on both sides and let it recover in a tion taste a little like the antidote and
cold bath. After about one hour, the bath to cover the paper well. If the solution is
should be renewed and the old water, too weak, add a little more antidote to
Fig. 2,1.
The same etching after treatment.
make it stronger. Allow this bath to work small round bristle brush or by sprin
for two to three hours, then drain it and kling pulverized citric acid on the spots.
replace it with fresh water. The paper Another dabbing with weak chlorine
remains in this water bath for four to five water then causes these spots to disap
hours and is then placed over a pole. pear completely.
Never use a pure chlorine bath,
since print and paper could be damaged
by it.
If larger brown stains appear dur
ing the treatment with chlorine water, a
chemical process has taken place. 59
These dark spots can be removed

instantly by applying a weak hydrochlo
ric acid solution (5 to 10 percent) with a
THE GLEANING OF C O L O R E D PRINTS
This section deals with old colored work was at least done under his super
woodcuts as well as engravings and vision. The appearance of woodcuts
lithographs. improved, images were executed more
It is surprising how hard it is to avoid artistically, more attention was paid to
unintentional loss of color from prints in details, and the garments pleased the
the course of treatment. But my task, viewer even without color. After Diirer's
which is to preserve the colors on paper, time, if any woodcuts were colored, it was
is even more difficult. Early woodcuts probably for the reasons mentioned in
were colored for good reasons. First of the preceding paragraph.
all, the less well modeled garments of The coloring consisted mainly of
individuals would be made more expres four hues—blue, yellow, red, and brown.
sive in order to give greater emphasis to Later, black was added. Because in earli
the figures themselves. A second reason er times paper was prepared for coloring
was to create a colorful book by portray with a gum or albumen solution, there is
ing the religious images in imitation of a distinct danger of complete removal of
Egyptian picture sheets. The main pur
60
the old color even during a simple water
pose, however, lay in covering up draw treatment. If the colored sheet were
ing errors by means of rich color. The placed in water, the colors could float
early wood-cutters were not yet very away because, as already mentioned, the
experienced, so that common carpenters background was covered by a water-
performed this kind of work. The wood soluble coating. Gum or honey solutions
block was given to the cabinetmaker, were used as binding agents for colors
whose task it was to cut out the area in earlier times.
around the drawing precisely. The draw A chlorine treatment can be used
ing itself remained, in relief. Of course, it only if the greatest possible precautions
was possible for the carpenter to miss a are taken. And only a local treatment may
few folds in the garments because he was be applied. Especially disfiguring stains
not yet a master in this art. Looking at can often be removed using a dry method
woodcuts from the second half of the with a razor—for instance, wax stains,
fifteenth century, you can see that the the kind that are frequently found in
carpenters worked rather awkwardly. prayer books. Subsequent treatment
And the artist who created the design with carbon tetrachloride will often
often was not the right man for this kind bring good results. For a treatment with
of work either. chemicals, the sheet first has to be damp
Coloring became less frequent after ened from the back, and care has to be
the example set by Albrecht Diirer. Diirer taken that the water does not run onto
learned the art of woodcutting from his the color. Foxing or water stains imme
master, Wohlgemut. If Diirer was not diately absorb water. Because of the
able to cut every woodblock himself, the absorption, the spots can then also be
treated more easily. Local treatment with prints from the nineteenth century.
chlorine has to be repeated often if the When I specify colored prints from the
stains are stubborn. After each chlorine end of the eighteenth century to the
application, an antidote is used, and this beginning of the nineteenth century, I
process is continued until the goal has am thinking above all of the beautifully
been reached. Do not treat stains in the colored Swiss prints. With what kind 61
color itself if you do not have the neces of endless patience and exquisite colors
sary expertise. When the stains have these great artists worked! You can liter
been removed to the extent that they are ally smell the fragrance; you can sense
not very visible anymore, the sheet the love and great care in their prints. I
should be dampened frequently from the do not think that I exaggerate when I
back with clear water so that the effect of maintain that no other country in the
the chlorine is gradually lessened. After world was blessed with such great mas
the treatment with chlorine water, the ters in the art of coloring as Switzerland.
paper, if it is not very absorbent, can also As a matter of principle, I also refuse to
be placed on a water surface. Water will treat Swiss prints when a spot does not
be absorbed at the places that have been impair the impression as a whole. Often
treated with chlorine, since the paper a slight browning makes the paper espe
has been made softer in those places. ' cially attractive. And this little bit of
If the sheet is floated on water, with browning should now be removed?
the treated surface facing upward, care Never, hands off! One has to have some
has to be taken that no waves are created idea of coloring if one wants to talk about
by moving the tray. These waves could it. If a sheet has been treated anyway and
run over the color and damage it. the color has been slightly affected, it
Therefore, utmost caution! After the should be left to another hand to touch
treatment the individual spots are sized up the exquisite colors! It is not easy to
with a gelatin solution. find the right way to return the softness
Why does foxing only appear local and originality to the sheet. The collec
ized on a sheet? I think because the paper tors and dealers of Swiss prints know
is more susceptible to it in these places. coloring; they all know that no one can
How often do we not see in an old book match the original. And it is entirely
only one or two sheets out of a hundred impossible to fool these experts.
covered with a few individual foxed I lingered a little longer over the
marks? The reason for this cannot be Swiss prints so that anyone who wishes or
that the book lay open. On the contrary, has an inclination to treat such sheets
a brief, dry airing would always be of will think over carefully whether he can
advantage to the book. It has to be finish this work successfully.
assumed, therefore, that these places did I do not exaggerate when I say that it
not receive any sizing when the paper is often harder to treat a colored Swiss
was prepared or that other defects print than a French aquatint print. For
existed in the material. this kind of treatment I cannot simply
Colored engravings from the eigh say, This is how it is done; or, Take the
teenth century do not show foxing, water following. That is impossible! Empathy
stains, and overall browning as often as is of the utmost importance here.
And, unfortunately, how often we would only cause the remaining color to
find these wonderful Swiss prints in a run later and to spread over the rest of
deplorable condition! The dear framer the paper. Only a faint trace of the line
frequently did not understand the great should remain. If, after lying in water for
art of his compatriots; he just did the twenty-four hours, the sheet becomes a
framing! No thought was given; he just little more absorbent, the task is no
put on a frame. Instead of cardboard as a longer quite as difficult. Great progress
support, highly resinous boards were has been made if the sheet is willing to
used so that the grain of the wood is often absorb water.
visible in dark brown on the front of the In this case, the chlorine solution
sheet. And many framers did not put any treatment is applied from the front. The
special barrier behind the sheets. The area surrounding the main colors is
green wood was simply placed on the brushed liberally with the chlorine solu
print, pinned down, and that was the tion, and, of course, the sky area has to
extent of it. This is how the exquisite be treated too. The delicate reddish tinge
prints of the Swiss artists were treated will no doubt disappear, but that cannot
at the time. be helped. It will be possible to recon
To save such a print, of course, in struct everything by following the copy
most cases you have to use chemicals, and the notes. When I say that the area
even though it breaks your heart. Special surrounding the colors is brushed liber
precautions have to be taken for this ally with the chlorine solution, I mean
treatment, since different hues can be that care has to be taken so that the solu
easily changed or disappear through a tion does not run into the colors. It is
chemical reaction. You should examine advisable to have a damp sponge at hand
the print carefully, therefore, before to dab off any excess chlorine solution in
beginning the work, study its fineness case it should spread. No liquid should be
and detail in coloring, and note its spe allowed to stand on the paper.
cial characteristics. In addition, details The back must be treated a little
of the clouds should be copied and a more forcefully since the effects of the
small color sample made. I would like to grain of the resinous board will be most
point out especially that the shades of red visible here. Yet here, too, one should be
have to be determined so that you can very careful not to let the chlorine water
find the right hue again later. work too long on those places that corre
If two or more prints need cleaning spond to the principal areas of color on
at the same time, the color sample may the front. As soon as the back becomes
be unnecessary but never the drawing. considerably lighter—small remaining
Only one print should be treated from traces can be ignored —the sheet is
beginning to end so that there is always a rinsed thoroughly on both sides. After
sample at hand. If the print has a black the baths, the sheet is dried. Next, the
borderline, it will have to be removed sheet is prepared for further treatment so
while the sheet is wet. This kind of work that the missing shades and the border
is done in the tray so that the water can line can be restored. This procedure is
immediately distribute the colors when described in the section that deals with
the lines are washed off. A quick washing the preparation of paper (see pp. 102,-3).
R E S T O R A T I O N O F E N G R A V I N G S , B O O K S . D R A W I N G S , A N D O T H E R W O R K S ON P A P E R 75
Before applying the tints with a the simplest task in the world.
brush, when the color solution is well set It goes without saying that such a
tled, you should mix in a small amount of method requires great skill and the abil
ox gall, which is available in pharmacies. ity to work fast. A print painted with
This addition is only necessary when the opaque colors in earlier times can even
paper, after having been prepared, does be completely immersed in water and left
not take up any color. You can also pour floating, without any harm to the color.
pure sugar into the color solution to The earlier colors were carefully mixed
make the blue watercolor for the sky run and can easily withstand such a treat
better. The sugar water ensures a good ment. Of course, it is not advisable to try
and even distribution of the color. Of this out in all cases; there might be times
course, a sponge is also very useful for when it does not work. At least I have to
achieving soft forms after the color has give this little advance warning so that
been applied with a brush. The border disappointment may be prevented. If
can be renewed with black drawing ink such a print is to be treated, it might be
and a drawing pen. useful to have a second copy at hand.
This kind of treatment applies to Prints painted with opaque colors
prints with particular colors that are sol often do not have any white paper visible
uble in chlorine water. These colors are in the margin. The margin is covered
generally known as transparent water- with a yellowish green or brown color,
colors. The majority of the Swiss prints and any writing has been added by hand.
are decorated with colors of this type, A thick black borderline frames the pic
and only a fraction at the beginning of ture. Thus, the print has been completely
the nineteenth century were painted painted over. The sheets often are glued
with opaque colors. These opaque colors to a strong backing, which makes them
were either supplied from the factory even harder to treat.
already mixed with white or combined When the colors have been affected
with white by the painter. In earlier times by superficial dirt or when dust has
really outstanding colors were mixed and begun to form in wavy patterns, the sheet
used in the artist's studio or workshop, should first be treated with a soft eraser.
but, unfortunately, their composition is After erasing, try a localized razor treat
often unknown to us. It would be beside ment at a spot which is quite conspicuous
the point to give more detailed informa but is located somewhat on the side. This
tion about this. The colors combined razor treatment can be very useful on
with white are called gouache, tempera, occasion. The less that water is used, the
or distemper. Whoever knows how to better! If the spot is too deep, it has to be
use these colors expertly can certainly dabbed locally with a chlorine extract. In
achieve good results. The question arises, this case, the sheet is not moistened.
however: Should such prints be treated Small water stains are not treated for the
with chemicals? At first, one might think time being because they might disappear
that it would be quite impossible to in the later water bath. When the extract
remove stains without repainting. And has done its work, the sheet is placed into
yet such a treatment can be accomplished a bath. The sheet is immersed, that is,
with relative ease, although it may not be pulled into the water so that the colors
are not touched by your fingers. The the sheet. The remaining baths follow as
colors will, of course, become soft in the has been previously explained.
bath, and if they are touched a little too If you have a good eye and have
roughly by your fingers, they will invari acquired a certain amount of skill
ably come off. The sheet therefore has through frequent practice, this job
to be treated with great care! The bath should not give you too much of a
will take a good hour so that the paper headache. All other colored engravings
can get well saturated. Before taking out and prints, regardless of their origin, are
the wet sheet and putting it on the table, treated like good Swiss prints.
you must pull a support under the sheet Sporting prints—when you are deal
so that the colors are not touched by ing with later ones, after 1820 —occa
your fingers. The black border especially sionally show a certain gloss. This gloss,
may not be touched, or there will be especially in the shading of individual
headaches. Those borders on prints that horses, is supposed to heighten the pic
have been painted with opaque colors torial effect. Does this gloss disappear
have to be regarded as the greatest "ene when the sheet has been through a bath
mies," for they can cause a lot of trouble. of several hours? No! You will be amazed
You will discover that the small at this answer, because I had the opposite
water stains have partially disappeared view of paint applied to old woodcuts. No
and light areas have been left behind in base coat was applied to the later prints
the locally treated spots. At this point a because nonabsorbent papers were used,
chlorine water treatment can be applied whereas in earlier centuries softer papers
with a soft flat bristle brush, up to the were used more often. For this reason a
delicate borderline. water bath does not pose any major
You should avoid—I have to empha threat to prints after 1820 inasmuch as
size this once again—going into the area the gloss that has been applied on top has
of principal coloring, for stains are not mixed with the colors and, therefore,
very disturbing there, whereas they show cannot swim off immediately. Still, I do
clearly in the sky. The flat bristle brush not think that these prints should stay in
has to be thoroughly saturated with chlo water for several hours. Often, the gloss
rine water and applied lightly when the is also caused by the colors themselves if
sky is to be painted. Do not rub back and they have been thickened copiously with
forth with it as that will dissolve the col eggwhite, gum, or honey. Chlorine water
ors. There should be no color adhering should not spread to especially shiny
to the paintbrush at all if the job has been places; the chemical treatment therefore
done properly. has to be applied very carefully. The
Before the sheet is transferred to the sheets cannot lie on top of each other in
tray, all chlorine water has to be removed the tray, only next to each other so that
to prevent damage. The sheet is dabbed the gloss will not be damaged by contact.
with blotting paper. Do not rinse it but When, for instance, several prints
carefully slide it into the water again. with glossy areas are to be treated which
After an hour, the bath is renewed. After are not too valuable, I advise you to pro
emptying the tray completely, pour a ceed as follows: Slip one sheet carefully
generous amount of table vinegar around into the water, and place the other one
R E S T O R A T I O N O F E N G R A V I N G S . B O O K S , D R A W I N G S , AND O T H E R W O R K S ON P A P E R 77
on top. The second sheet will, without that waves or moving water will not
doubt, curl, because the sizing of the touch the shiny areas. However, if this
paper does not yield immediately. To pre happens, the whole sheet should be sub
vent the sheet from curling into a roll, merged quickly, taken out, and put on
however, several bars are put crosswise cardboard. Colored prints with shiny
or lengthwise on the rim of the tray. The coatings or opaque colors should never
sheet will slowly relax and become entire be hung over a bar to drip dry, since the
ly straight again. You will also have to be colors can run easily. Of course, valuable
careful that fingers of water do not prints should only be treated this way
advance over the surface of this sheet, so after you have gained great expertise.
THE CHEMICAL TREATMENT
OF C O L O R PRINTS
Chemical treatment of color prints can here, leave the varnish there." For oil
be covered only briefly here. Always paintings, this is a matter of dispute and
make sure that these prints are worked taste. And what about mezzotint prints?
on very carefully. Not all color prints can An experienced restorer of engravings
be treated alike; above all, the colors can perform a 5 percent or a localized
have to be examined first. It is hard to lightening, but a restorer of paintings
write down general rules for this exami can never do that. The lightening of mez
nation, and even an hourlong chat would zotints may not be visible from the front
create more confusion than enlighten or the back. An experienced professional
ment. One thing I would like to mention will be able to perform such lightening
in advance: English color prints can without any risk to the prints. Restorers
endure a little more, since their colors of engravings are thus better off in this
are stronger. German [prints], too, are instance than their colleagues in the
durable. Italian and certain Dutch color other field.
prints are hardier by their nature. French I advise you to lighten color prints
and Swiss [prints] have to be treated with only if they are seriously impaired. How
great care. Aquatint prints have espe often I have refused to treat prints
cially delicate colors; treatment with because their owner only wanted to have
even the weakest chlorine water solution them lightened out of a mere whim.
can cause them to disappear. No professional will be so ruthless as
For the reasons just given, the to remove the golden warmth from a
reader will find it understandable that I valuable print solely because of profits
only reluctantly offer advice on the treat offered.
ment of color prints. With regard to the Let me now talk about the cleaning
last-mentioned French and Swiss color of color prints. A color print is examined
prints, I can only give you this well- and pretreated in the same way as mono
meaning advice: Hands off! Whoever chrome prints. Can the color print be
heeds this advice avoids a lot of damage. put into a water bath? Not all of them;
English color prints are, as already men stippled color prints can be put into
tioned, somewhat stronger, especially water, whereas mezzotint prints can only
stippled engravings. Mezzotint prints be put on top of a water surface. Both
generally represent a hard nut to crack. kinds should be treated with the lightest
The marvelous liquidity and especially means known. If disturbing stains are
fine shading of the colors have to be pre found in fine and delicate parts, espe
served at all costs. Do not try to remove cially in the reddish areas, you have to
the warm tonality unless it is too brown work extremely carefully! Do not go
and darkens the lighter tints too much. beyond the spot under any circum
You know about the dispute of the stances! The surrounding color will cer
paintings experts: "Lighten the picture tainly suffer if you use a stronger remedy.
A weak solution will have to be used to away." The untidy workshop did not look
bring success. And you cannot get tired too enticing. He took out a dusty pane of
of repeating the same procedure ten to glass and started to put a rim of putty
twenty times. Parts printed in blue, even around it to create a cheap substitute for
in French aquatint etchings, are a little a zinc tray. (I strongly discourage you
easier to treat because this color shows from imitating anything like this.) He
more resistance. Since the sheets also took my color print and put it face down
have to be treated from the reverse, I on the dirty pane. He poured the well-
advise you to treat that side first. After settled chlorine water on the reverse of
soaking in water, the sheets have to be the sheet. It must have been a doubly
dried lightly with blotting paper so that strong solution in which he left the print
the absorbed water will not combine too soaking for more than an hour. During
much with the chlorine water. After that, this time, we talked forthrightly about
the treatment with light chlorine water framing. Off and on he gave but a cursory
can begin. glance at my poor color print. Since only
I expressly advise you once again the back could be seen, the print
to stay away from treatment of French remained in the chlorine bath until the
prints if they are aquatints. This warning foxing no longer was noticeable. He
has to be given so that valuable prints poured the chlorine water back into the
will not be ruined. bottle and left the print in the homemade
I was not eager to speak about the tray. From a watering can he poured
treatment of color prints here as so much water into the tray and renewed this bath
harm can still be done because of lack of twice within the next hour. After that, he
knowledge and expertise, but I had to do took the familiar antidote to remove the
it to prevent recipes from being used that chlorine smell altogether. This bath took
are doomed to fail from the outset. Our five minutes. A new bath of approximate
aim is to preserve the colors and not to ly the same duration followed. He placed
touch them up with a paintbrush. How my print on a piece of cardboard, and the
often we see such ruined prints, which cleaning process was completed, or so he
are not really color prints anymore. This said. It is probably unnecessary to dwell
kind of work should not be allowed to on the kind of applause and the enthusi
continue. And how often I have seen such astic praise that the destruction of my
dabblers at work. To give one flagrant color print elicited from me. (Since it was
example: I asked a glazier, "Do you clean only a part of a color print, the pain was
color prints, too?" His answer was, "But not too severe.)
of course." I said, "I would like to be After the cleaning was accom
present, because I am interested in your plished, I introduced myself to the mas
craft." At first, my presence was unwel ter. I was not unknown to him. A long
come, but when offered double the discussion ensued, and the dear old gen
money, he agreed. It was about seven tleman may not have slept too well that
o'clock at night. I assumed he would ask night. I have to discuss this kind of treat
me to come back at a certain time the fol ment to justify my complaints about
lowing day. Far from it! The brave master some dear friends in the glazier trade.
announced, "We can start the work right Color prints can only be cleaned in
8o R E S T O R A T I O N O F E N G R A V I N G S , B O O K S , D R A W I N G S , AND O T H E R W O R K S ON P A P E R
steps. The more progress you make in part of a print can always be found and
cleaning black-and-white prints, the is enough to practice on.
easier the transition to color prints. Yet these attempts should be made
Practice—frequent trials—leads to the with color prints only after you have
treatment of an occasional color print of gathered enough experience with black-
insignificant value. There are prints and-white engravings. And that would
today that can be bought for very little give the author inner peace!
money. A heavily damaged, cut sheet or a
THE CLEANING OF DRAWINGS
The chemical treatment of any drawing strokes up to then consisted of lead,

requires, first of all, a thorough examina silver, and often even tin. A piece of
tion of the drawing materials used. A metal was shaped and cut several times at
water bath cannot do any harm to a sim the drawing end so that—according to
ple pencil drawing. But if other drawing wish and desire—two, three, and four
materials have been used, a water bath parallel lines could be drawn. A metal
can do a lot of damage. Pencil drawings piece with a particularly fine edge could
can also be treated with chemicals. They create incredibly delicate lines when
are not damaged if the treatment is done guided by the hand of a master.
professionally. For this, it is absolutely Moreover, if the artist used paper spe
indispensable to find out whether you are cially prepared with chalk, really out
really dealing with pencil drawings, since standing works could be executed. 63
other materials similar to pencil may, After these general observations, I

in rare instances, be able to withstand a have to confirm that pencil drawings
water bath but never a chemical treat from the seventeenth century exist. And
ment. Before I discuss examining the works that show the characteristics of
drawing material any further, I would this time should not be regarded as later
like to discuss briefly the pencil. works or as forgeries. 64
The filling of the pencil used today Before starting the chemical treat
consists of graphite and clay. Its home is ment of a pencil drawing, you should
England, where at the beginning of the check to see whether the drawing can
sixteenth century large stores of graphite withstand the treatment. Using a sharp
were discovered. In England "the pencil ened matchstick that has been dipped in
was first manufactured and used in the chlorine water, apply a small drop to an
form of small round rods or slim square unimportant part of the drawing. If this
strips that were covered with paper or set part of the drawing can withstand the
in metal holders. The pencil as we know chlorine, that is, if it does not disappear,
it today, except for minor changes, was repeat the same test in another place but
introduced to and used in Germany at the on a somewhat bigger area. If here, too,
end of the eighteenth century. Yet not all the drawing does not become affected or
our artists used the new drawing tool; does not completely disappear but the
several remained faithful to the old background is lightened by the chlorine
implements they were accustomed to. water, you can start cleaning the entire
These were used especially when particu drawing. If the drawing gives way in the
larly fine and delicate lines had to be area treated with the chlorine water and
drawn. This is the reason we find draw the line disappears, the chemical treat
ings executed with the old materials well ment of the entire drawing has to be
into the early Biedermeier period. The62
abandoned, and you can be assured that
old substances used for creating fine even a water bath would most likely harm
the drawing. In such a case, it is best Chalk drawings should never be

to clean any stains locally as far as the placed in water, not even on the surface
drawing permits, or to try to lessen the of water. Colors that have been applied
spots with the help of a sharp knife. dry can float off easily, especially those
To clean a pencil drawing com dramatic white highlights. Also, I would
pletely, it should be put first in a water never recommend the use of fixatives on
bath of the kind previously mentioned. chalk drawings or pastels in which the
Severe stains are then treated by wetting paper has become foxed or severely dark
with a few drops of ammonia solution ened by age. The darkening is caused by
after the sheet has dried off a little. After light, and the paper has lost some of its
this, the stained places are worked on sizing in the process. When the sizing is
from the reverse with chlorine water. lost, the paper becomes softer and is
The procedure, by the way, is the same more susceptible to outside influences.
as for the cleaning of engravings. The The fixing process can easily cause stains,
only difference in the cleaning is that in even if the fixing agent is sprayed with
treating the front with chlorine water, compressed carbon dioxide. If anyone
you cannot rub with a bristle brush dares to take on the chemical cleaning of
because there is a danger that the draw a chalk drawing, he should have years of
ing might be obliterated. Instead, the experience. Instead, I would advise you to
chlorine water has to be sprinkled on the desist from such a cleaning, since
drawing. This cleaning procedure only unpleasant surprises can happen even if
applies to pure pencil drawings without you proceed with extreme caution.
any coloring. To reduce the intensity of foxing
Drawings heightened with white — and to make it harmless for some time,
that is, drawings in which the white has I would recommend that you expose
been applied as liquid, not dry—often chalk drawings and pastels to chlorine
show a dark instead of a white color in the vapors. This procedure can be under
heightened places. Sometimes the white taken in a room with very little air move
has even turned black. The change in the ment. Chlorinated lime is boiled in a
white coloring is caused by the effect of container (see "Preparation of Chlorine,"
light and air. The white lead has oxidized. pp. 64-65), and the vapors are used to
Oxygen has turned the color dark. 65
treat the reverse of the sheet. Build an
Oxidation is a combustion process. appropriate frame and put the drawing
These black spots can usually be removed on it, the front facing upward. It is a good
very quickly. Just drip some citric acid idea to put a net of strings under the
solution or a 10 to 2.0 percent hydrochlo drawing so that the paper is evenly
ric acid solution over the spot. 66
Very exposed to the vapors. The distance from
stubborn spots can be sprinkled addi the vapor-producing container to the
tionally with chlorine water. In spite of paper has to be such that the vapors do
this treatment, though, such drawings not hit the sheet instantly and cause
will turn black again after a few years if drops to form. It is also appropriate, but
they are exposed to light and air after the not absolutely necessary, to use a box
cleaning process. 67
without bottom or top so that the vapors
do not become ineffective because of ened with a light solution of aluminum

a draft. It is not absolutely necessary sub acetate combined with gelatin after
68
to repeat this procedure. After the treat the vaporizing and drying process. This
ment, the sheet should be exposed to mixture, however, has to be applied very
fresh, dry air so that the chlorine smell moderately or else the foxing will strike
evaporates. Occasionally, foxing becomes through. It might be appropriate to mist
more noticeable and pronounced through this mixture with a spray nozzle.
the vapor treatment. Do not worry about Pen-and-ink drawings should only
this. After a short time it will fade again. be cleaned with chemicals if the colors
Since loose prints buckle during the have a carbon or silver oxide base. These
vapor bath and again after drying, I rec inklike colors can withstand any chemi
ommend that before treatment the dry cal. As with the pencil drawings, it is nec
prints be stretched over a pane of glass. essary to experiment on a small scale first
The side with the illustration, of course, and then to start the work or to leave it
is facing the glass pane. If they have alone. All further treatments are the
severe foxing, the sheets can be strength same as for pencil drawings.
THE CLEANING OF BOOKS
The cleaning of books can be very sim After all, I consider it my task to
ple when a skilled bookbinder has preserve cultural treasures to the best of
removed the binding. However, the mat my ability, not to vandalize them.
ter is more complicated when the pages I am not an enemy of chlorine but
must be cleaned inside the book, as is a friend!
often the case. Just think: If the pages still show
It goes without saying that in the unsightly stains after the acid baths, how
first instance the pages are numbered. If strong the chlorine water must be to
about one hundred pages out of a total of remove these, too!
two hundred are to be cleaned, all pages But what happens so often when the
are soaked. An acidified water bath pre desired effect has not been achieved?
cedes the cleaning. After a twenty-four- Someone's fingers itch because the
hour bath some success.shouldbe notice stains have not disappeared in spite of
able. If water stains are still visible, the the strong chlorine solution. Stronger
sheets will have to be placed into a bath and stronger agents are used, and the
containing a generous amount of citric paper is ruined. This should not be!
acid. The water must have an acid taste. Hands off!
The pages are soaked for three to four Book pages receive the same kind of
hours. The citric acid bath is followed by chlorine treatment as single prints. If
two more baths, which remove the acid there is enough room in the laboratory,
altogether. Take one sheet out as a sam ten to twenty sheets can be treated one
ple, put it on blotting paper to accelerate after another. The damp pages are put on
the drying process, and make sure that a wet support, and the stains are treated
the water stains have disappeared. If a locally with a weak chlorine solution. If
chlorine water treatment is necessary, the solution is too weak, it can be con
the stains should only be dabbed locally. centrated. Refer to the section on the
Always proceed this way. Under no cir cleaning of engravings for this. Espe
cumstances should all the pages be sub cially conspicuous stains should be
jected to a chlorine water bath. treated with hydrochloric acid, 10 per
A thousand voices may sound cent at the most; use chlorine and sorrel
against this and maintain that they have salt 69
for ink, but do not add any other
always put their sheets into a chlorine agents. The cleaning is sufficient if the
bath and no harm has ever come of it, stains become lighter. These three
but I still insist on my opinion, which is agents prevent the stains from spread
based on decades of experience. ing. The remaining color of the stain
I look at such a treatment as barbaric. does not do any harm. The main point is
Even if older people cannot be convinced, that the evil has been eradicated.
I ask the young under no circumstances to The local treatment of stains inside
engage in such maltreatment. a bound book requires great patience.
Strong stains near the gutter mar of the antidote.

gins are not removed because their treat Light water stains have to be
ment would require bleaching several removed in advance with vinegar water.
times and in such quantity that the book After the last localized water bath, sever
could be damaged. Any expert on books al layers of blotting paper are put
is justified when he refuses cleaning pro between the pages and left there to dry.
cedures that might be successful on the During the drying process, the book
treated spot but could harm the integrity should be placed upright and spread
of other parts. This has to be emphasized open so that the pages that have not been
here, once and for all! treated will not be affected. I would like
More conveniently located stains or to mention here that the pads have to be
water stains are treated as follows: I rec changed after the localized chlorine
ommend that the areas around very stub water treatment as soon as the counter-
born stains, which probably have to be measures start.
subjected to a lengthy treatment, be satu If, in spite of all precautions, new
rated from both sides with a moderately water stains have formed after the com
strong gelatin solution. This strengthen plete drying of the book, these have to be
ing agent should not run into the paper removed by careful dispersion with a
suddenly but should gradually pass over firmly squeezed-out sponge. You can also
into the dry paper. To avoid the forma try to remove new water stains by
tion of new water stains when doing this, strengthening the affected areas with a
the area around the stain should be mois gelatin solution.
tened lightly with a sponge that has been If you have used a lot of water, the
squeezed almost dry. To start the treat pages will probably slightly expand out of
ment, place a colorfast piece of oiled their binding. Since the expanded paper
paper 70
under the page and a slightly cannot be cut—the type area has to be
moistened, absorbent piece of paper on taken into consideration —it seems
top. When a second page is treated, the advisable to slightly moisten the remain
preceding one has to be protected in the ing pages also.
same way so that it does not come into The special character of the book
contact with any chlorine later on. pages has to be restored. Please refer to
When the sizing solution has dried, the section "Actual Mending or True
the chlorine water treatment can begin. Restoration" (pp. 109-22) for further
The surrounding areas are once again details on this process.
moistened with a sponge that has been It is often quite difficult to take a
squeezed out well, and the affected areas book out of its binding without damaging
are dabbed as in the case of the copper the binding. However, an experienced
engravings. First use a weak solution, bookbinder, who knows all the secrets of
then a stronger one! After the cleaning binding as well as various binding
process —several pages of the book can agents, will have hardly any problems or
be treated at once—the treated areas are will be able to overcome them easily.
dabbed with clear water. This is followed Above all, the owner of such a book
by the antidote, undiluted if possible, will have to trust the expert even when
and clearwater then moderates the effect he considers the removal of the pages
necessary but cannot guarantee that the into water as follows: Find the middle of
binding will remain unharmed. After all, the section, then submerge one-half,
it is the main goal of any expert to pre page by page; treat the other half the
serve the binding, since the cleaned same way. When submerged in the acid
pages are most attractive in their com bath, each section will look like an open
plete old setting. book. After softening the paste with an
I know some capable bookbinders hourlongbath, the pages can be lifted up
who are especially proud of performing one by one. The soaked paste is removed
their work while preserving the charac with cold or warm water, depending on
ter of an old book. its composition.
Of course, even among bookbinders
and restorers there are dabblers to whom
valuable works should not be entrusted. CLEANING SEVERELY
No special advice can be given for DAMAGED BOOKS
the separation of an entire book, since
every binding is different. After preserv From many circles, including the book
ing the binding, continue with the sepa binding trade here and abroad, I have
ration of the book, layer by layer. Water received inquiries and samples, with the
should be used as sparingly as possible request to comment on one kind of treat
because any absorbed water can cause ment or another. I was not able to follow
severe stains that are often very difficult up each request the way I would have
to remove. To avoid the formation of liked—although a short reply was always
water stains, I would suggest that after given. I would therefore like to answer
separation the volume be placed under here in a little more detail the questions
a heavy press so that only the back pro that have been put to me.
trudes a little. The volume could also First, without great effort, it is hardly
be put between strong boards and possible to restore moldy books that are
pressed with iron or wood clamps. excessively covered with fungi or bacteria,
Working lightly with cold or at the most the way they are sometimes found today,
lukewarm water, do not brush it over the and hope to be able to use them again.
entire back but leave i to 2 cm at both When books have been left to deteriorate
ends of the back free so that the water so badly that the pages start to crumble
cannot seep into the sides of the book. when they are turned, we can no longer
Trained book specialists do not need to speak of a satisfactory restoration.
be reminded that the moistening of the Many readers of the first edition of
book has to be done very skillfully. I my book thought that there must be a
would, however, like to avoid having procedure that could remedy such dam
inexperienced people perform this kind age. There has been talk of hot air, with
of work, believing they can blame my or without chlorine vapors, of airtight
pronouncements. incubators, and so on, without any
If the book can be divided into three thought given to the fact that heat might
or more sections while dry, I recommend make the damage even worse. Light and
that the sewing threads in each section heat combine with the enemies of the
be cut. After this, place the sections paper and can completely destroy a cul-
tural treasure. When paper is so fragile really applies himself will be successful.
that even turning a page becomes dan All the procedures require the utmost
gerous, there is hardly anyway to save it, concentration. A good frame of mind, a
especially if the pages have print on both cheerful working space, undisturbed
sides. If there is a special reason for risk working conditions, and excellent day
ing an attempt at restoration, I suggest light are the first prerequisites for the
the following: Remove the pages from solution of such difficult problems.
the binding as best you can, the some If some stains remain quite conspic
what sturdier ones first. A colorless, uous and require a second cleaning, I rec
strong sheet of paper is cut in such a way ommend that the pages be sized a little
that each piece is a little bigger than a more thoroughly when dry. After drying,
book page. This paper is saturated with the cleaning process is the same as men
a strong solution of chlorinated lime, and tioned before. Although this procedure is
the fragile page is placed on top. very time-consuming, it can preserve for
Sprinkling liquid chlorinated lime on the several years many books that would sim
page would harm it; therefore, a second ply decay otherwise.
piece of paper saturated with chlorinated Second, why would mending paper,
lime is placed on top, enclosing the book which completely matched the original,
page between the two papers. Enough buckle once it dried, despite having been
solution of chlorinated lime is dribbled applied in complete accordance with the
onto the paper so that it begins to float. instructions? I have answered this ques
The book page should be left alone for tion many times, either in writing or
about fifteen minutes. It would be per orally, so that in more than a hundred
fectly all right to perform this task in cases much better restoration work could
a larger tray in which several pieces can be performed. Before blaming the paste
lie next to each other. After the fifteen alone, I first look at the preparations.
minutes have passed, lift the upper sheet Has all preliminary work been per
carefully, make sure that the book page formed satisfactorily? Has all prepara
does not adhere to it, and examine the tory shaving been done in such a way that
page. If the cleaning has been somewhat guarantees success? 71
successful, leave it at that. The book page The shaving at a tear or corner may
with its support is now placed in a pure be done only as forcefully or lightly as the
water bath, but the sheet is not rinsed paper permits. When the shaving down
because it could tear in the process. begins, it cannot be done so deeply that
Renew the clear water bath very fre when the paper is held against the light a
quently before applying an antidote. transparent area will be seen from the
When taking the page out of the water starting point to the edge of the tear or
bath and in the course of the various other corner, as I have been told has happened
baths, use the supporting sheet. The fur in many instances. This should never
ther baths have already been discussed. happen! Many think that in being shaved
I would like to emphasize again that to fit the original, the mend would
only a person with the necessary exper require hardly any shaving because the
tise should attempt this kind of cleaning. shaving of the original would be enough.
As with all tasks, only the person who Of course, this is completely wrong. The
preliminary shaving of both parts is done out correctly by stirring the paste cold.
in such a way that it makes the original Then they pour on boiling water, stir the
only slightly thinner—hardly perceptibly paste well, and—that is the end of it. If
so—but never so much that the mend you prepare paste this way, you should
merely has to be shaved a little bit. The not be surprised when the restoration
way in which both parts must join becomes problematic later on.
together is such that you must use your During the preparation of the paste,
intuition as a guide in the shaving. it is most important that the kettle not
Certainly, when shaving the front, you be immediately taken off the heat after
may touch only the thin inner edge of the the boiling water has been added. For
tear, never the entire width of the mend. restoration purposes the later swelling of
Also, if you shave the back of the original the paste has to be prevented at all costs.
extremely thin for the full width of the And this is done by adding small amounts
patch, the paste—which often may not of water while stirring constantly. Paste
be prepared correctly—will become evi only swells when it is boiled repeatedly. 73
dent from the front as an area of trans It is amazing how much boiling water has
parency. If the shaving is done well to be added to make the paste usable for
enough so that little shaving is left to do restoration purposes. Paste that is pre
after the mend is attached, the problem pared according to the first method can
of a good restoration will have been be used for bookbinding work but never
solved in the best way. This requires for restoring. When especially thin
patience and the kind of intuition that papers have to be mended, the paste is
can only be acquired over the course of diluted even more. Each mending proce
many years. dure requires a special preparation of
This method is the best, but satisfac paste. It is better to make fresh paste
tory results can also be obtained when more often than to try to renew old paste
more shaving is done on both sides. The by adding water.
main points are doing the shaving in Newly restored sheets should not
accordance with intuition and inserting be placed under a press immediately—
the mend in a methodical manner. that, too, can cause harm—but should
But let us look at paste one more be weighted with books or cardboard.
time. Paste, as I mentioned in the begin Take the double moisture of the mended
ning of this section, is a foreign body. 72
area—which can become noticeable
Since we cannot work without it, we have after drying—into consideration. Rub
to try to limit its power. As I mentioned bing with a bone folder 74
should not be
before, the preparation of the paste is done too forcefully either, to avoid dam
often to blame if the mend starts to aging the edges of the mended area on
buckle or become noticeable in other the front of the paper. When the sheet is
ways. Most restorers — I have been able to almost dry, light pressure from the press
observe them often—do not know how to cannot do any harm.
prepare paste properly. They may start
HYDROGEN PEROXIDE
Next to weak chlorine water, hydrogen because it is very hard to determine the
peroxide is an excellent cleaning agent. I limits of usefulness.
mention it in second place because it has And now a piece of personal advice,
only become a household remedy over which is designed to protect the techni
the past fifty years. Although it was used cian. Since oxygen is highly caustic, do
for all kinds of purposes almost ninety not wipe your eyes with moist hands
years ago, for a long time it was much too while working. Small burns on your
expensive for extended use. fingers, whitish spots, are not harmful
I have been using hydrogen peroxide unless you have cuts. I mention these
for "only" about thirty years. During that minor dangers so that you do not handle
time, I have had only good results with it, hydrogen peroxide carelessly.
probably mainly because I had gained Hydrogen peroxide, which is com
sufficient experience in the treatment monly sold in drugstores and pharmacies
of color prints and also with the use of for household use, is at the most 3 per
chlorine water. Practicing with weak cent and is too weak for the lightening
chlorine water, sometimes even using of sheets. Order a 10 percent solution,
chlorine extract combined with hydro maybe 200 g, and pour half of it immedi
chloric acid, is absolutely essential. ately into a dark bottle that is then filled
Using chlorine and hydrogen in the right with an equal quantity of distilled water.
amounts can bring excellent results. This is now a 5 percent solution, whereas
When chlorine water is used, cleaning the first one is 10 percent.
should be done with the window open; The 5 percent solution can be used
hydrogen peroxide, being odorless, may to remove light browning and foxing. I
be used in weak solutions even in a would like to mention, however, that
closed room. At the most a 5 to 10 per each sheet has to be subjected to the
cent solution can be used. Never use same preparations as were made for the
a stronger solution! Oxygen, the real chlorine water treatment —namely,
cleaning agent in hydrogen peroxide, baths, a light local treatment with citric
can burn the paper severely and make it acid, and so on—because often even the
very brittle. weaker processes bring success.
A dark bottle should be filled only When the sheet is half dry, not moist
halfway with the 10 percent solution. If as in the case of the chlorine water treat
it were filled all the way and not kept in ment, lightening with hydrogen peroxide
proper storage, the tightly fitted cork can be started. Brush the sheet from the
would fly out of the bottle with a loud back with a saturated flat bristle brush,
pop. Hydrogen peroxide has to be stored let it dry a little, and repeat the proce
in a cool, dark place. dure until the desired result is attained.
I have experimented with stronger This kind of treatment does not
solutions and advise against them affect the paper or the print, but the
cleaning process is somewhat slower. For localized treatment of unsightly

The 10 percent solution is needed stains that have to be removed from
only when severe foxing refuses to dis robust colors such as blue, brown, or
appear. Here, too, you will have to try to bistre, I prefer weak chlorine water. The
create a harmonious transition to the treatment is performed on moist paper.
surrounding area so that the paper in the A gradual transition to the surround
vicinity of the foxing does not stand out ing area can be achieved more easily
as considerably lighter. If the localized with dilute chlorine water than with
treatment is not sufficient, give the sheet hydrogen peroxide.
a shorter water bath and treat any After the treatment with weak chlo
unsightly stains with chlorine water. rine water and an antidote, I recommend
When severely yellowed book pages a slight lightening of the sheet, done
have to be treated in the binding, I rec from the reverse, with 5 percent hydro
ommend the use of dilute chlorine water. gen peroxide.
Cleaning the pages with hydrogen perox For practicing, I recommend that
ide for many hours would cause water you apply a 10 percent solution to papers
stains, and frequent dabbing would wear from different epochs so that in each
away the paper. instance you learn the effect of the oxy
A full bath of two to three hours in a gen contained in the hydrogen peroxide.
5 percent solution cannot harm the book After treating the papers with hydro
pages. When stronger solutions are used, gen peroxide, especially after a complete
the danger exists that paper might cleaning, you place the sheets into pure
become brittle if it contains cotton or water baths. The clear water must be
mechanical wood pulp. renewed within four hours. Many of you
Before treating color prints with will not be aware of the fact that the
hydrogen peroxide, you should practice cleaning power of hydrogen peroxide
on monochrome sheets until you have does not dissipate very fast. If you pour
reached a certain expertise in lightening into an eggcup a small quantity of hydro
them. Hydrogen peroxide, even in a weak gen peroxide and let it stand unpro
solution, affects colors when it is allowed tected, the hydrogen peroxide is still
to work for hours. There are a number of usable after thirty hours. Chlorine water,
colors that cannot withstand extended on the other hand, cannot be used any
treatment with hydrogen peroxide. It is more. Hydrogen peroxide, therefore,
impossible to list these colors because should never be regarded as a harmless
individual combinations as well as their cleaning agent.
oil content vary, and later prints, those
after 1820, have to be given special
consideration.
THE TREATMENT OF VARIOUS STAINS
I do not want to present specific poisons rounding can be colored lightly to

to you, even though I have to say that achieve a harmonious impression.
there are quite "useful" poisons. But the Unfortunately, there is no set rule
use of poisons often does more harm for treating flyspecks, which often can
than the stain itself. Therefore, I only not be completely removed. At times
recommend the use of chlorine extract a bath is sufficient, however. While the
combined with citric acid or 10 to 25 per sheet is in the bath, try to remove the
cent hydrochloric acid. The sheets have
75
flyspecks by rubbing with a round bristle
to be well moistened even if the stains are brush. If the flyspeck is in a heavily
receiving only localized treatment. printed area, the bristle brush can be
Writing in ink can be removed with very efficient. Chlorine extract and
the above-mentioned remedies. If some hydrochloric acid can considerably
remnants of the writing are still visible, modify such stains if they are dabbed
sorrel salt can help. For this purpose on frequently.
boiling water is poured on half a tea In stubborn cases flyspecks have to
spoon of sorrel salt, creating a solution be removed surgically, because the sur
that fills an eggcup halfway. rounding area has to be protected. The
Fresh grease spots are removed with cut-out places are repaired in the same
carbon tetrachloride. Blotting paper is way as wormholes.
placed under the grease spot, and the Superficial burns in the paper, which
spot is rubbed from the front with a swab. are not too dark brown or too brittle, are
Sometimes repeated dabbing is enough. treated with pure chlorine water.
Do not limit the dabbing to the spot but Stubborn oil stains can often be mod
spread the remedy on the surrounding ified, occasionally completely removed,
area also. if they are located in the unprinted part
If stubborn stains do not yield to of the paper. A wide casserole dish or
repeated treatments, lightly moisten enamel frying pan, half-filled with water,
these spots with pure water. Since the is put over a small gas flame. Into the pan
print and the paper have to be protected pour two to three tablespoons of bleach
by all means, it is advisable to repeat the ing soda and let it dissolve. The print that
chlorine extract treatment three to four is about to be treated has been moistened
times and to put the sheet into a bath and placed between two nonabsorbent,
with an antidote after each attempt. colorless sheets. One sheet covers the
Never try to remove unsightly stains all at front up to the oil stains to protect the
once. I strongly recommend that you let print from soda vapors. The lower sheet
76
the sheet dry after each cleaning proce supports the entire print. Shape the
dure and examine it to determine print with the support into a wide roll,
whether further treatment is necessary. and place this roll vertically or at an
If the stain is still faintly visible, the sur angle into the dish. For the removal of oil
stains, it is best if they are reduced grad is formed, which stems from the yellow
ually. Therefore, never try to diminish or ing of the paper. Most of the time this
78
remove an oil stain by direct treatment ring can be removed by means of a simple
in boiling soda water. 77
Leave the print water bath, but if it does not disappear, it
in the dish for up to five minutes while has to be treated with weak chlorine
the soda solution is boiling. Remove the water. The chlorine water treatment also
print after this period of time, open it a takes the color out of the stain, so that
little, and check whether the oil stains two things are accomplished at the same
have started to absorb water. If they have, time. If the stains are still visible, sprin
the stains have lost their oil content. The kle a little hydrochloric acid on them.
print is placed into a water bath so that Once you have gained a certain
the soda is removed. The paper has been expertise in the treatment of old oil
subjected to a lot during this treatment, stains, you will be able to recognize
but it has not been weakened so much ahead of time whether a case is severe or
that it dissolves. not. It is better for the paper if you do not
The surface of the soda water always try beforehand to remove the stains by
has to be at least 3 cm away from the chlorine water, because that would only
printed part; otherwise, the picture will affect the area around the stains. It would
be adversely affected. It has to be taken be a futile undertaking, and the paper
into consideration that the more the would be affected twice.
paper has been moistened before the I have to repeat once again: This
treatment, the harder it is for the soda method can only be used on those parts
solution to spread or soak into the paper. of the paper that are free of print. Also,
In other words, the more moist a paper the paper has to have a certain amount of
is, the less harm can be done by the soda strength; it cannot be too fragile. Under
solution. At the place where the effect of no circumstances should any of the Old
the soda solution leaves off, a brown ring Masters be subjected to the soda method.
THE REMOVAL OF SPIRIT VARNISH
Varnished and mounted prints are imme against the light. Because the sheet is
diately treated with spirit of wine, if pos mounted but has to be separated, it
sible with 96 percent spirit. The latter is should stay in water for about twenty-
more effective than the common methy four hours. Since the sizing is paste, it
lated spirits. 79
will be advantageous if the bath softens
After removing the dust with a moist the sizing a little. Do not attempt to sep
sponge, put the mounted sheet in a bath arate the sheet cold after the bath but
of pure spirit of wine. The tray has to be attack it immediately with sword and fire.
rubbed dry before use. The sheet does Pour boiling water on the print—of
not have to be submerged in the bath, but course, not from a great height, so that
you cannot have too little spirit of wine the impact of the water pressure cannot
either. In order to have the spirit of wine harm the paper. I mentioned this danger
take effect, the tray should be rocked fre before. The next task is the removal of
quently back and forth. Through rocking the sizing. The hardened layer of paste,
the tray, you inundate the varnish, which the sizing, has to be covered with boiling
runs off the sheet. After about twenty water. When the water has cooled off
minutes, the spirit of wine is drained off somewhat, the tray is emptied com
and the spirit bath renewed. To prevent pletely; the sheet remains in the tray, and
the spirit of wine from evaporating too boiling water is poured over it again and
quickly, cover the tray with cardboard or again. After repeating this three to four
a drawing board. Shortly before taking times, take a somewhat worn flat bristle
the sheet out, rock the tray back and brush and carefully move it across the
forth a few more times and rhove a flat sheet, to loosen the remnants of paste.
bristle brush across the whole sheet. These hot treatments have to be repeated
Make sure that the spirit of wine has no frequently; do not assume that one or two
color when the bath is drained. If it shows baths will be sufficient.
color, the bath has to be repeated. Only The support will have become loose
when the spirit of wine is clear can you be in the meantime. The sheet is turned
sure that the varnish has been removed over, the support is removed, and the
completely. The mounted engraving has glue is washed off. After the sheet is
been freed from its varnish and is put placed on a piece of oilcloth, any glue
upright to dry completely, in such a way remnants are removed; the sheet is
that it does not touch any objects painted rinsed well from both sides and placed
in oil. If you observe several whitish areas into a recovery bath. After several hours
after the sheet has dried completely, the it is hung over a pole to dry.
spirit treatment will have to be repeated. Examine the sheet after it has dried,
Usually, it is the presence of sizing and you will probably find some rem
that causes the sheet to appear slightly nants of paste. These remnants—which
shiny or spotted when held at an angle often appear only in the dark areas
because the heavily printed colors hold done no harm to the print, it cannot
the paste better—will have to be treated possibly suffer in a water bath under
locally with chlorine water. Vital parts expert care."
and beautifully colored parts especially When you are dealing with precious
should not come into contact with chlo mezzotints, the sheets can be separated
rine water. In these instances the rem dry in certain instances. But such a sepa
nants have to be left on the sheet because ration requires a lot of time. I myself own
it requires great skill to remove them a small collection of color prints and
completely. The print can lose some of its know that every collector would like to
vividness because of the frequent pour have untouched prints in his collection.
ing of water. There is nothing to be done However, whether precious mellowness
but to restore the beautiful and pristine will be lost during the treatment of var
appearance by skillfully retouching. nished prints is a question that does not
Varnished engravings are rare. In have to be raised at all, because the
all my years of work, I have treated at owner never saw the print before it was
the most one hundred fifty to two hun varnished. If the owner of a varnished
dred sheets. print were aware of the fact that this
Occasionally a client will ask appre sheet had to be sized with a heavy layer of
hensively, "Do you have to use water? paste before being varnished, he would
Will the print not suffer from this kind consider this question superfluous.
of treatment? I do not want the won Could there have been a compelling
derful mellowness of the mezzotint reason for treating a print this way? I
to disappear." think so. During the course of my work,
To that I can only answer, "Yes, you I have found that most color prints are
are right, the danger is there. But your not first-class impressions. Before I start
print has already been varnished and has treating them, I select one place that
lost its mellowness, so the water treat seems to be suitable for testing to see
ment cannot do any more harm." whether the print has any special charm.
Occasionally, the same question is asked If I find out that the print loses some
about prints that are not varnished: of its vividness in the especially color
"Does the print absolutely have to be put ful parts or rich tones, I have to con
into water?" My answer is, "Yes, obvi clude that the sizing and varnishing were
ously. After all, the print is mounted. done to liven up the colors. One certain
Mounting can only be done when the ly does not have to varnish a print to
sheet is completely saturated from the make the printing look livelier. A consci
reverse! If you wanted to cover a sheet entious retouching artist can easily
with paste without moistening it before improve the appearance of a print by
hand from the back, the paste would have adding minor details. A varnished pic
to be packed on really thick. Naturally, by ture might not always be recognizable as
its gloss the paste will be visible on the such had the "master varnisher" worked
front when the paper is soft, and the with greater care.
paper will have lost its charm. The most I would like to mention, in closing,
magnificent mezzotints were printed on that varnish can be successfully removed.
soft paper. If nonexperts have allegedly In only a small percentage of the prints
from which I removed the varnish was it

noticeable that they had been varnished
at all. In those cases the sizing would not
disappear entirely.
I have to point this out for the pro
tection of anyone who might want to pur
chase varnished prints. In spite of many
successes, no restorer can guarantee
work performed on varnished prints.
STARCH PASTE
Hoffmann's rice starch, packed in a box down, it is not always certain that the
with the brand name Katzchen, is the paste is to blame. The areas that were
best and, therefore, most highly recom covered with the paste might have been
mended adhesive. Different kinds of too moist or, if the place is buckling,
preparations are selected for different too dry.
kinds of work. Although the starch goes A soupy kind of paste that is used for
far, to be economical you should mix and mounting China paper has to be mixed
prepare only enough for two to three in the same way, only more boiling water
days. Prepared with clear water without has to be added. When cooled, this kind
any additives, the paste will certainly of paste immediately pours out. Before
keep four to five days if it is boiled until applying the prepared paste, it is advis
it is somewhat thick. If stored in a cool able to press it through a linen bag. It is
place, it might even keep a week. What best to put as much paste in the bag as
more can be expected? Never add alum to you can use in a day.
paste that is used for restoration work or For mounting on stronger supports,
for mounting valuable papers. boil the paste a little thicker than for
Bring a small kettle of water to a pure restoration work. To separate the
boil. In the meantime (the water should supports of earlier color prints, mix the
boil for at least fifteen minutes) 80
dis paste as usual, only it should be neither
solve two teaspoons of starch in cold thick nor soupy when cold.
water in a small casserole dish. A little Cold paste should never be diluted.
water is sufficient; the starch imme There is a possibility that lumps will
diately absorbs the water, disperses into form. The adhesive strength, too, will
particles, and is mixed thoroughly with suffer. The preparation of paste is sim
a spoon. Pour enough boiling water on ple, but using it properly requires a lot of
the starch to make a somewhat thick experience. I wish that success will be
mixture. Bring the paste once more to a denied to no one who has acquired
boil over a gas flame, stirring constantly; enough experience. If restorations go
after that, it is finished and can be well, then for the most part one must
put aside. thank the starch paste.
When the paste is cold, it has to be The paste has to be stored well so
thick enough not to pour out instantly that it does not get contaminated by dust;
when the dish is turned upside down. Is it is best to put cardboard over the dish or
the paste ready for use now? One hopes to place a carton over it.
so. Trying it on worthless sheets will For working with paste, I recom
show whether the paste has been pre mend the use of cardboard. For taking up
pared too thick or too thin. If the mended paste, small, clean pieces of cardboard
area starts to buckle or if the mend are used so that the water content of the
becomes loose after having been pressed paste can be absorbed. Ten or twenty
pieces are cut from a big piece of card

board; they are stored carefully and pro
tected from dust. For a minor mending
job, a small amount of paste is put on
a piece of cardboard with a teaspoon
and is distributed with a small round
bristle brush.
As an alternative to rice or corn
starch, I recommend pure white potato
starch which you can make yourself.
STRENGTHENING SEVERELY
DAMAGED PRINTS
It is a widely held opinion that paper will sizing. Therefore, if you encounter heav
lose its sizing even after a very short ily sized sheets that make rattling noises
water bath. This is not true. The sizing of when handled, you can invariably assume
paper is not lost that quickly. Papers from an inexpert after-treatment. Heavy sizing
earlier times were often sized so heavily after a treatment is necessitated by high
that they hardly absorb any water at all. ly caustic agents used during the clean
Papers that were manufactured from ing process. To revive colors that were
good materials and received heavy siz destroyed, the incompetent restorer—
ing, therefore, hardly ever show water lacking technical skill and the ability to
stains, foxing, or browning. Papers
81
adapt—sizes the paper too heavily so
from later periods, especially those man that watercolors can then be applied.
ufactured from cotton, are more sus Even an expert will now and then
ceptible to external influences. When apply a weak sizing. He will not do it to
ordering papers, graphic artists and restore the colors —heavily damaged
printers distinguished between soft, areas of colors do not occur when the
absorbent papers with little sizing and treatment is done properly—but to pre
hard, nonabsorbent papers with heavy serve the character of the paper. If the
sizing. The first kind were especially entire sheet has to be sized, perhaps
suited to mezzotints and aquatints, existing tears, breaks, folds, and worn
whereas the latter were more frequently places will receive a special sizing
used for heavily colored, contour prints. applied locally with a bristle brush.
Only in rare instances would color prints Another reason for an expert to size
be sized after leaving the press. The skill the whole sheet can be the fact that
of the painters in the eighteenth century larger mended areas, in spite of a good
had already reached such a high level match between the print and the mend
that they worked successfully even on ing paper, need to be lightly sized
soft paper. It is possible that papers from because they are rough and more suscep
about 1750 on will lose some of their tible to dust. If a strong sizing is applied
already weaker sizing, especially when
82
later, it spoils the engraver's work as well
they are treated with chemical baths. It as the restorer's.
is therefore advisable to examine the How to dissolve the sizing agent—
texture of the paper before any treat white gelatin —has been discussed in
ment. An untreated print from the same detail in a previous section. Such a
83
period makes it easier to decide whether gelatin solution can be diluted as

the entire treated sheet requires sizing. needed. The solution is used for sizing a
You certainly have to be careful not to dry sheet and is brushed on with a flat
destroy the special character of soft bristle brush.
paper through inept and unnecessary
TINTING, COLOR PREPARATION
Prints are tinted while they are moist. poured in hot, and the sheets are pulled
Tinting should never be done dry through with some kind of tool. The col
because the sheets can develop streaks ored water definitely has to be stirred
and there is a danger that the tints might several times. Two small alcohol burners
be too strong. The print is not put into can be employed to keep the colored
the water but just on top, so that it can water, mixed with the gelatin solution,
absorb a light tint more easily. The warm at all times. Or the colored water
reverse will absorb the water and distrib can be poured back into a big pot and
ute it over the entire sheet. The sheet is heated over a gas flame.
put over a pole to drain. Initially, the tint Licorice water, coffee, chicory, and
ing is done from the back on an oilcloth. several kinds of tea are suitable for tint
The prepared, warm tint is mixed with a ing. Prepare an extract of each of these
dilute gelatin mixture and generously and let it settle for a while. When you are
applied overall with a flat bristle brush. ready for tinting, pour the extract
The front is colored in the margins but through a linen bag into a big pot in
in the printed area only if really neces which it can be heated. Three to four
sary. The tint has to be subtle enough so sheets of gelatin dissolved in boiling
that it does not appear to be a real color water will be enough for 3 to 4 liters of
ing. For instance, if the book pages have color extract. The tinting itself has to be
been treated individually, a tint has to be preceded by several experiments. Find a
chosen that matches the color of the similar paper among your paper stock
untreated pages. It is advisable to tint the and experiment with it. I would like to
sheets two to three times to match them mention specifically that the sheets
gradually. Never try to attain a dark tone should never be tinted in such a way that
in one attempt. I can tell you from experi they appear greenish or grayish once
ence that such shortcuts do not work and they are dry. On the whole, the color
that the result is usually catastrophic. should not be especially noticeable but
If a great quantity of sheets is to be should merely improve the harmonious
treated, you can have special equipment impression of the sheet.
built for tinting. But this is not a neces If you know how to clean a sheet or
sity. A sheetmetal worker can make a tray how to treat it well in other ways, you will
with an arched bottom, similar to a not need the dyeing process at all, as can
butcher's tray but with vertical sides and be gathered from my previous remarks
turned-down edges. Two feet, or braces, on bleaching.
hold and support it. The colored water is
EXAMINING AND P R E P A R I N G THE PAPER
That water can be heated in a paper bag ture of paper!

is well known. Take paper with a good And how is the paper that is needed
amount of sizing—it has to have a certain for mending prepared or made ready so
firmness—pull the sides of a small sheet that it becomes like, or at least similar to,
up a little, maybe 5 cm on all sides, pour the paper to which it is to be added?
a little cold water into this container, and Please, take this paper preparation
hold it over a small gas flame. After a few seriously and follow my instructions
minutes the water will have reached the exactly.
desired temperature. This is only a little, The mending process, true resto
fun experiment. The paper cannot catch ration, requires utmost attention. If it
fire because the container is filled with fails, you have only read my instructions
water and the temperature necessary for superficially. You cannot repeat the pro
igniting the paper is never reached. cedure several times as may be possible
Old papers are occasionally so strong, with a painting. The work has to be an
firm, and impervious to moisture that instant success for each sheet, or you will
the wonderful preservation and fresh do great damage.
ness of these old books does not cease to The explanations about the use of
amaze us. Provided they have been kept paper and the notes in the section
properly, not too many old books will "Actual Mending or True Restoration"
exhibit foxing, water stains, or browning. (pp. 109 - 22) should be read carefully!
The earlier, high-quality paper produc If the original paper, the print, is
tion not only has preserved invaluable from the fifteenth century, you will
treasures up to the present, but will pre find—as already mentioned—that the
serve them even for future generations. paper does not absorb water easily. The
The paper manufacturers of earlier cen sheet, therefore, must have been sized
turies created perfection through the specially and consists of only the best
use of good materials. In later times, as materials. If you find sheets from this
already mentioned, manufacturers were period that readily absorb water, the
less particular about the processes and papers or prints have probably experi
use of ingredients involved because of enced some less than expert treatment.
sharply increased demand. And, apart There is also the possibility that earlier
from a few exceptions, I do not even want prints have been sized more than one
to mention the present. hundred years ago with a sizing solution
It is understandable that the large to restore a certain firmness. What do
volume and relatively low price make it you do then? You have to look at the print
impossible to use higher-quality mate to see whether the treatment was a radi
rials. However, if we want to preserve cal one. The treatment with chlorinated
valuable works for the future, we have to lime, sprinkled on dry, was already
take the greatest pains in the manufac known more than one hundred years ago.
101
R E S T O R A T I O N O F E N G R A V I N G S , B O O K S , D R A W I N G S , A N D O T H E R W O R K S ON P A P E R
The lovely tone of the print, the softness, treat because the matching repair paper
would have been lost with this barbaric has to be examined more thoroughly.
type of treatment. Except for point 1, the above points also
I would like to point out here that it have to be taken into consideration care
is sometimes impossible to restore a fully. Even if the mending paper is soft
sheet that has been treated by a layman and points 2, 3, and 4 seem to corre
and has been heavily patched and spond, in many instances the paper still
retouched. A restorer of paintings can
84
may not be usable. It is not absolutely
go a millimeter beyond the tear if there is necessary to test the expansivity of hard
no other way. A restorer of paper simply mending papers when they are used for
cannot do this! minor repairs; they are strong and barely
I am digressing slightly from my absorbent.
topic, but that has to happen occasion Soft papers especially have to be
ally. I want to and have to mention all tested for their expansivity. The illustra
procedures. And since everything is tion (fig. 22) will clarify my explana
interconnected and the subject is diffi tions. The print side is put on a sheet of
86
cult, I want to make sure that the reader glass while dry. The mending paper is put
completely understands my ideas and on the reverse of the print in the direc
practical advice. And I have to insist that tion of the wire lines, and small marks
the reader follow me closely. are made with a soft pencil, extending
Let us assume that the sheet was not onto both the mending paper and the
treated previously but was torn by an original paper. Later, after an examina
inexperienced hand, as often happens. tion of the paper, these pencil marks are
In this case, the paper will not be
absorbent. Since it has not been cleaned
yet either, the best possible match has to
be selected from the paper supply, and
the following points have to be consid
ered carefully:
1. The paper should not be
absorbent.
2. The color should be a very
good match.
3. The texture of the paper should
be the same.
4. The wire lines should match
the original when seen against
the light—fine, coarse, or
indistinct. 85
If these four basic prerequisites are

met, the paper will be suitable for the Fig. 2,2.
(a) Copper engraving (reverse side);
restoration.
(b) plate mark; (c) edge of sheet;
Soft—that is, absorbent—papers or (d) image size; (e-g) reverse of the
prints are considerably more difficult to mends, top view; (h) registration
marks
carefully removed with a soft eraser. amount of bleach to dissolve it faster.

After this has been done, the print The bath takes approximately twelve
and the mending paper are placed in a hours. After this time, the soda solution
clean, cold bath and left to soak and be is drained off, the sheet is rinsed, very
saturated with water. Both parts are then hot water is poured on it, and it stays in
taken out and put on clean, white blot the bath for a short time longer. The
ting paper, which will quickly absorb any sheet is draped over a pole to dry. If the
surplus water. The mending papers are treatment has not been successful, that
examined while moist by placing the is, if the paper is not yet absorbent, the
parts on the pencil marks. If the registra process has to be repeated by pouring a *
tion marks match perfectly at this point, boiling soda solution over the sheet.
the repair paper is suitable. A tenth of After the solution has cooled and the
a millimeter is important! Negligence sheet has been rinsed, the paper is placed
and carelessness—thinking, "Oh, never in a cold bath. As I said before, use only
mind, it will come out all right"—invari paper without printing for this proce- <
ably produce disappointments. Later, dure! Printed papers are damaged in
while still moist, the pieces of mending ninety out of one hundred cases. The
paper are put together with the original print starts to bleed, and the paper turns
paper with the help of starch paste—that a dirty gray. Also, never hang the sheet
is, the mends are implanted. If you do 87
on a painted pole immediately after the
not pay close attention to the expansivity soda bath; the paint on the pole could
and go ahead with the restoration, this come off.
place will immediately stand out after An enamel pan, which is put on a
drying. The pasted area will buckle and flame, can be used for small strips of
develop slight puckering on the sides, 88
paper. First, pour boiling water into the

so that the purpose of doing a good job pan; add soda and put a somewhat bigger
will not have been fulfilled. 89
piece of paper in, to protect the strips of

When working, test two or three paper so that the rising bubbles of boil
mending papers at once. If you find out ing water cannot cause any holes. A small
later that one or the other cannot be used, gas flame will create hardly any damage.
you will not have to repeat the test. 90
It is also not difficult to prepare soft
Very hard, nonabsorbent sheets can or absorbent papers in such a way that
also be made soft or semisoft. The proce they can be colored.
dure is simple. The tray is filled with just If you tried to make the paper dense
enough water so that the paper, which and impervious to ink with heavy sizing,
always has to be plain—without print— the paper would become as hard as a
for this treatment, can be submerged. bone, would crack easily, and could
Bleaching soda is dissolved in the water break completely when rolled. However,
at a ratio of i to 10, that is, 100 g of you want to preserve the flexibility and
bleaching soda to i liter of water. Stir the shape of the paper.
soda into the water with a paintbrush or To accomplish this, proceed as fol
your hand, and place the sheet into the lows: Soak a sheet of white gelatin for ten
solution. You can also pour a small quan minutes in cold water. Put the softened
tity of boiling water over the prescribed gelatin into a small dish that holds about
half a liter and pour boiling water over it. ted dry. It is then turned over, and the
Before the solution cools off completely, solution is applied with a flat bristle
add two to three tablespoons of alu brush to the areas that are to be colored.
minum subacetate, stir well, and—the On large sheets it is not absolutely neces
magic potion is complete. If the solution sary to saturate the entire margin with
91
is not strong enough, add another table the liquid, only to go a little beyond the
spoon of aluminum subacetate. Never print so that the color can be washed off
pour the aluminum subacetate into hot easily in case a brushstroke is mis
water, or the liquid in combination with applied. Be very careful when wiping off
the gelatin will turn cloudy. the color. Never wipe toward the margin
If this agent is to be used for color with the sponge but always toward the
ing purposes, I advise you to proceed as print. The margin that is not saturated
follows: As in most processes, work wet has to be covered with a nonabsorbent
on wet. The sheet should be well mois piece of paper so that the color does not
tened from the back and only lightly blot get smudged onto it.
SPLITTING PAPERS
This is not a difficult procedure either, and bubbles have to be removed so that
but it requires more patience. A sheet of all parts look smooth and tight. They are
paper—printed or blank, heavy or thin — now weighted with light pressure, and
can be split in such a way that you end the parts are allowed to dry a little bit,
up with two sheets the size of the orig between absorbent pieces of cardboard.
inal sheet. Both sheets then have half After one to two hours, the pressure is
the thickness. This is not magic but a increased by the use of heavy books so
simple manipulation. that the papers dry out completely and
Two uncolored pieces of wrapping become firmly attached to one another.
paper, not too strong, on each edge about After this, the left, top and bottom
5 cm larger than the sheet or print that is edges of the wrapping paper are cut just
to be split, are placed into a cold bath so up to the sheet in the middle. The tightly
that they can expand a little. The paper enclosed sheet is visible through the
that is to be split—it can be hard or soft— wrapping paper so that there is no dan
is also placed in a bath. All three parts are ger of cutting into the sheet when the
left in the water for at least one hour wrapping paper is being trimmed. The
because they may be of different compo paper has now been cut from two sides,
sition. They are then taken out of the and you can try to split the sheet at the
bath, drip dried briefly, and the parts point where the two cutting lines inter
placed on cardboard or blotting paper for sect. Use a sharp penknife to cut into the
quicker absorption of surplus moisture. corner of the sheet in such a way that
While this minor, undemanding there is a little corner of the split print on
treatment is taking place, you can be each of the cover papers, left and right.
melting the best carpenter's glue, 93
As soon as you can grasp the two corners
which has no particles or other impuri with your fingertips, continue pulling
ties. The glue has to run readily off the evenly and carefully from both sides, top
paintbrush because you have to brush and bottom. If the sheet starts to tear,
the very hot, liquid glue onto one side of turn it slightly, or change the pressure of
the sheet that is to be split. (Make sure your fingertips to continue safely.
that the sheet is moist but not really wet.) Sometimes a small penknife will help.
After that, a sheet of wrapping paper is After the sheet is split, both parts
put on the glue-covered side, projecting are placed into a cold bath and soaked for
over all four sides. The second side of the an hour. Usually, this is long enough for
print is also brushed and is covered with the separated sheet to float off the sup
the second sheet of wrapping paper. The port sheet. Remove the cold water and
two sheets of wrapping paper have now pour very hot water over the sheets so
hermetically sealed the entire sheet. that the final traces of glue will be dis
Since all three parts have been treated solved completely. Take the sheets out
while damp and are still moist, creases together with the support sheets.
Fig. 23.
A thousand-mark note, split
front from back
Yet a second attempt at splitting can when copper engravings or lithographs

now be made. After placing the sheet
94
have text printed on the reverse and are
between two pieces of cardboard, to dry to be mounted. The print would clearly
better, take it out to dry completely and bleed through as soon as any glue was
now try to split it. applied and would render the front
Occasionally you will be more suc unsightly.
cessful if the sheet is not dried out com It should also be mentioned that
pletely—like a board. As usual, you will paper for mending should never be split
have to experiment with a sample first. because the unsplit side of each sheet
Once you are secure enough and have will have become somewhat harder
experimented sufficiently with cover through the application of the glue.
paper and glue, the separation of the Only paper that is free of small
papers is easy. lumps or pieces of metal is suitable for
A sheet is usually split when there splitting. (These pieces fall out and
are drawings on both sides or when a 95
leave small holes.) Each piece of paper
print is supposed to be used for a lamp that is to be split has to be examined
shade but is not transparent enough first. Any irregularities will show up as
because the paper is too thick. 96
dark spots when the paper is held up
It is also necessary to split the paper to light.
GENERAL REMARKS ABOUT PAPER
Paper, as you know, consists of various very unyielding. If such paper is shaved
plant materials, which are processed into to powder, it often becomes obvious that
pulp, then scooped onto a paper mold primitive tools were used, and probably
and formed into a uniform mass. Paper is the rags were not as finely processed as
created by fusing (felting) the fibrous one could wish in spite of sufficient care.
materials together, pressing lightly, dry Unfortunately, the reason for poor pro
ing outside and subsequent sizing. Paper cessing is often also insufficient careful
has become a commodity and an item ness. Consequently, iron particles, small
that is used as a matter of course by deposits of sand, and clumps of all kinds
everyone. But the restorer and the book are occasionally found in the paper.
binder working with paper know it a little These impurities generally do not
more intimately because they often have harm the paper, yet one has to be careful
to work for days on one piece of paper when shaving it because there will be
and are able to appreciate its qualities, brown spots here and there from iron
good or bad. particles, which appear as discolorations
The expert lives with paper and does on both sides of the paper. Of course,
not consider it a dead material but feels iron particles have to be removed by
closely connected to it. He knows that going into the healthy flesh, whereas
paper has an upper and lower surface other little clumps should remain, if pos
(skin) that holds the flesh, or interior, of sible. If all irregularities were removed
the paper. The upper surface is the side at the places where the restoration is
that clearly shows the wire lines. All the
97
to be carried out and the mending there
early printers printed their engravings fore were done on smooth paper, the
on the upper surface. The Swiss color repair would become obtrusive. The
artists for the most part worked on harmless little clumps that have not dam
papers with pronounced wire lines, aged the paper over many centuries have
rarely on smooth, wove papers. The to be preserved at all costs, otherwise the
upper surface has to be looked at closely paper would lose an important part of
because it shows the character of the its character. These clumps often origi
paper. Therefore, one should never dam nate from the sizing and are therefore
age the upper surface in the course of part of the paper. If a big job is supposed
a restoration. to be performed on unprinted paper,
When shaving a piece of paper, one these impurities have to be taken into
can make several small discoveries about consideration when choosing from the
thefleshof the paper. One has to be espe paper stock.
cially careful when shaving book papers I would like to discuss very briefly
from the fifteenth or sixteenth century, the expansivity of paper. Mending papers
since they do not yet have any cotton sometimes expand more or less than the
mixed in. The flesh is hard and proves original once the work is in progress.
This occurs even if they look very much mending job is to be done on unprinted
like the original and are from almost paper or if a broad strip of paper is to be
the same period. In such instances, the inserted, and so on, the mend first has to
mending paper has to be brought to be examined for color and wire lines. If
the same state of expansion. If a large the wider wire lines B (see fig. 24) are a
Fig. 24.
A sheet of white paper (looking through
the sheet) with watermark, horizontal and
vertical wire lines. (A) wire lines are not
always distinctly visible; (B) wire lines are
always visible.
little more closely spaced in the mend comparison with the moister one. For
and correspond to those of the moist this reason, it is easily possible for two
original paper only when both are wet, seemingly identical proofs to show very
the mending paper has to be stretched in slight deviations. The more often a paper
order for it to equal the original when is stretched, the bigger it gets. Of course,
both are dry. there is a limit to this extensibility. Such
I strongly recommend that you do tests must be done frequently with the
not stretch the original, since the print mending paper in order to execute a
can become distorted. The original restoration. If the mending paper does
paper definitely has to keep its size. not have conspicuous wire lines, it 4
If you own two proofs of a copper should be moistened thoroughly and

plate with a complete plate mark and immediately placed between blotting
if the prints are not too valuable, I sug paper and under a press. The paper can
gest the following test for one of the not shrink under the press. When it is
engravings. (This test can also be done taken out later, the paper will shrink to
on a single sheet, but the dimensions a negligible degree as soon as the press
of the plate have to be precisely deter is released. Repeat this process three to
mined beforehand.) four times; success is inevitable. When
Put the print into water for three to you undertake this procedure, I recom
four hours. During this time, the paper mend that you leave a piece of the same
expands fully in all directions. A longer paper of the same size untreated or trace
bath, for example, twenty-four hours, its original dimensions. You will then
would not cause the sheet to expand be able to see the actual changes after
another millimeter. Put the sheet on each trial.
cardboard in order to dry it completely. Papers with distinct wire lines can
When measuring the plate mark after not be put under the press but have to be
this, you will often find that it has stretched while they are very damp; oth
changed considerably. As a second exper erwise, the upper surface will become
iment, if you were to stretch the sheet, glossy. The stretching process has to be
perhaps in a moister state than usual, its repeated two or three times to make the
expansion would be even greater. Now, 98
paper soft.
if the printer had moistened the papers The frequent pressing and stretch
from monochrome prints slightly differ ing may weaken the mending paper
ently from one another, half dry to moist, somewhat, but its texture will be retained
the drier proof would be a little smaller in fairly well.
ACTUAL MENDING OR T R U E RESTORATION
The preparatory treatment of a tear or there are the anxious questions: Will it
other damage requires absolute neat get into the right hands? Is the restorer
ness, utmost personal cleanliness, and really an expert? Will no damage be
clean tools and an immaculate work done? These doubts are dispelled easily
place. The glass pane on which the work as soon as the owner meets the restorer
is done has to be cleaned several times and learns to value his advice and work."
a day. The floor has to be washed daily A friendly relationship of mutual trust
after all dust has first been thoroughly will develop which will make it easier to
removed with a vacuum cleaner. Good work together.
results are obtained only when the above A cleaned print should under no cir
conditions are met. Whoever is not used cumstances look as if it had been treated
to cleanliness or does not value clean after all the particularly troubling spots
hands should and must refrain,from have been removed and only the insig
restoration work! nificant ones remain. The character,
To state it openly and clearly for tone, and warmth of the print have to be
once, a restoration is not a subordinate preserved at all costs. Once this work has
but, on the contrary, a technically been completed successfully, unsightly
demanding and even artistic work. Each holes or tears have to be eliminated. I
kind of work deserves its reward, and mentioned how important extremely
every customer, therefore, should under accurate work is for the preliminary
stand that any restoration costs more or treatment; it is even more vital for the
less money depending on its extent. As a actual repair. This process requires not
rule, a restorer should and will not work only patience, love, and empathy but also
for nothing because the restoration of the best, the very best, of moods. No
artworks is his profession and he has to print should be restored unless all these
be compensated for his expenses. Every prerequisites are fully met.
owner of a work of art should be aware of Once the restoration is complete
this when at some point he makes his way and the print is ready to go back to its
to a restorer to preserve his art treasures. owner, it is a good idea to let it rest for a
When the owner decides to go ahead while with the restorer. The print should
with the restoration, he can expect the definitely have this rest period—we can
restorer to undertake the work with great call it recuperation time. Just as in the
joy, I might even say with dedication. A case of a seriously ill patient, there
sympathetic understanding of the art should be an extended period of observa
object has to be a prerequisite for the tion after the cure. If work on a print has
restorer. I know from experience that a been finished for several weeks, this rest
collector only reluctantly parts with a under expert monitoring will contribute
work of art he has come to love. And to the complete cure of all symptoms.
Some people will think that you hold the at the edge of the tear?
print back for the obvious reason: to 6. Has anyone applied watercolor
increase the cost of the restoration. in a disagreeably obvious way
Completely wrong! to the surroundings of the
The necessary and careful observa tear?
tion and the interest of the restorer in I will answer these questions as if
his work justify his saying to the owner, these types of damage actually existed.
especially in the case of an artistic 1. If the tear is open and you sup
restoration, "You will have to wait!" pose that something has been cut out and
The work should not only please the a gap exists when the tear is put together,
owner; far more important is that the place the sheet into a water bath first,
restorer is satisfied. It often happens that since it is easier to find out how much is
the owner finds words of praise for a missing of the print after the paper has
work, whereas the restorer feels quite been expanded while damp. Often noth
differently. ing is missing, and the sheet was only
At any rate, the success of a large distorted.
project depends on ample experience. I 2. Are the edges dirty? Every tear
say this beforehand. If a restorer under has dirty edges. They have to be com
takes a large restoration job based on my pletely removed with a restoring knife.
explanation, he must ask himself: Will I The dirt has to be removed entirely from
be able to meet the requirements? Thus, the front; otherwise, the restoration will
he will be saved from many a bitter disap not be successful. A black or gray line
pointment, according to the old saying, will remain.
"No man is born a master of his craft." 3. Can the edges of the tear be put
It certainly is not presumptuous to use together again? New tears, if they remain
this proverb in connection with the clean, can often be restored invisibly by
restoring profession. applying starch paste to the overlapping
edges. Unfortunately, many new tears get
dirty through touching, because the
A TEAR I N THE PAGE owners of prints frequently try to put the
tears together to find out whether they
A tear has to be closed. The mending close properly. If the tears are dirty, they
paper you have chosen matches the orig must be shaved down.
inal in color, texture, softness, even 4. Has the tear been treated before?
when held against the light. What hap The back of an old tear, treated by a
pens now? Now you examine the tear: skilled restorer, will have thin places that
i. Is any part of the print become thinner toward the edge of the
missing? tear. Be careful that these places do not
2,. Does the tear have dirty edges? get damaged any further during a wet
3. Does the tear have edges that treatment.
can be put together again? 5. Has old alum paste hardened
4 Has the tear been treated along the edge of the tear? Horny [trans
before? lucent and hard] places, which appear
5. Has old alum paste hardened very light when you look through the
paper, are due to paste. If a hot bath does off after it has dried, so that the transi
not make these horny places disappear, tion to the original paper becomes less
there is only one other way—"a surgical noticeable, the pulp will still be visible as
procedure." The part is cut out with a a mending job. You cannot implant any of
knife, close to the outer horny rim. This the paper wire lines because the pulp is
little operation has to be performed if the too hard. The same is true for the mend
restoration is to be satisfactory. ing of wormholes. The thin outside walls
6. Has anyone applied watercolor of such holes cannot support the paper
around the tear in a disagreeably obvious pulp, and here, too, a lot has to be
way? The surroundings of the tear are applied to the back side.
hard to clean if watercolor has been
smeared on. The adjacent areas have to
be protected at all costs. Try to remove
the watercolor by washing it with a short
flat camel's hair brush. You need a weak
soda solution for this. The work should
be done on a damp sheet. I suggest that
you first make an attempt at cleaning
with clear, hot water. A surgical proce
dure is recommended only if you can do
Fig- 25-
a first-rate repair and are also a little (a) Bone folder (worn toothbrush).
bit of a master in drawing. 100

If you do Has to be ground off to the dotted line.
(Use sandpaper to create a smooth,
not meet these two prerequisites, hands
flat surface.) (b) Erasing-shaving knife.
off the operation!
Has to be ground off to the dotted line
In answering the above questions, I also so that one can work with the
short paring edge.
only want to give a few, tentative hints
to explain how important it is to think
carefully at the beginning of each task It is natural for the back side of a
and not to start any restoration with print not to be immaculately clean
out thought. because, in spite of the most exacting
Before I come to the actual mending cleanliness, it will have been handled a
process, allow me a few more remarks. lot. Special attention has to be given to
It is a bad habit to work with paper this kind of dirt, which is hardly visible.
pulp. 101
There are people who pulverize The sheet is treated once again from the
paper, saturate it with paste, and then reverse. The dirt is removed from the
mend tears and holes with it. The powder area around the tear or hole with a semi
is produced by rubbing paper with sand hard eraser. The eraser particles are
paper or emery paper to a fine dust or by removed with a clean brush. Be careful
forming a ball of paper and scraping it not to create thin spots when erasing.
with a file. If you want to fill a tear with If the dirt is still somewhat visible and
paper pulp, you have to apply it thinly at the semihard eraser has not been able
least 5 mm wide to the reverse of the tear to remove it sufficiently, without press
so that the paper pulp is held in place. If ing down too hard, the sheet has to be
the thick layer of pulp is lightly scraped treated further, while damp, with a soft
bristle brush. Most important, the area pages 100-103. The mending paper
immediately around the tear has to be matches that of the original perfectly.
perfectly clean. As soon as this task is Now it must be pure delight to close the
completed, the sheet is rinsed and put tear! Of course, the mending paper has
between two pieces of blotting paper in to undergo the same cleaning process
order to dry completely. so that here, too, no dirt rings will be cre
When the sheet is dry, the area ated. To protect the clean mending paper
around the tear has to be treated once from dust, it is put between two clean
again with a semihard eraser, even sheets of blotting paper. After the tear
though it may seem to be clean. and the mending paper are cleaned, the
sheet is put upside down and the shaving
begins. A piece of flawless grease-proof
or writing paper is put between the tear
in such a way that part of the original is
covered (fig. 26). The uncovered side of
the tear is then shaved down extremely
thin. Depending on the size of the tear,
the shaving is started about 4 to 10 mm
from the tear. At the outset, the shaving
is done extremely lightly, then progres
sively more forcefully until the edge of
the tear only has the strength of tissue
paper. The shaving follows the shape of a
wedge. Of course, the edge of the tear has
to be shaved very skillfully so that no
Fig. 2,6. holes or small tears are created. The

(a) Grease-proof paper covers more carefully this work is performed,
one-half of the tear; (b) tear;
the more successful the overall result!
(c) reverse of the original.
In addition, something has to be said
about hard paper. If the original paper is
A repair with less thorough prepara hard and if tears, holes, and corners are
tions can be done as an exercise, at best, difficult to shave; the print has to be
but never on a valuable print. Try it soaked first, and the shaving has to be
with a dirty reverse; do not use the eraser done while the paper is semimoist. The
on the surrounding area or just use it hard part of the paper—the surface or
superficially, and you will find a gray skin—will absorb water, although this
border around the patch. I highly recom may not be immediately obvious. Soft
mend such experiments on worth paper, as you know, absorbs instantly and
less prints. changes because of the water absorption;
The preparations are complete. The hard paper does not to seem to undergo
best-suited mending paper is selected any changes. However, the areas that
from the paper supply. I already pointed have been mended should be shaved only
out how this is done in the section while dry.
"Examining and Preparing the Paper," When one edge of the tear has been
shaved down, the other has to be treated into the paper. The side to be implanted
the same way. The sheet has to be turned has to be shaved to a thickness that is
to a more convenient position. After the opposite that of the tear. That is, where
second edge isfinished,the sheet is held the tear has been shaved thin, the mend
against a window to see if the wedgelike has to keep its original thickness. The
transition is perfectly uniform. I would edges or sides of the mend are not shaved
like to emphasize that the transition as extremely thin as the edges of the tear,
from the shaved area to the tear has to be but enough is taken away from the edges
made with the preservation of the paper of the mend so that it, too, will have a
in mind. 102
slightly wedgelike shape. The center of
Next, the mending paper is taken the mend on the implant side is shaved
out from its hiding place between the two
pieces of blotting paper and placed on
the tear in such a way that the wire lines
match perfectly when the paper is held
against the light. The shape of the tear
is carefully scratched into the mend
ing paper with the point of a knife. The
mending paper can be marked on the
worktable, but especially when larger
and wider tears are dealt with, it is often
advisable to perform this work on a clean
window pane.
The mend is separated from the rest
of the paper along the scratched lines by
peeling it away starting at the top. Turn
the scratch mark toward you so that it can
be followed exactly when the mend is
torn out. The mend should never be
cleanly cut out with a knife because the
cut would be too even. For the same rea Fig. 27.
(a-e) Shaved area of repair, (c) The tear
son, the scratching should not be done
itself, (b-d) Area to which paste
too forcefully. The fine fibers or fuzz that is applied, (a, b, d, e) Paste-free areas.
is created when the paper is torn is
important and should not be removed in lightly so that no uncleanliness will be
either smooth or wire-lined papers. The noticeable later.
fuzz has to be preserved for the melding When both sides are well prepared,
of the two parts. the mend is placed on the tear in such a
The mend for the tear has now been way that all the shaved areas are covered.
separated neatly and fits exactly over the Pencil marks are now made so that the
shaved part of the tear. mend can be applied in exactly the right
The mend also has two sides, one spot later on (see fig. 22). If you do not
which will be the back of the tear and the make any marks, you can be almost cer
other which is supposed to be implanted tain that in larger tears, holes, or thin
places the shaved areas will not be cov other half of the tear—without the
ered completely, and the result will be mending paper—should be lifted with
less than perfect. the right hand. The tear is now open
Place the two parts —print and again. Carefully pull to the left the side of
mending paper—in dust-free water to the tear that has been lifted, and try to
saturate. Have clean blotting paper ready close the tear exactly. The printed lines
for these papers after their stay in the of the image should be matched perfect
water so that any excess moisture can be ly. This little procedure can be per
absorbed faster. formed only if you have made sure ahead
Place the parts on cardboard to of time that the tear closed while damp
apply the paste. Apply starch paste very and that the dislocation or distortion is
thinly to the tear. But be careful when only due to the application of the patch
doing this job, which is not easy on your and a gentle pressure of the hand.
first attempts, and watch that the thin In all restorations careful attention
areas of the tear do not fold over and has to be paid to the following: When the
touch the print. Since the mend, too, damp back side of the sheet has been pre
receives a thin layer of paste, it is impor pared to the extent that the mend can
tant to make sure that the paste does not be implanted to close the damaged part,
cover the shaved areas completely—that thinly cover the area to be repaired with
is, the mending paper can be totally cov paste from the reverse. But apply paste to
ered with paste, but not the original the mend only where it will be covered by
paper (see fig. 27). If paste is thickly the original paper. Apply no paste to that
applied to both parts, the excess will flow part of the mend that is visible from the
out when the papers are pressed together front—because some of the original is
and spread over the area surrounding the missing—and must be retouched later. If
tear. This will cause a needless mess. you do not think of this, the blotting *>
After the paste has been applied, the paper can get stuck when pressed against
print should b.e transferred to another the mend and can damage the sheet when
small piece of cardboard. This is the blotting paper is lifted.
extremely important! If this is not done, The space between the two edges of
the small amount of excess paste, which the tear—in which printing is missing—
is left on the cardboard when the tear is will appear as a white gap after the mend
pasted, could damage the print. Now it is has been inserted. In this case, too, you
time to take the pasted mending paper have to make sure that the printed lines
and lightly press it down with blotting are arranged in such a way that in spite of
paper and the heel of your hand. Turn the the gap a good continuation of the lines
print over and make sure that the tear is possible when the paper is later
is well aligned from the front, too. If the retouched. When the edges of the tear
wire lines of the print do not match are properly positioned, press them
where the tear has been closed, one side firmly with the aid of blotting paper,
of the tear has to be lifted. When this is from the front with your fingertips or the
done, one-half of the tear—with the ball of the thumb. After this, the paper
mending paper—should be pressed is left to rest.
down firmly with the left finger, and the
As soon as the sheet starts to dry,
lightly dampen the back once again but edge from the paper stock.) Shape the
not the mend. This ensures a relatively corner of a piece of well-matched mend
even distribution of moisture. Take into ing paper with a knife. Create the irregu
consideration, though, that the patch lar edges of a deckle by cutting or
contains more than double the moisture scratching into the paper, remove the
of the other parts of the sheet because of excess paper, and try to achieve a soft
its damp pretreatment and the applica transition with sandpaper. Use the three
tion of paste. Uneven moisture content corners and deckled edges of the original
can cause the sheet to buckle. as a model. I would like to mention that
If the sheet does not buckle when it the outer edge of the mend must receive
is dried further, place it between blotting
papers and weight it down with card
board or books. However, if buckling
occurs, it must be removed by moisten
ing the buckling areas. Now the sheet can
be left unattended.
Let me once more briefly go over
the main points of this little restora
tion procedure.
Be exceedingly careful when apply Fig. 2,8.
A print, ready for stretching, being laid
ing the paste. Too much is always harm
onto the stretching support
ful, too little is no good either; the
golden mean is the best. Do not damage its final shape after the mending process
the sheet when pressing on it. Watch the has been completed, never before.
drying procedure carefully and remove Not all engravings and prints should
the buckling before weighing down the be treated chemically before the mend
sheet. And the most important prereq ing process. Do not remove the beautiful,
uisite for success: Never forget to be warm tone of a completely torn page of a
perfectly clean while doing the shaving book, because it must again harmonize
and mending. with the adjacent pages. However, if such
If a larger hole in the engraving has a page has been treated chemically, out of
to be mended, even closer attention has ignorance, a great deal of skill is required
to be paid to the wire lines. The wire lines to match the hue of the sheet to the other
in the mending paper and in the original pages. 103
You only burden yourself with
paper should never clash with each additional work when you treat a page
other. chemically before mending it.
If a corner is missing, a few more If a corner is missing from a book
things have to be taken into consider page and the page does not require a
ation. If three of the corners still have the deckled edge, be careful to insert the new
original, deckled edges—in other words, page properly. The corners or sides of
if the sheet is still its original size—the an old book often have an appealing
corner that is to be restored has to be warmth. To avoid later retouching,
shaped accordingly. (Better and simpler always try to find corners that match
would be to obtain a suitable deckled well. Be careful that the new corner is not
lighter than the rest when the book is them in consecutive order into the old
closed. Remember also that old books work, so that the first pages of the
can be worn and dirty at the corners from cleaned book take on a slightly wavelike
frequent handling. This kind of smudg character, the middle ones a stronger one,
ing has to be duplicated to make the new and the last ones a weaker one again.
corner match. It often happens that the When treated this way, a book does
following or previous layers are wrinkled not show any traces of the restoration
or brittle. Consider all cases individually when it leaves the restorer's workshop.
and try to incorporate these signs of The character of the book is preserved.
aging into the restored page so that it can Not all eventualities that might occur
harmoniously blend with the other parts. during a restoration can be described in
This is also important for individually such a way that you can say afterward,
restored engravings within a set. "But that was covered in the instruc
Be especially careful to give the tions, word for word." You have to put all
treated book page —after it has been your thought and intuition into the
made smooth for the restoration proce process. And if you have just started a
dure—the character of the neighboring process that demands your undivided
pages. If the pages of the book buckle attention, you should not be interrupted.
a little, you cannot put the restored It is not worth it to start a job shortly
page into the book dry. The page has to before the end of the workday. And it is
be moistened a bit and inserted half also completely wrong to start a big job
damp into the book. The book should when you know that you will be disturbed
be weighted when the page is almost several times during the day. The timing
dry. The page will now take on the of a big restoration or retouching job has
desired shape. to be well planned.
An old book has its history; when Let me resume the discussion of the
you open it, the pages do not lie as even tear that you have mended. The paper
ly as in a modern book. Sometimes, at has dried well during this little chat and
the center of the book, there is buckling, should not show any buckling. This
which becomes increasingly weak until it would not happen anyway because the
finally disappears toward the front and paper matches very well in all details.
back. These signs of age occasionally Examine the mend and make sure that
appear as sharp ridges. When such a • the edges are firmly attached;
book has to be treated in its entirety, the there is no buckling anyplace;
really dangerous-looking ridges may be the surroundings of the mend
removed but never the book's general are not shiny; and
wavy character. • no gray line indicates an
The buckling will disappear in the insufficiently cleaned edge
water bath, and it has to be restored for along the tear.
the book. Separate an old, incomplete Remove the pencil marks or lines
work that has ridges like this, and place with the aid of a soft eraser. Turn the
three to four sheets of the cleaned book paper over and look at the mended tear
between pages of the incomplete volume. from the front. The lines fit together
Moisten the cleaned pages and place well. No retouching is necessary because
the print was not damaged when it was mended] from the front if you want to
shaved. You have worked strictly accord deliver excellent work! Every kind of
ing to my instructions. restoration is conspicuous when done
If things do not go right—if the from the front, although it is hardly visi
tear and the mend do not adhere, if the ble when done from the back. If the tear
printed lines are uneven, if a gray line has been treated professionally, you only
runs along the tear, if the paper appears have to shave off the small elevations, a
rather wrinkled, if shiny places appear task that is child's play.
around the tear—I say that my instruc Placing a mend over the paper on
tions on the restoration of tears have not the front really leaves you with two larger
been read carefully enough and that, tears to take care of. It is impossible to
moreover, poor work has been performed. treat this kind of wide mend in such a way
It is not easy to rectify these mis that the restoration is invisible after
takes. The entire process has to be ward. It is better in the case of a gray line
repeated, and the danger exists that the to treat the tear all over again and to pay
page will be damaged further when the utmost attention to cleanliness, because
paste is washed off a previously shaved a gray line can only be due to dirt.
tear. Repeating the process makes a suc Now I come to the shaving of the
cessful outcome almost impossible. mended tear.
Before making the mended area If you want to thin down the paper
thinner, you have to clean the front of the and do not own a box for shaving, a 104
tear. Since you have to go into the image clean window pane will do.
with a knife, you have to work very care Holding the paper up to the window,
fully. In the white paper you can see, you can see that the mended tear is still
first, whether the tear has been properly quite thick. 105
That is natural since both
closed and whether there are only slight parts have not yet been shaved fine. It is
ridges along the edges of the tear. These time to start the second shaving, that is,
are disturbing and have to be removed the thinning. At first, shave away only
with the utmost care. When shaving off enough from the mend so that it is visible
the ridges, avoid creating small indenta as a slightly dark area. A complete scrap
tions or furrows. A skilled hand will ing of the mend—that is, rendering it
guide the knife lightly to create a good totally one with the surrounding area so
transition to the surrounding. that the mend is no longer visible when
After shaving the front, you should you look through the paper—should be
have made the tear completely invisible. done only if there are no wire lines in
This work is done on a glass pane. If a either part, the print or the mending
streak or a gray line appears in spite of paper. For implanting wire lines, the
almost imperceptible shaving of the dark appearance has to remain.
raised areas, the preparations have not When working on the sheet, take
been done satisfactorily. You would mag it with your left hand, put it with the
nify the mistake greatly if you were to printed side facing down on the pane,
cover the line with a thin, even though and shave it down carefully with the
well-matched, piece of paper on the knife, centimeter by centimeter. 106
This
front. A tear should never be closed [i.e., shaving is done just as though you
Fig. 29.
Shaving box. (a) Wood; (b) cardboard
cover with circular window for shaving;
(c) glass pane; (d) light cord; (e) sup
port for the glass pane (wooden ledge)
wanted to erase a spot of dirt. glass pane and the sides are shaved
On pages i n - 1 5 , I discussed shav completely smooth. If wire lines are to
ing the original paper and patches of be implanted into the mend, only these
mending paper for tears, holes, and lines are shaved out of the paper.
edges. For that kind of shaving, the knife Otherwise, the mend should have the
was used in only one direction. Here, on same thickness as the original print. I
the other hand, when the mend is shaved repeat once again: The general shaving
to thin it down, the knife is moved in two of the mend is carried out to such an
directions—back and forth. extent that, except for the shaving of the
The mend is shaved carefully and wire lines, no other scraping of the sur
skillfully, and no thin spots should be roundings is necessary.
created during this process. An extreme
ly sharp knife is moved lightly across
the patch. IMPLANTING THE W I R E L I N E S 1 0 7
Before the wire lines are implanted,

the mend is examined thoroughly once Magic or other secret means are not
again. The small ridges at the sides of the involved. How often I hear, "The tear
mend still need to be shaved off. Since is not visible at all; one wire line just
this kind of work cannot be done at the continues into the next. How do you do
window, the paper is put back on the it?" When I explain that it is really only
the little knife that does it all, almost that the paper is being abraded faintly in
nobody wants to believe me, and yet it the form of lines. And yet a uniformly
is the truth! flowing groove has to be perceptible.
Before I explain the implantation of Start with the knife at the left side of the
the wire lines, I have a few other things mend and begin to implant the artificial
on my mind. wire line parallel to the original one,
Success does not come overnight. working toward the right. The indenta
Wire lines are difficult. You need more tion, which at first is extremely shallow
than just skill and patience; a certain and hardly perceptible, is then rein
amount of intuition is necessary. A repair forced in the opposite direction. If you
will immediately be obvious if the wire only scraped from left to right, the shav
lines are not implanted skillfully. Simply ing would be one-sided. It would immedi
scraping out light lines is no great ately be noticeable when the sheet was
achievement. The blending of the sur moved into another position. The tiny
rounding wire lines with the implanted fibers that become raised are shaved off
ones has to be performed in such a way from both directions—that is, from left
that it is not noticeable. That does not to right and vice versa—so that a slight
seem difficult at first glance. You think indentation will be visible regardless of
that it cannot take long to scrape out a the angle from which the sheet is viewed.
few lines. But once you try it yourself, you How often the knife is moved back
gain respect for those wire lines. Each and forth depends on the lightness of
one has to run into the other evenly, and the wire lines. Do not try to conjure
the transition from the mend to the orig them into the paper all at once. This
inal paper has to be harmonious. would be completely wrong! Hard edges
Above all, you should not be physi would form. It is impossible to soften
cally or mentally exhausted before start wire lines afterward.
ing this kind of work. You need a steady I do not consider it necessary for a
hand that is loose at the joint. It is impos beginner to learn to implant wire lines.
sible to perform a good job with a heavy Do not work too hastily and try to learn
hand. The knife has to be like a toy in everything at once. We can talk about
your hand. this again after a few years have passed. It
The tool for this kind of work is the is best to work on papers without wire
previously mentioned restoring knife. lines first and then to try the ones with
Try the implantation of wire lines first on wire lines. Our profession is not the easi
a sample sheet at the window or at the est in the world, and I am not telling you
shaving box. a secret when I tell you that I have not
As in all exercises, the first attempts stopped learning either.
betray an unskilled hand. Even later, I do not want to end the section with
after minor successes, there are still these brief remarks about the mending of
relapses, which should not discourage tears—which emphasize how necessary
you. The wire lines are not supposed to the correct procedure is for the achieve
be dug in but are to be lightly shaved in. ment of successful results—without also
The knife has to be held so skillfully and mentioning special mending processes.
deftly that at first it is hardly perceptible For instance, I would like to men-
Fig. 30.
Pirckheimer, German School, Durer,
1524, engraving. The projecting paper
shows the restoration.
tion that thin spots in the original paper TEARING OR SEPARATING

are mended the same way as tears and THE M E N D I N G PAPER
holes, even if the front of the print does
not show any damage. However, there is Tear the paper from the top right to the
a minor difference in the choice of paper. bottom left in such a way that both edges
To facilitate the process, choose weaker of the tear are quite thin. Turn the paper
paper that, nevertheless, in all other while doing this and try to widen the thin
respects such as expansivity, hue, and so parts, moving down toward the left. You
forth, matches the original paper. If pos can hold the paper vertically or horizon
sible, select a thin sheet from the paper tally, depending on its strength and com
supply and implant it on the weak spots position. Carefully extract thin parts of
of the original. If you cannot find any the torn edge with a knife. When the
matching paper, you will have to move on thin paper is implanted, paste is applied
to the following procedure. very sparingly to the torn side. This
Fig. 31.
Tearing the paper
paper does not have to be cleaned with inal can be treated deftly, many a task
an eraser because the torn side is com becomes simpler. But the lovely hue of
pletely untouched and spotless. the sheet has to be preserved, just as does
The budding expert should use the softness or hardness of the paper, and
paper sparingly when he is first learning that means a great deal of thought has to
to tear it and not take the.best kind be applied. I will be very frank: This kind
either, especially if he has only a limited of work can be undertaken only after
supply of good mending papers. many years of the most intensive prepa
And now a few hints for especially ration. As I mentioned before, if a tear
difficult tasks. goes through the image, the printing
When a print has been cut severely may help to disguise the damage.
on one side so that part of the image and However, even the smallest tear on blank
white paper is missing—for instance, in paper becomes a masterpiece when it has
the sky—use your intuition to decide been repaired invisibly.
how much shaving needs to be done. It is If an almost invisible repair of, say,
often easier to do a restoration when the 10 cm width is to be performed on blank
image is damaged by a tear. Mending paper, a great deal of thought has to
white paper is a tricky affair; it is hard to be invested beforehand. Often it is hard
describe all the incidentals that can to find the right paper to match the
affect this kind of work. missing piece. Even if matching paper is
Much can be done by force, but this found and applied perfectly, the wire
does not solve every problem. If the orig lines are connected well, and there is no
gray line discernible, the front can still Many clients even bring along their
be a problem. own mending paper, believing that
The plate tone, the very subtle gray as experienced collectors of the Old
tone stemming from the copperplate, Masters for many years they have found
has not been taken into account. If this the right thing. Unfortunately, these
hue is transferred to the mend, you will supposedly well-matched papers are
doubtlessly find that it has darkened the almost never suitable. The clients are
paper when you hold it against the light. usually mistaken in this regard. It would
If this is the case, all efforts have been in be good if collectors were also connois
vain. The paper, which seemed perfect, seurs of paper, if they were as well versed
was not the right one after all. The gray in old papers as in the evaluation of
plate tone, therefore, has to be looked Old Masters.
at closely, beforehand, and a paper has to A major restoration of unprinted
be chosen that is slightly lighter when papers is nerve-racking. You will know
held against the light. Of course, all you have come a long way when such a
other requirements—hue, expansivity, task is successful.
wire lines, softness, and texture—have to
be fully considered, too.
THE ADDITION OF A MARGIN
It is desirable but not always necessary, press down, because the surface of the
and certainly not possible in the begin paper may become scratched and the
ning, to add a margin invisibly. And yet color may bleed. A fine, moderately
many a beginner will add an artificial long—about i cm—round brush with a
margin in order to give afinishedappear pointed tip is best suited for writing. Any
ance to a print. And he can consider him little hair protruding at the tip or the
self successful if the overall impression sides has to be singed off. Put a small,
of the print is not disturbed, especially if red-hot—but not burning—piece of
a well-preserved companion piece exists. wood carefully to the small hairs that
In spite of all difficulties, however, any have been slightly moistened by water,
ambitious person tries to do his best. And with your lips shape the brush to a sharp
if after many years he is lucky enough to point, and singe off any little hairs that
add a margin almost invisibly, he will protrude from the sides.
have achieved something that is achieved The brush has to be so light in the
by only a few. hand of the restorer that he can create
When you look at the front of a mez almost invisible lines with it. Never simu
zotint to which a margin has been added, late more prominent lines or heavy pres
you should be able to spot the somewhat sure when writing with a pen; instead,
hard edge at the transition from the print always use a brush.
to the new margin—if you have a trained Even if the writing has been done
eye. To shave the transition part takes a perfectly by brush and looks precisely
lot of time if you have the four sides of the like the original, you are still far from
margin to deal with. Because of the weak having achieved a deception. The back
starch paste, the paper will become will betray the added margin.
somewhat hard at the places where it has Do not mount a print on thin paper
been pasted, and any shaving after the to hide defects. The place where the
repair is done will be very difficult. The artificial margin joins the print itself—
script, the "title," has to be matched with the area of transition on the back of the
the utmost precision to the original title. original paper—will start to expand. The
Any little distortion or faulty position of a added margin will then be recognizable,
letter definitely has to be taken into because heavy paste, which cannot be
account because otherwise the handwrit prevented from swelling, is used to
ten script would be conspicuous when attach the shaved edges, which will
compared with a well-preserved print. therefore stand out.
Also, the paper intended for the writing Of course, the paper chosen for the
should not be sized too heavily. The sheet added margin has to be right in every
has to have the same texture as the origi respect. Since large, empty sheets are
nal engraving. Only use a pen for writing hard to find, an engraving of little value
if you are able to guide it lightly. Do not with a wide margin is usually selected. If
Fig. 32.
Adding a margin. I. Engraving, with
its edges shaved down. 2. "L" with title
(with tabs a and b). 3. Remaning "L."
Remove c and d from the margin with
the title (2) because side 3 covers these
areas; e and/have to stay on the "L"
with the title and are shaved down
before the remaining "L" (3) is added;
(g) registration marks.
the print that needs the margin is aid of a bone folder and blotting paper,
small—25 to 30 cm in length or width— and the sheet is then weighted again
it is advantageous to add the margin in between dry cardboard.
one piece. The second " L " is cut out and pre
For larger sheets, the margin will pared after the sheet has dried com
have to be divided; that means two to pletely. Shave down the back of the first
four parts have to be put together to form " L " well at the place where the new part
a margin. The margin with the title must is supposed to be added; then join the
be one piece and like an " L " can have a second " L . " Soon to follow will be the
side piece on the left or right. Two " L ' s " stretching. When the "L's" are joined,
will have to be cut in this case. Figure 32 care has to be taken that the new side is
shows how this kind of work is done. free of any particles of dust at the places
Since here, too, the work is done where it is to be joined. After the shav
moist on moist, it is advisable 108
that the ing, the places where the sides come
sheet with the added margin be stretched together should not be visible under
in semidry condition. 109
Of course, the any circumstances.
added margin is carefully rubbed before The preparations proceed differ
hand with a bone folder and blotting ently when a print that needs a new mar
paper. During the stretching process, the gin still has a small margin of 1 to 2 mm,
added margin is rubbed once more on the or when the plate mark is close to the
board or the glass pane, which helps to image, or when one side of the margin
ensure the success of the work. After is torn off because the plate mark has
twenty-four hours, the sheet is cut off the cut through.
stretching board and finished on the At all costs the narrow remnant of
front. The transition from print to paper the margin has to be preserved, because
has to be shaved almost imperceptibly, it facilitates all later work. If this small
just as the places where the sides have margin is removed, the softness of the
been joined together. sheet is also removed. And it is just this
When a margin is added, the prepa softness at the transition from the image
rations are performed in the same way as to the new margin that is especially
for all other restorations. The shaved attractive. It is not easy to conjure into
area on the original sheet is 8 to 12 mm existence this soft, artificial transition
wide, depending on the size of the sheet. when the engraving has been sharply cut.
Each " L " of the new margin has to be In such a case, shaving at the back
added separately; this means that the two can only be done to the extent of the
"L's" should never be added one right width of the small margin. If you go
after the other but only after drying out beyond this, you create useless work for
completely. As soon as one " L " has been yourself. Careful shaving of the narrow
added, pressure is applied with the bone margin, where not the smallest particle
folder to the sheet by putting it between may be lost, 110
is not that easy and has to
blotting paper and cardboard on both be done carefully. The small edge where
sides. Before it dries completely, the the dust has accumulated can only be
sheet is taken out one more time, pres scraped lightly from the top because the
sure is applied from both sides with the plate mark has to appear again in these
maybe 3 to 5 mm wide. To prepare the

strip, tear it on both front and back sides.
To do this, put a ruler on the strip and
use the point of a penknife to scratch in a
faint groove. The scratch should not be
made exactly where the strip is to meet
the edge of the print; rather, the strip is
torn a little farther in. After the margin
is added, the sheet is stretched. This is
done with the utmost care because the
margin added is very narrow. 111
T H E A D D I T I O N OF A M A R G I N
TO BOOK PAGES
Adding a margin to book pages is not

quite so difficult, since the printed area
appearing on both sides of a sheet usu
Fig. 33-
ally does not coincide precisely; that is,
Adding a single border (close to the
plate mark) in combination with
the printed text or image is not posi
repairing a simple tear, (a) Back of the tioned uniformly. The shaving is done on
sheet; (b) plate mark; (c) width of the the side, where the strip can be joined
margin; (d) unshaved edges; (e) back
more easily. Open areas in the printing
of the shaved piece; (f) registration
marks. The missing border, including have to be utilized wherever possible in
the area of the tear, is prepared from order to give the margin a better hold. Of
one piece of paper. Shaving of this
course, sometimes margins must be
strip is done only on the ends and in
attached, one from the front and one
the middle.
from the back, depending on the condi
tion of the sheet. Above all, the paper has
places. The paper that is going to be to be examined closely to find out
added in this case is not shaved after it whether the hue matches. Shaving has to
has been examined, only thoroughly be done with utmost accuracy to avoid
cleaned. Shaving is omitted because it is thick places.
too easy to scrape off tiny bits of paper. If I have to do the shaving while
Under no circumstances can the paper in the book is in its binding, I use a pic
the margin be damaged. Any damage ture frame with glass, to which I add a
would show up as a light spot when support so that it forms a stand. I insert
looked at through the paper. the frame into the book, open the page
" L ' s " are not appropriate here. that needs to be treated and put it over
Separate strips have to be added. To the glass, and shave in the same way as
ensure a better hold at the juncture, the on a shaving box.
area of attachment has to be made wider,
THE ARTIFICIAL PLATE MARK
Impressing a plate mark into paper is not graph, is an intaglio print. A metal plate
an easy task. Although the work is purely would eliminate the beautiful relief of
mechanical, much thought must be the printed lines of the engraving. The
given during preparation. A plate mark engraving would begin to look different.
that is not imprinted properly clearly Metal plates should not be used under
shows that the work was done later on, as any circumstances! Someone might also
a replacement. come up with the idea of giving the paper
If a plate mark is to be imprinted on a plate mark before implanting a new
white 112
paper, about 3 to 4 cm outside margin. This would be possible, but the
the image, I would completely advise subsequent treatment is very time-
against it. An artificial margin is espe consuming. Above all, the paper supply
cially conspicuous if it is 5 to 6 cm wide. has to be very large for such a procedure.
If possible, only narrow margins should Still, I will describe this process for the
be added because it is especially difficult sake of completeness.
to get the paper between the image and First, the engraving is placed on the
the plate mark smooth, and not every paper intended for the margin in such a
restorer succeeds. 113
way that a well-proportioned margin is
First, the paper has to be examined created on all sides. After this, the plate
with regard to hardness or softness. That mark is measured; that is, the distance
soft paper is more suitable than hard from the print to the plate mark is
paper is certainly understandable. But marked on the margin paper with a pen
soft and forbearing paper also requires cil. A complete second copy helps in
more attention than hard paper. And marking the correct distances. The mar
it cannot be ignored that the print qual gin paper is then placed into water and
ity—the sharpness or depth of the left to soak for a few hours. The bath will
image—has to be taken into considera cause the margin paper to expand some
tion when a plate mark is embossed. A what. After the bath, it is hung over a rod
seldom-used copperplate has sharp so that it can drip dry quickly. Next, it is
edges. Hard edges cause breaklike inden put onto cardboard, and an accurate pat
tations in soft papers. As a plate is used, tern of the new size of the plate mark is
its edges become less sharp. Weak proofs drawn. After its exact size is determined,
without depth in the print lines also have the measurements are transferred to a
weak plate marks. I share this observa zinc plate. The zinc plate, which is sup
tion so that the process of indenting a posed to imprint the plate mark, is cut
plate mark is not taken lightly. 0.5 mm smaller all around so that it will
Above all, I advise against having produce a plate mark of the required size.
metal plates cut to the size of a print to The second copy should be at hand so
create artificial plate marks. An engrav that the corners of the zinc plate can be
ing, in contrast to a woodcut or a litho shaped in accordance with the original.
128 R E S T O R A T I O N O F E N G R A V I N G S , B O O K S . D R A W I N G S , A N D O T H E R W O R K S ON P A P E R
The corners of the plate mark may be adjusted with the help of these markings.
completely angular, or they may be The pattern is attached to the artificial
curved. The embossed edges of the plate margin with gummed paper. For this pur
may also show variations. They may have pose, cut for each side two narrow strips
a sharp edge or may be rounded or of gummed paper, about 2 cm long.
beveled. The zinc plate has to be cut Moisten them only at the edges and put
accordingly. If this is not too successful them down to attach the pattern. When
in the beginning, repeated efforts will the pattern is attached, turn the sheet
bring the desired results. over. The back of the print is now on top,
I would not bevel the edges of a zinc and the lightly attached ivory-board pat
plate unless a sample proof taken from tern is underneath. The margin or the
the plate shows that it is necessary. I edges of the pattern will become visible
would like to mention that this proce when you run the palm of your hand
dure can be used only when the margin across the sheet. With your thumbnail
can be made of one piece, which is only indent the edges of the ivory board into
the case with small prints. Shaving of the the artificial margin. To avoid shiny
paper to which the margin is to be added places when pressing down, put a sheet
has to be done carefully, Before a margin of blotting paper on the back of the
is added or implanted, the distance from paper. It goes without saying that the
the picture to the plate mark must be ivory board provides the guide for the
ascertained to be the same on all sides. movement of the thumbnail. If you want
It often happens that the distance varies, to use this method, you have to practice
for instance, perhaps a few millimeters often beforehand, because a certain
greater on the right side than on the left. amount of expertise is indispensable.
The pattern will show this. The plate This process, too, is entirely a matter of
mark is imprinted while the margin sensitivity. If you press down too hard,
paper is damp, and this is best done with the paper can easily tear.
an intaglio printing press but can also I do not consider it advisable to
be done successfully with a large copy indent the plate mark from the front with
ing press. the aid of a bone folder. Small additions
If you want to imprint a plate mark to the plate mark, however, have to be
while the paper is dry, I would recom indented from the front with a bone
mend the following: Cut a pattern out of folder. That is the case, for instance,
strong ivory board. This pattern has to
114
when a tear that runs through the plate
be i mm smaller than the original plate mark has been mended. In this case, too,
mark, but the rounded corners of the blotting paper has to be placed between
plate mark—the edges —on the other the tool and the material to avoid shiny
hand, must correspond exactly with the places. The blotting paper should be nar
original. Precisely measure the distance row so that the plate mark remains easily
from the picture to the plate mark with visible on both sides.
a strip of paper and transfer this to the The plate mark often runs close to
front of the artificial margin. With a soft the image. In this case, too, a pattern has
pencil draw short lines in two places on to be made, or you can proceed as fol
each side so that the pattern can be lows: Put a sharp-edged ruler without
bevel or a metal ruler on the table. With is put on the front and the corners are
the print lying face up, place the margin pressed through this layer.
of the sheet far enough beyond the edge In individual cases certain subtleties
of the ruler so that with your fingertips in the plate mark have to be taken into
you can fold the plate mark over from the consideration; these will not be men
front. One side is now folded over. tioned specifically here. You have to be
However, be careful not to fold the side attuned to or look for all the special fea
margin over all the way; stop shortly tures of the original plate mark and try
before it joins the other plate marks. The to put them, as if by magic, into the
paper can now be taken in the hand artificial plate mark.
and the side margin folded over sharply. Although the back of a paper will
The paper is placed on the table, and always show that a margin has been
the folded-over side margin is rubbed added, you still want to tidy up the front
from the front with blotting paper and somewhat, and the artificial plate mark
bone folder. To create rounded edges, plays an important part in that.
Marienglas 115
or transparent oiled paper
THE STRETCHING OF PRINTS 1 1 6
Stretching requires the following materi glue pot has to be surrounded by hot
als: drawing boards in assorted sizes, water so that the strength of the glue is
smoothly planed wooden boards, strong not diminished by burning. Use only the
glass panes, stone board, 117
also glue, best glue. Cakes of glue are chopped into
starch paste, and guards of varying small pieces and are put into cold water
widths and strengths. during the day. Glue in the form of beads
When the stretching is done on pol or small tablets is even better. To start,
ished, painted, or smooth supports, one put the pieces of glue into a container
should definitely apply starch paste to and pour enough water over them so that
the guards, since guards spread with glue they are well covered. Over the course of
can easily become loose. In such an a few hours, stir the glue in the cold
instance, a i mm wide border of glue water several times so that the particles
is applied to the guard, which then has of glue do not stick to the bottom.
to be half covered with a second guard The stretching of etchings has to be
to secure it after the sheet is on the practiced often. The degree of dampness
stretching board. 118
The rest of the guard necessary for stretching is of utmost
is then firmly rubbed down onto the importance. If a paper is stretched when
smooth support. it is too moist, either the plate marks can
By "guards," I mean narrow strips of disappear, in other words, the tension of
paper, about 1V2 cm wide and about 50 the paper can pull the plate marks out
cm long. They have to be nonabsorbent ward and flatten the paper, or the plate
and as pliable as possible. The strength of marks can open up, that is, tear and
the guard paper can vary. In time, you thereby endanger the paper. Creases in
will discover the most appropriate kind the image, which might have been
of paper. You can also use packaging caused by inept preparation of the paper
tape, which has a strong adhesive and is during the printing process, can be
now being sold in rolls, if you work on pulled apart during moist stretching.
matte-surface stretching surfaces, for Conspicuous white areas will appear in
example, drawing boards. The guards the print and will be obvious because of
can be cut to any length you choose and their precisely defined edges.
moistened with a damp sponge. Since A number of questions arise before
these rolls of gummed paper come in dif one stretches a print: When is the paper
ferent strengths and widths, it seems ready for stretching? When it is more
appropriate to have a small supply of dif than half dry. The semidry state of the
ferent widths and strengths on hand for paper makes one wonder, will it really
a variety of applications. become flat? Is it not too dry?
Glue has to be applied in liquid form If these doubts are realized, the mis
and very hot. Get an appropriate con take is less severe than if the paper were
tainer so that the glue does not burn. The moistened again for stretching. A paper
is never in danger as long as it is half mation of water stains; discoloration will

moist and is watched carefully. When a often be present, even though it is not
paper is stretched onto a drawing board, immediately apparent. The side margins,
it should not lie flat as a board immedi where the glue-covered guard has to be
ately but should still show some undula applied in various stretching processes,
tions. These undulations —let us say, should be practically dry. It is the cen
wavelike prominences —should be in the ter of the sheet that has to be slightly
center of the paper, never at the edges. If moist in order to make it stretchable. The
the undulations extend from the center hardly noticeable dampness that still
of the paper to the edges of the margin, exists in the margins is sufficient for the
the sheet will not become flat. You will sheet to become flat during the stretch
have to take it off the board and moisten ing process.
it again. Moistening is best done with a I repeat once more: The right degree
flat bristle brush. A print without hand of dampness is essential for the stretch
coloring has to be dampened until it can ing process. According to its quality,
no longer hold water. Then it is allowed paper will stretch more or less. Paper can
to dry off a little in the air. It is best for be stretched up to 3 cm, depending on
the paper if it dries slowly. If you try the size of the sheet. The expansivity of
to get the sheet to dry faster by apply the paper has to be taken into considera
ing heat, the drying process will be tion when it is stretched.
uneven. This has to be avoided. If a sheet To determine the expansivity of a
dries faster in some places, these places sheet, you have to measure the sheet
have to be covered by paper or have to be when it is dry and again when it is wet.
lightly moistened again. This will be the If you stretch a sheet while it is very wet
case with areas that have not been and attach it to a drawing board in such
restored. You can recognize the dry parts a way that it cannot move, you will be
immediately by holding the sheet against surprised to see how the paper behaves.
the light, since they appear somewhat At the beginning of the drying process,
darker. Additional moistening is best the paper tries to contract to its original
done with a sponge that has been size. The stretching force works in pro
squeezed out, since the paper is sup portion to the disappearance of the
posed to be dampened only slightly. The moisture. Often the tension of the paper
paper should not be rubbed but should during the stretching process is so great
only be dabbed lightly with the slightly that the sheet gets damaged. The plate
damp sponge. If the sponge is more than marks open up, and perhaps —even more
slightly damp, the paper could be dam damaging—the sheet tears completely
aged in many ways, especially if you are in response to the tension.
dealing with soft paper. Rubbing would If you stretch a damp sheet under
cause tiny clumps of paperfibersto come glass or on cardboard, the glass or the
off, which, of course, would make the cardboard has to be able to curve out
paper thinner. ward. 119
If the curving of the glass
Monochrome prints that have not becomes too pronounced, the pane will
been bathed in water have to be saturated crack. These examples show how impor
fully before stretching, to avoid the for tant the correct degree of moisture is
for stretching. sary to remoisten a stretched print, do

Large prints have to be stretched not wipe or rub the printed side with a
under glass. To prevent the glass from sponge. First, test to see whether the
bowing too much, the stretched print can print gives off color. Some prints have
be put into the frame immediately but too little oil in their colors or were previ
should not be nailed in or covered with ously treated inexpertly—for instance,
a cardboard backing right away! 120
The had dry chlorinated lime sprinkled on
sheet could take on a mildewy odor, and them or were treated with chlorine water
there is also the danger that foxing will while dry—so that the colors can come
develop. After being stretched, the sheet off and soil the paper when you wipe
cannot be stored upright (standing) but them with a sponge. As a test, find a dark
has to be kept horizontal (lying) for a place in the print and rub a clean finger
while. In this position it is easier over it. If only a slight trace of color
to observe sheets and to take a number transfers to your finger, the color might
of precautions. simply be deficient in oil, not damaged
Plate marks and restored places from unskillful treatment. If the print
need to dry faster. To make this possible, gives off more color, then I would advise
the areas around the plate marks or the you to merely dab it with a moist sponge.
mended areas can be covered with paper, Prints colored with aniline dyes,
or these areas can be dabbed lightly with especially engravings from the end of the
a sponge. If the plate mark dries later nineteenth century, should not be mois
than the surroundings as tension devel tened in the same way because the colors
ops, the plate mark will lose its character, are guaranteed to run. On the front the
which will lessen the attractiveness of the margins are moistened up to the printed
print. This should never happen. The image so that no water stains form
sheet dries more evenly when it is stored because of any slight yellowing of the
horizontally instead of vertically. In the paper. The back is moistened completely
latter case, the moisture goes downward but lightly. The sheet is then left to dry.
and endangers the plate mark. Breaks, Before the stretching process, the back is
creases—even printer's creases—can be lightly moistened once again.
rubbed down more easily when the sheet Small prints especially have to be
is lying flat; and, if necessary, you can carefully watched during stretching.
easily remoisten the healthy parts of the They are often printed on soft paper and
paper with a sponge if they dry too soon. therefore show distinct plate marks. To
Before stretching a print, look for print find the correct degree of moisture of
er's creases. These creases have to be put these sheets, experiment first with prints
on top of a torn piece of absorbent paper of little value. A moistened plate mark, if
so that they do not open during the weak, has to be supported by thin paper.
stretching process. I emphasize once Repaired places may be saturated with
again that you will have to use torn water, but if the repairs are extensive,
paper; paper strips with straight, cut they will have to be pressed down occa
edges would stand out on the front sionally with blotting paper and a bone
because of their hard edges. folder before stretching.
If for some reason it becomes neces One other question: Is it always
absolutely necessary to stretch a small renew the blotting paper and double the
print? Stretching is done as a matter of load. However, it is advisable to rub down
course when the sheet has undergone the brittle or fragile places once more
major repairs or shows creases, breaks, before this additional load is put onto
broken corners, and so on. the sheet.
Unfortunately, the previously men If an engraving with creases or
tioned expert gave the following advice breaks is stretched on cardboard or a
in 1929: "Sheets that should not be drawing board, the creases and breaks
stretched, but show breaks, creases, and should be saturated with sizing solu
so on, can also beflattenedwith an iron." tion. The small creases and breaks are
I warn you never to use an iron in the rubbed or pressed as soon as the real ten
workshop of a restorer of engravings! I sion starts.
committed this folly once when I was a The following hints should also be
boy of fifteen, and never again. Nothing taken into consideration: Never try to
damages the print, but above all the flatten a sheet when it shows buckling
paper, more than intense warmth, let while being stretched. This [buckling]
alone heat! I have mentioned this danger is actually necessary. It is a grave mistake
in several places in my book. to think that you should pull on the sheet
If you want to remove small creases from the sides. Pulling would change
or breaks without stretching, the weak or the plate mark and make it look curved.
frail places have to be strengthened with This cannot be done. Like all restora
a light gelatin solution. Dip a small tion processes, stretching has to be
round bristle brush into the warm solu carefully thought through in advance. A
tion and apply it to the back of the fragile sheet needs at least one hour, often
places. The entire sheet is then mois three, to become flat. It sometimes hap
tened with a sponge, and the gelatin pens that a sheet needs eight to ten hours
treatment is repeated on the damaged if the paper is very soft or if the print is
places on the front. After the sheet has mounted. It is hardly worthwhile, there
dried somewhat, the creases or breaks fore, to stretch a sheet shortly before the
are pushed out as much as possible from end of a workday, because you cannot
the back with blotting paper. This task observe the drying process. However, if
is performed on moderately hard card the sheet does have to be stretched, it
board. If the print is comparatively flat must be covered with a clean cardboard
(there should not be any big buckles), or a double layer of blotting paper. The
moderate weight can be put on it. If you sheet can then dry in peace. It would also
have available some large, heavy books be good, to safeguard the sheet against
that cover the entire print, put the sheet any eventuality, to put a doubly thick
between blotting paper and use two or layer of paper on the area surround
three of the books to apply weight. The ing the plate mark. If the sheet were
moderate pressure will prevent the plate mounted shortly before the end of the
mark from disappearing. If you were to workday and were not to be stretched
start out with a heavy load or put the until first thing the next day, it would
engraving under a press, the plate mark have to be prevented from completely
would vanish. After two or three hours, drying out. It would have to be covered
134 R E S T O R A T I O N O F E N G R A V I N G S , B O O K S . D R A W I N G S , AND O T H E R W O R K S ON P A P E R
with moist blotting paper and several right corner and the left hand the nearest
pieces of clean cardboard. The sheet left corner and lift up the sheet. You have
would then still have the necessary to go well toward the center of the sheet
degree of dampness for stretching. with your fingers so that you do not touch
If one time you would like to investi the glue-covered edge. If the sheet is
gate the expansivity of paper when it is lifted according to instructions, the glue-
being stretched, try the following experi covered edges will be on the side away
ment. Make two small cuts in each of the from you.
four guards. You should observe a certain When you are ready to take the sheet
sequence when cutting the guards. The to the stretching board, first lay the sheet
cuts should be performed on opposite against your chest, that is, against your
guards; you can see right away how the clean smock. Now let go with the left
cuts widen. Of course, the sheet gives at hand and grasp the lower left corner.
these places and starts buckling. And the Lightly swing the sheet away from your
plate mark, too, loses its straight line. body, holding it with your hands, and the
I would also like to mention that sheet will assume an arched shape.
stretching small repaired sheets that This last procedure can be per
need more retouching should be done on formed in other ways, and you can decide
a glass pane. It is easier to observe the which way you find more convenient. It is
depth of the retouching, therefore, the even possible to immediately obtain an
effect of the color, when you are occa arched shape by grasping the upper right
sionally able to lift the paper to the light corner with the right hand, the lower left
during the course of the work. corner with the left hand. Just lift up the
After having discussed the prepara sheet and turn it with a slight swing—the
tions and the most important considera glue-covered edge will be on the outside
tions for the stretching process and after and the sheet will be curved. You must
having listed the materials necessary for attain this arched shape. It is then possi
stretching, we can now take a closer look ble for the sheet to touch the support
at different stretching procedures. first only in two places. When the other
If the margin of a sheet is wide and parts of the engraving are lowered, the
can be reduced somewhat without chang correct position is found by skillfully
ing the overall impression [i.e., appear adjusting the sheet. It is important to
ance or aesthetic effect], for stretching, it mention that in this method of stretch
should first be laid with the printed side ing, the glue-covered edges of the mar
down, in such a way that the edges of the gin are sacrificed because, as a rule, they
sheet extend i to 2 cm over the right and are cut off after the stretching process.
bottom edges of the cardboard. Glue, hot There are exceptions, for example, a sup
enough to run off the brush easily, is port for stretching, to which the sheet
applied thinly to these two edges over an is supposed to remain permanently
area of 2 to 3 mm wide. As soon as this attached. As soon as the sheet is posi
has been done, the sheet is rotated and tioned the right way on the stretching
the other two edges are also brushed with board, the edges are rubbed down firmly
glue. Next, take the sheet in both hands with old blotting paper. Describing this
so that the right hand grasps the nearest stretching procedure is more compli-
cated than the actual performance. This of a kind of tissue paper. You often find
procedure can actually be done quickly this paper, which has the same wire lines
and easily. as the stronger handmade paper, in old
Another possibility for stretching books, in which it is used to protect
that involves the use of guard strips is engravings. Cut strips 1 cm wide and
mentioned now. To retain a full margin, about 2 0 cm long; thinly coat one edge of
which is definitely better, guard strips the guard strip with a somewhat stiff
are added; that is, the margin is extended starch paste and position this narrow
by a guard strip. Narrow lines of glue, guard strip carefully on the back of the
approximately i mm wide, are applied to sheet. Immediately after positioning it,
the guard strips, which are attached to rub the guard strip down with blotting
the back of the sheet so that the part of paper and a bone folder. After the narrow
the guard strips without glue extends guard strips have been attached to all
beyond the sheet. The sheet is laid onto four sides of the sheet, the sheet is put on
cardboard in such a way that it projects a glass pane with the back side facing
on the right and on the bottom for i or down. Ordinary guard strips are then
2 cm. After that, half the width of the coated well with starch paste and are
projecting guard strips is covered with attached, half to the narrow tissue guard
liquid glue; the guard strips on the other strips and half to the glass pane. These
two edges are placed in the same position ordinary guard strips must be pressed on
so that they, too, can be covered halfway securely with your fingers and, after a few
with glue. After this is done, the sheet is minutes, with blotting paper and bone
lifted up and the remaining process is folder. You must be careful not to dis
performed as previously described. locate the guards when rubbing them
I want to mention yet another and thereby endanger the print. The
method of stretching with the aid of stretched papers stay in an unheated
guard strips. When the sheet has reached room until they have dried completely
the necessary degree of dampness, it is and can then be brought into a warm
put on the stretching board with the back room. Never place a stretched engraving
side down. The printed side is always near an oven or central heating unit to
facing upward during this procedure. accelerate the drying!
From a roll of gummed packaging tape, Stretched papers should not stay on
cut strips of the length required for stretching supports for weeks. Unless
stretching and use them as guard strips. major retouching has to be performed,
Moisten the gummed sides with a damp take the sheets off the supports within
sponge and affix them to the edges of the forty-eight hours. The rest of this para
sheet, to a width of 2 to 4 mm, depending graph describes how to do this. The
on the width of the margin. The rest of stretched sheet has to be taken off care
the guard strip is attached to the stretch fully. The sheet can be easily damaged in
ing board. the process unless this work is performed
When dealing with smaller engrav with the utmost caution. First, very near
ings, especially Old Masters, you have to to the edge of the picture, make a small
use a completely different guard strip. In incision in the guard, through which the
this case, the narrow guard strip consists knife can be inserted easily (see fig. 34).
Fig. 34-
Cutting a sheet off the stretching
support
Put your hand flat on the paper at the tion. If you do not put down the card
place where the cut was made. The hand board, your warm hand, resting on the
has to continuously follow the knife paper for a long time, will create buck
while the guard is being cut open. If you ling. After the remainder of the guard
do not put your hand on the paper but has been shaved off, the sheet is covered
just try to cut with the knife, the with cardboard so that it can recover fur
stretched sheet could develop creases ther. Finally, it can and must rest.
when the tension lessens and the sheet
could be damaged by the knife. The pres
sure of the flat hand is only a precaution
ary measure. After the sheet has been
removed from the stretching board
according to the instructions, working
from the front of the print, immediately
cut off the projecting guard with scissors
so that the sheet does not get distorted.
Now, with the back side facing upward,
the sheet is put on a smooth support. The
remaining part of the guard still has to be
removed from the back. To do this, place
a smooth, clean, dry cardboard on the
back of the paper so that the narrow rem
nant of the guard projects at least a cen
timeter or two. Carefully shave off the
remainder of the guard with a restoring
knife. The cardboard serves as protec
THE S T R E T C H I N G O F D R A W I N G S ON
S T R E T C H E R S OR S T R A I N E R S
One cannot consider stretching engrav not cover the sides of the frame com
ings on stretchers and strainers. If larg
121
pletely, glue broad strips of the same
er decorative drawings or blank sheets kind of paper over them. This will pre
need to be stretched on wooden frames vent the frame from getting distorted in
because they are going to be colored, it is the event that the support is too moist.
advisable to attach a durable support After the support has dried out com
sheet first. If this sheet is covered with pletely, you can also stretch a sheet over
a solution of aluminum subacetate and the entire back. This creates a closed
gelatin, the stretched drawings will have space that is bordered by the two sheets
very effective protection. The moisture and the four sides of the frame. Such an
content of the paper should not be too enclosed space would promote the for
high for stretching in this case either, mation of foxing if the sheet in the back
because otherwise the frame will become were put on too moist. To avoid this dan
distorted. The drawings are stretched ger, either you have to make absolutely
only after the support sheet is com sure that the sheet has been put on as
pletely dry. dry as possible or you have to cut out
If the support sheet is 3 to 5 cm larg three to four round holes, the size of a
er than the frame, the following proce penny, for ventilation. After a while,
dure is applied. Put the wooden frame on when the sheets or papers have dried
the support sheet, and apply hot glue to completely, these holes can be closed
the projecting border [of the paper]. with a patch. The support is supposed to
Before the glue is applied, this sheet give the sheet additional strength and, as
should be cut diagonally at all four cor much as possible, to guard against dam
ners. After this, fold the projecting edges age. The second sheet on the back offers
of the sheet upward, bend them over the further protection and prevents the
[back of the] frame, and press them down frame from becoming distorted.
firmly. If when folded over the edges do
RETOUCHING
Retouching always comes at the end of shaved off with a sharp knife. After this
a repair. Very often a sheet has to be shaving, the spots are sized with a weak
retouched even if it has had only a little gelatin solution.
local cleaning. There maybe, for instance, A trained retouching artist and
unsightly foxing, which had to be treated painter must be able to work well even on
a little more harshly, or a water stain, blotting paper. Of course, this is not an
which left a faint ring, or some fly blow, easy task. In addition to other skills, a
which had to be taken off with a knife, light hand is important. This kind of
and so on. In such instances, of course, a work is not done with a pen but with a
little touch-up is necessary. fine, well-pointed paintbrush. If you use
Retouching is "work of the eye"; a pen, your hand has to be so light that it
that is, you must look at the surround just glides like a breath of air. As I men
ing areas and mix the color accordingly. tioned before, any pressing down would
In the beginning a simple paint box damage the delicate surface of the paper
with watercolors is sufficient, to which and make the color run. There also would
Chinese watercolors in solid form are be ugly traces on the back. Of course,
added. 122
If you want to use Chinese these mistakes should not happen.
watercolors as liquid paint, you must dip For practice, I advise you to take
them in water 123
and rub them on some prints as models and to copy individual
thing rough. You can mix them with ordi portions in minute detail. You must prac
nary watercolors, however you wish, if tice precise copying, so it is inadvisable
the color of the print makes it necessary. to draw indiscriminately. Eye and hand
Before starting the retouching, you have quickly become too willful when you try
to examine the mended places. Make to sketch out line drawings freely on blot
sure that a tear that runs through the ting paper or stronger sheets. It is easier
print does not have any raised places. to work freely than to follow a model.
Retouching is immediately visible if all Greater attention is required for copying,
irregularities have not been removed and eye and hand become steadier. An
first. An expert takes this into considera individual's touch should never be recog
tion before he performs the repairs. nizable in a work, or it is not a restora
However, sometimes if the restored area tion. A restorer "restores." 124
In our field
is large, it is impossible to remove all one may not create the new but brings
irregularities right away. The edges of a the old into order.
tear stand out a little more clearly when A restorer of paintings has to recon
the restored sheet has been moistened dition a painting in which a layman has
and dried again, since dampness acti taken off the varnish while practicing
vates the paper. An insignificant swelling and has destroyed color and outline. In
of the edges of the tear becomes visible such a case, the expert works according
then. The new raised spots are carefully to his own instinct, since paintings are
one of a kind. Engravings, however, exist and a hose. Carbon dioxide is easy to
in several copies, and you have to obtain handle; there is no danger involved for
another copy or a photograph to restore the user. I have been working with it
everything that is missing. for about twenty years, and I think it
I repeat once more that retouching is appropriate now to report on my
is eye work. You have to teach your eyes experiences.
to look closely. How often one thinks When the apparatus is set and the
that everything is just one black color. cup is half full, press the little lever on
Surely, the printer will not have used the airbrush, and a fine stream of color
much of a mixture, but time, dear time, will come out. If you want to increase the
has been busily at work. If you have a stream, just keep pressing down the
skillful hand and an eye that can see and lever. There is also a small device for reg
are able to adapt easily, then success ulating the spray if you want to use the
is certain. There are no other hints I same strength for a longer period.
can give here, since each task will be Before you start to work, some tem
different. plates, or cutouts, have to be prepared to
The back of repaired engravings will cover the white paper margin. If sharp
also have to be retouched in many contours have to be restored in the sheet,
instances, because it is not always possi you have to use a cardboard strip as a
ble to find matching papers, and the back mask so that the thin stream creates
[of a print] and the mends have to corre these sharp contours. Since the stream
spond to each other. 125
can be well regulated, I think it is advis
I would like to emphasize once again able to use the airbrush at a certain dis
that cleaning, mending, and retouching tance from the picture —10 cm will
should only be undertaken by an expert definitely be sufficient. The smallest and
of the highest order who is skilled in most delicate places can easily be
these tasks. This kind of work requires a touched up. For larger areas in the print,
certain amount of intuition and cannot a greater distance is recommended.
be explained in detail. You have to famil When using the spraying device, you will
iarize yourself with your work. Many be able to see for yourself how far away
things have to be taken into considera the apparatus has to be held. The color
tion so that a mistake of a minute or two ing is done when the sheet is dry.
does not destroy the work of days. Any mezzotint whose splendid col
ors have been damaged, have faded, or
have suffered from rubbing or other cir
T H E SPRAYING M E T H O D cumstances can be restored this way. 126
If you know how to handle the airbrush

Order an 8 kg bottle of carbon dioxide in a masterly fashion, you will achieve
from a carbon dioxide factory, a mineral excellent results. Even the transition
water factory, or a restaurant. This bottle from distinct to diffuse forms or vice
should last for several months if it is versa is performed easily.
sealed properly. You will also need an Only a mezzotint can be totally
airbrush (with a cup to hold the liquid reconstructed this way; such complete
color), a pressure gauge (manometer), restoration is not possible for other tech-
Fi
g - 35-
Lieutenant Colonel Tarleton, English
School, 1782, mezzotint by J. R. Smith.
Print before retouching. 127
niques. The stream that leaves the air ing with a single sheet, after the overall
brush can only work on surface areas; it coloring, the edges of the margin can be
cannot strengthen pure lines and points. gone over several times without a tem
The apparatus can be used for many plate, so that a harmonious transition
other retouching purposes. If a cleaning to the rest of the margin is possible.
process has been too vigorous because Restored places on the reverse of the
the sheet was heavily soiled, coloring can sheet can be colored especially well with
be performed from both sides, even if the spray method.
only locally. The margin, which is espe Etchings often show a plate tone,
cially important in this case, can be which can be applied only by the spray
worked on several times. If you are deal method. I would like to repeat here
Fig. 36.
The same picture after being treated

with the spraying method
that an extensive mending job can be The paint used for coloring has to be
retouched successfully only if the mend well settled; there should not be any
ing paper was examined for lightness extraneous particles or small hairs in it.
before its actual use. Depending on the To color the printed areas, take black
coloring of the retouching later, the from a watercolor paint box and mix it,
paper has to be somewhat lighter when perhaps with another color, until the
held against the light. If the paper in exact tone is obtained. The color base for
every way matches the original paper the margins is tea, to which other colors
before retouching, it will become too from the paint box can be added. It must
dark after retouching. This should be observed that coloring is not done in a
not happen. single process.
After coloring, the airbrush has to opened a bit, and the carbon dioxide
be cleaned. This is done best by immers enters the hose. Depressing the small
ing it in clear water until the basin is lever now will cause a thin stream of car
filled. Press the lever, and let the clear bon dioxide to be pushed through the air
water run through several times. brush. The assembly is complete. (If
Afterward, dry the apparatus with a there is any extraneous noise —carbon
woolen rag. It is also a good idea to take dioxide escaping—the parts have to be
the apparatus apart completely from tightened again.)
time to time. Unscrew all the parts and If you can obtain a spraying device
put them down on the table in the right with a motor, then, of course, you do not
order so that they can be reassembled in need a carbon dioxide bottle. The appa
the same order. The small leather gas ratus can be attached to the motor.
kets, which are put on in such a way that
they are hard to see, have to be replaced
with new, soft leather now and then. To T H E PENCIL AS RETOUCHING TOOL
cut the rings, take the leather in your left
hand and turn it toward the scissors. The A sharpened pencil—you should have
scissors stay in the same position. (You different degrees of hardness at hand—is
do this in the same way that an engraver useful for a number of purposes. Above
guides the copperplate with his left hand all, it helps to eliminate minor damage,
when engraving a line.) especially when faint tones (plate tone)
have been rubbed off and white areas
of paper have become visible here and
ASSEMBLY [OF THE AIRBRUSH] there. Crayon lithographs, too —they
consist of countless black dots —can be
Assembly is very easy. First, unscrew the touched up beautifully. Rich, heavily
cap of the carbon dioxide bottle, then the printed images, however, have to be
brass screw, which is recessed about 5 cm retouched with a paintbrush or pen. On
below the head screw. Put both parts steel-plate proofs a pencil can often be
aside. They will be needed again when a used successfully when the abraded areas
new bottle is ordered. Take the hose and are not too large. To what extent such
attach the tip, which will receive the air damages can be touched up with a pencil
brush, to one end. After the tip has been is a matter of sensitivity. The pencil, at
inserted and secured, a wire clip is added any rate, is a good retouching aid.
so that no carbon dioxide can escape. Removal or a slight lightening of
The other end of the hose is attached to the retouching can be done with a soft
the foot of the gauge in the same way. eraser. To reduce the sheen somewhat—
Firmly screw the gauge into the orifice of as seen at an angle — moisten a fingertip
the bottle at the place where the brass with warm water and dab the retouching
screw was located before. After this, the with it. A very soft but finely sharpened
valve screw of the bottle is turned a little pencil hardly leaves a shiny spot.
to the left so that the carbon dioxide can Frequent sharpening is highly recom
go into the gauge. The tap of the gauge is mended.
THE TREATMENT OF CHINA PRINTS
M O U N T E D ON C O P P E R P L A T E P A P E R S
Engravings in black ink, printed on special care. The edges are dried, and the
China papers, and mounted on copper blotting paper is changed, lifted up from
plate papers can be well saturated with the center, and pulled off. 128
The blotting
water. If little blisters start forming on paper should not be lifted from the sides
the China paper, they have to be pushed because traces of glue [on the China
out from the center of the paper to the paper], often not even perceptible, could
sides with the aid of blotting paper and a stick to the blotting paper and damage
bone folder. Blisters are removed only the margins. After the China paper has
when the sheet is half dry. When rubbing been dried well, moisten the table 5 to
the blisters, be careful not to harm the 10 cm around the China paper. Cut some
soft paper. Do not rub too forcefully. If strips of wrapping paper, smooth and not
the China paper becomes detached from too thick, and push them 2 to 3 mm
the sheet or falls off, the task becomes a under the China paper. The wet border
little harder. In this case, proceed as fol prevents the strips from moving when
lows. Put the dry China paper on a clean, the China paper is brushed with a runny
smooth, square table. The distance from starch paste and does not allow the paste
the edge of the table to the edge of the to get on the table. The starch paste is
China paper has to be such that the cop applied evenly everywhere. The best way
perplate paper, after being moistened, to do this is to spread the paste from the
fits exactly when it is later rolled over center of the paper to all edges. Any
onto the China paper. That is, the plate impurities from the brush have to be
mark has to frame the China paper equal removed after the application. The strips
ly on all sides. The distances are marked of wrapping paper are carefully taken
on the table. Then, if the China paper- away. The China paper, thinly covered
it is positioned with the reverse side fac with a layer of paste, is now positioned
ing upward—gets slightly dislocated within its markings.
while it is being moistened, it can be Before the China paper is treated, its
brought back into the previously marked support must be dampened well on both
space. For saturating the sheet with sides, blotted, and evenly rolled up.
water, a broad flat bristle brush is used. When rolling up the support, make sure
The brush is moved from the center of that the front faces outward and that the
the sheet to all edges; it is frequently rolling is done so evenly that no edges
dipped into the water; in addition, a little project. The rolled support is put flush
water is poured on the China paper, and against the lower edge of the table.
all blisters and creases are removed. The Do not completely unroll the sup
China paper is then positioned along the port on top of the China paper right
marks and dried thoroughly with blot away; unroll it only as far as the edge of
ting paper. This task, too, is done from the China paper. Make sure that the plate
the center, and the edges are treated with mark frames the China paper evenly, and
if it does, the support can be carefully lifted corner downward toward the back
unrolled over the China paper. If the side of the support while continuing slowly to
margin does not frame the China paper pull up the support with the attached
evenly, the support has to be shifted by paper. If there are any holes or tears in
deft movements back and forth in such a the China paper and you come to them
way that it fits properly. Of course, the while you are lifting the support, the sup
distance from the plate mark to the port has to be pressed down firmly once
China paper has to have been measured again at these places. If there is only a
beforehand. If you have a helper, he can single large tear in the China paper, it is
expedite the process by lightly pushing advisable to start working on the corner
opposite the tear; that is, first lift the side
that is not damaged by the tear. This way,
the tear will not cause a problem because
it will be lifted first not on its open end
but on its closed end.
If the work progresses satisfactorily,
the paper is placed on clean cardboard.
Now an attempt is made to close tears or
other damage in the China paper. This
Fig- 37-
work is done with the fingertips. Try to
China paper lifted up diagonally from
one corner
close the narrow opening of the tear by
drawing together the edges of the tear
the support down. He has to follow the without lifting or damaging the damp
process closely and always rub down the ened China paper. The tear has to be
last piece of support unrolled, going slowly drawn together in a lateral direc
from the center to the sides. For this, two tion by lightly putting the fingertips on
to three sheets of blotting paper are put the China paper.
on the support. Then, using several If the support paper is soft, it should
pieces of blotting paper, press the sup first be laid diagonally over a tube pole.
port down firmly onto the China paper Later, it should be laid onto cardboard,
with a flat hand. After this, slowly lift one and the China paper should be firmly
corner and make sure that the China pressed down from the front with blot
paper is firmly affixed to the support. If ting paper.
the corner of the China paper stays on I would like to briefly mention
the table, the corner has to be put back another method that can be used with
and, after a little while, pressed down small China papers. Put the moist paper,
again firmly with blotting paper. The lift including the support, on the pane of
ing should be successful now. Lifting is glass or the table, and proceed as follows.
a feat in itself. You cannot lift the sup Let the China paper and the support float
port parallel to one of the sides of the in a tray with only a little water. The sup
corner of the support but have to lift it port is under the China paper, which is
diagonally from one of the corners (see facing upward. Try to adjust the China
fig. 37). As you lift further, you have to paper by pouring water over it so that it
perform a rolling motion, curving the is positioned correctly on the support.
Before the sheet is lifted out of the tray, centimeters of it underneath.

the water has to be drained carefully. If the support sheet for the China
Gently press the China paper and the paper is so heavily damaged that it must
support with your fingers so that they do be entirely replaced, the work is consid
not change their position. Lift up the erably easier because there is no plate
paper with the support, put it face up on mark to take into consideration. The
a pane of glass or on the table, and cover preparations are the same as for the vari
one-half with a white, nonabsorbent ous other processes mentioned. As soon
sheet of paper. Carefully lift the uncov as the support sheet has been rolled over
ered half of the China paper and fold it onto the China paper and the print
back onto the white sheet. Brush soupy stretched and dried completely, the plate
starch paste onto the half that has been mark is pressed in from the reverse. To
folded over. do this, the sheet is held against the light
After this, carefully lift the China so the China paper becomes visible.
paper off the white paper, and have an Small marks are drawn onto the reverse
assistant insert a clean rod under the side, where the plate mark is supposed to
lifted part. Take hold of the rod your be formed. The sheet is placed on card
self, lift the pasted half of the. China board and a ruler put to the markings.
paper carefully and calmly from the The plate mark is pressed in with a bone
white paper, and return it precisely into folder. The rounded parts of the margin
position on the support. This part of are done freehand.
the China paper now has to be rubbed The pressing of the plate mark has to
with blotting paper, while you watch for be done with great precision. The ruler
the development of little bubbles and guiding the bone folder should not be
creases. The other half is treated the allowed to slip. Above all, the pressure of
same way. the hand should not be so strong as to
You can also use a broad strip of damage the paper.
paper to lift China paper, placing several
THE TREATMENT OF MANUSCRIPTS
The mending of damaged manuscripts, cases they dissolve when treated chemi
documents, letters, and similar papers cally. Before any treatment it is a good
is performed in exactly the same way idea to test to see if the ink is permanent.
described for engravings. Shaving may It is obvious that a letter should be first
be done only to a maximum width of cleaned with an eraser. Rarely would I
3 mm. If a tear runs through the writing, suggest cleaning chemically, and even
no more than a small amount of shaving then only if it would not affect the writ
may be performed in the spaces, and ing. There are remedies that can revive
these areas have to be thinly covered with the remaining traces of writing in ink,
a paper of matching color. If there is but I do not want to mention them
enough clear space at the edges of the because I consider it very dangerous to
tear, these places have to be carefully treat autographs chemically. It should
shaved and mended. The paper has to be not be done!
moistened cautiously, and, of course, When a letter is creased, I recom
only the parts without writing can be mend the use of a weak gelatin solution.
treated. In many instances, the ink or Since a letter should be made to look like
pigments used for writing do not meet an original, it has to be skillfully folded
requirements that we have today. They after pressing.
are in part water soluble, but in most
THE TREATMENT OF PRINTS
ON P A R C H M E N T
Dusty and dirty parchments without any the parchment should be put on a draw
coloring can be put into clear water for ing board or a flat tabletop, and thin
cleaning purposes. The parchment is paper strips that extend over the edge of
cleaned with a flat bristle brush. Press the parchment should be placed on top of
down a little with the brush when treat those places on which the frame cannot
ing areas without printing. Do stay away be put. The protruding part of these
from warm water, though, because the paper strips is fastened to the board or
parchment will shrink. To prevent the table. Thumbtacks are inserted in such a
parchment from rolling up in the bath, way that they do not make holes in the
weigh it down with filled bottles. If heavy parchment but have one-half of their
stains have to be removed, I suggest only heads covering the parchment.
the use of chlorine water, because After this is accomplished, a smooth
hydrochloric acid can easily make the board is put on top and weighted with
parchment transparent. books or cardboard. The air space cre
Painted parchments have to be ated is sufficient to permit rapid dry
treated from the reverse first, to make ing. Since parchments are of varying
them soft and pliable. For this purpose I strength, you have to allow between six
would suggest using no other means but and twelve hours for the parchment to
clear water. The work is done on a table. dry enough to be stretched. Parchments
Place the parchment with the back fac sometimes need twice that time to
ing up, cover it with moist cloths and become ready for stretching. Stretching
then with a flat board or a strong glass requires a great deal of attention. Even if
pane. After a while, sprinkle a little water a plate mark does not have to be taken
on the cloths to keep them evenly moist, into consideration here, the particular
and repeat this procedure several times. degree of moisture is of major impor
When the parchment no longer tance. It is better to stretch the sheet
tends to roll up, the colored front can when it is somewhat drier rather than
be treated. The chemical treatment of when it is semimoist. A sheet will readily
uncolored parchments is followed by tolerate being remoistened once it has
the previously mentioned chlorine anti been stretched. Dab it with a semimoist
dote, whereas colored parchment can be sponge as needed. As with engravings, a
treated only locally with the antidote. 130
guard is applied for stretching. The
So that you do not endanger the col guard used has to be a little stronger than
ors when flattening a painted parchment, for engravings, and the area to which
put a wide, flat frame on the parchment, glue is applied has to be wider, about 2, to
to cover much of the margins. When this 3 mm altogether. If the parchment has
is done, it may be that the frame will been stretched on a drawing board, I
cover parts of the painting. Naturally, would recommend adding a broad guard
this should not happen. In such a case to the front. The guard should be wide
enough to overlap the parchment in the

same width as the guard attached to the
back and to extend onto the board 5 to
10 mm. The adhesive for the second
guard is starch paste. After the parch
ment has been stretched four to six days,
it is cut off the stretching board and put
between pieces of straw cardboard.
THE C H E M I C A L T R E A T M E N T OF
PAINTED RICE PAPER
Chinese rice paper 131

is exceedingly frag repeated. Under no circumstances
ile. If it is not treated skillfully, it can should this dabbing soften the colors! If
crumble like puff pastry. It is therefore the cockling on the back of the color sec
advisable to use the utmost caution. tion appears to resemble that of the
Painted rice papers are usually glued at cleaned parts of the sheet, the sheet has
their edges to chalk-filled cardboard, 132
been moistened evenly. It is imperative
and difficulties can begin even when they to carry out this moistening evenly.
are being loosened. They have to be loos To flatten the sheet again, proceed
ened with a flat shaving knife. The knife as follows. Put the sheet between two
is steadily moved forward between the smooth pieces of blotting paper; watch
paper and the edge of the cardboard that there are no small bumps in the
while being pushed down onto the card paper or the pressing boards, and weight
board. If this process does not yield the the sheet down with heavy books. After
desired results, and provided there is no half an hour, replace the blotting paper
coloring nearby, the front of the glued and weight the sheet down with the same
edge is moistened with a soft paintbrush load. This procedure is repeated three or
that has been dipped into water. After four times so that the sheet gradually
being loosened, the sheet will be buck returns to its original size. After three
led. Hydrogen peroxide is applied care to four hours of drying under weights,
fully to the area around the coloring. the sheet—without blotting paper—is
Especially strong foxing is first treated placed between smooth pressing boards
locally with chlorine water, as usual. If and weighted with a heavier load, or it is
the stains have faded considerably after put with the pressing boards into a press,
further local treatment, one should be which is slightly tightened. After the
satisfied with the work. Of course, a chlo sheet is pressed for twenty-four hours, it
rine water treatment can be used, too, will be smooth.
but it has to be done skillfully. Chlorine If tears have to be treated, no shav
water is more inimical than hydrogen ing should be done. Just put thin
peroxide to areas colored in reddish absorbent paper under the tear and rub
tones and colors mixed with brown. After it carefully with the bone folder. Do not
the chlorine treatment, the affected use the round, flat tip of the bone folder
areas are dabbed with clear water and the but only the smooth surface. If the tip is
familiar antidotes. The sheet is left out used, irregularities may be rubbed in or
in the air to dry a little. Once the sheet the sheet maybe torn. Since colored rice
is semidry, it is turned with the back papers must be put on cardboard again,
faceup. With a paintbrush the back of the the sheets are stretched on cardboard.
colored section is brushed thinly with Stretching is done only after repeated
clean water. When the water has evap light pressing, since even a hardly per
orated a little, the local dabbing is ceptible dampness has the ability to
create great tension. Stretching has to be

done because otherwise the mended
areas would buckle.
I repeat once again: For stretching,
the moisture content of the sheet has to
be so low that it is almost dry. With great
tension the cardboard would bow and the
paper would tear. As an adhesive for the
stretching process, one should use glue
that is liquid but not too hot.
R E S T O R A T I O N W O R K ON
LARGE-SIZE PAPER
If a colored map of a city or a general view with repeated applications of cold water.
several meters long needs to be removed If the paste consists of rye flour, you
from a support, the support has to be know that you cannot work with hot
examined beforehand to find out water. If you are dealing with a coating
whether it is able to absorb water. If a of glue, it is also better to try the separa
droplet of water is applied and remains tion with cold water, since there is the
standing, it is a sign that the support danger that the glue might dissolve too
will create problems during its removal. fast with hot water. The hot water might
The support has to be deprived of its seep into the paper and endanger the
strength; that is, its resistance has to be colors. If alum paste was used, further
broken. We already know that the map separation can be undertaken with hot
will have to be cleaned dry as far as possi water because the alum will have made
ble before the damp treatment. Since the the paper bearing the design impervi
colors, especially red and blue, may run ous. The paste is then washed off in the
during a moist treatment, the surround usual manner.
ing area has to be brushed with a solution Whether it is advisable to com
of aluminum subacetate to prevent it pletely submerge a colored map in a bath
from absorbing any bleeding colors. depends on its condition, especially on
After this preparation, the support can the drawing and colors.
be treated. The resistance of the support If the map consists of many compos
is broken when it is brushed with boiling ite parts, it might be more advantageous
soda water. 133
This procedure is repeated to take apart the map while dry. Try to
until the support willingly absorbs the divide the combined parts with the shav
soda water. However, in the process you ing knife, not scissors. After opening up
have to watch that the moisture does not a centimeter or less, attempt to cut with
cause certain areas of the front to the shaving knife. If a map shows breaks,
become too dark. The soda solution it is divided at those places, of course.
might then endanger the coloring or The overall cleaning of the map is done
the printing. with hydrogen peroxide, avoiding the
We are next concerned with remov colored parts.
ing the support. This is accomplished
TIPS
TREATMENT OF JAPANESE WOODCUTS TREATMENT OF ENGRAVINGS

ON JAPANESE PAPER
Japanese woodcuts have to be treated
carefully, inasmuch as the colors do not Engravings on Japanese paper are
contain oil as in engravings, although treated like other prints. Heavily
the paper itself withstands treatment ingrained dust is removed by first wetting
well. Watercolors were used;fleshcolors the papers in water and then treating
were mainly hand-colored; the silver them with a flat bristle brush, as I
background was applied in powder form. recommended earlier for other papers.
During wet treatment, especially when Hot baths should be avoided as much
using chemicals, you have to work with as possible. How much dust can be
special care because these colors, which removed without harming the paper
have been applied by hand, can easily depends on the skill of the restorer.
disappear. Rubbing hard should always be avoided
I have not treated early woodcuts since the surface of the paper can easily
from the eighth or ninth to the sixteenth be roughened. The prints themselves
centuries. Therefore, I cannot make any should be washed only after all tests have
comments on their colors or paper. had good results.
When uninked blocks have been Japanese paper should never be
used during printing, the woodcuts treated with bleaching soda! Wetting is
should not, of course, be pressed since done with a grit-free sponge. The paper
the uncolored areas of embossing would is dabbed, not rubbed.
be destroyed.
REPAIRS ON PAPERS
TREATMENT OF PRINTS ON SILK WITHOUT W I R E LINES
Early prints on silk can only be treated by For repairs on papers without wire
mild procedures. You have to note the lines, in most cases posttreatment is
sheen of the silk and be careful during required after an extensive amount of
stretching so that the weave of the silk work has been done. After the mends
does not get distorted. If the print has have been applied and shaved down,
been done on a big piece, it is advisable many parts still look somewhat uneven.
to cut off a sample diagonally—half a These irregularities are removed with
centimeter wide —and to test chemicals fine sandpaper. But you have to work
on it. very carefully and cannot press down.
There is no need for me to emphasize fur
ther that under no circumstances should
the surrounding area be lightened.
Cut small pieces of sandpaper to the RESTORING TEXTURE

size of half a matchbox or even smaller,
and fold them one more time so that they Now I would like to provide a few hints on
are manageable. how to give the mended areas a certain
texture or surface from the reverse. Soft
paper can easily be given a slight texture
POSTTREATMENT OF PAPERS of wire lines or other characteristics
WITH W I R E LINES when it is specially treated while moist
or, even better, halfway dry. If a soft
Only rarely can you use sandpaper to paper is supposed to have a slight texture
treat papers that date from the end of the of wire lines, put a nonabsorbent paper
eighteenth century to the present and with pronounced wire lines on top of it
that have wire lines. And then, greatest and press it strongly with a bone folder
caution is required because these papers and blotting paper. This way, the wire
are usually very soft. lines of the hard paper are transferred to
For now, I advise you not to treat ear the soft paper. All kinds of material,
lier prints with sandpaper because they especially coarse linen, are useful for this
can be damaged too easily. purpose. This kind of procedure, howev
Sandpaper is used only after the er, should only be used when the sur
principal shaving, performed at the win rounding of the restoration requires it.
dow, and posttreatment on the table.
Smooth the mends before applying gel
atin, a weak sizing. After sizing, only CORRECT MEASUREMENT
the knife may be used. A slight dabbing OF MENDS FOR DAMAGED AREAS
locally with a semimoist sponge then
takes care of the shaving done by knife — It is important to know that mends for
the roughened spots are made uniform damaged areas should not be too large.
with the surrounding area. If some of the An excess of mending paper has to be
restored parts are noticeably dull, soupy avoided by all means. For example, if you
paste applied with a brush helps. You dis shave a tear to a width of 5 mm, you
cover these dull places by holding the should not apply a mend that is 7 mm
sheet at eye level against the light. The wide. These 2, mm can spoil the entire
paste is applied very thinly. job. Shaving down the 2 mm later would
Greatest caution should be exercised create a shiny spot wherever there had
when rubbing or pressing with blotting been an excess of paper. If you have made
paper and a bone folder! The thin layer of the mistake, you have to put up with the
paste should not stick to the blotting shiny spot. Shiny spots that are caused
paper. The sheet, therefore, must be not by paste but by the slight pressure of
rubbed when it is dry rather than moist. the bone folder or by the work process
These procedures, too, first have to be can be removed with a moist sponge.
tried repeatedly on papers of minor
importance.
REMOVING RESIDUES OF PASTE appears in a short time, will recede again

after a few hours. 135
Only in rare areas should the paste be

removed from the reverse of a sheet by
putting it into a tray of water. 134
If dirt T H E LAYERING OF SHEETS TO DRY
and paste were removed with a paint
brush while the sheet was in the tray, the If you are forced to put moist sheets on
waves created in the water by the move top of each other because of lack of
ment of the brush would make it hard space, the image sides must always be
to see the sheet. Therefore, to protect put face down on the cardboard. If this
the sheet from damage, drain all the advice is not heeded, the image sides can
water from the tray or wash the sheet on be seriously damaged when someone
the table. touches the stack of cardboard. Because
of the moisture in the sheets, the card
board will buckle. The buckled areas of
T H E CHOICE BETWEEN CUTTING O U T the cardboard will slightly lift the sheets
OR CHEMICALLY TREATING and touch the upper cardboard. If some
DISTURBING SPOTS body should knock against the card
board, the areas that touch the upper
Spots that are especially obvious and that cardboard would start to rub. Although it
cannot be removed completely by being is not advantageous to damage the back
dabbed carefully with chlorine water in of the sheets, at least the damage will not
combination with 10 percent hydrochlo be as considerable.
ric acid should not be eliminated by other
means. This would endanger the adja
cent areas if beautifully colored areas OBSERVATIONS ON
surround the spots. It is more advisable VARIOUS PROCEDURES
to leave the spot or to cut it out than to
damage a wider area by applying the When removing or ameliorating breaks,
wrong treatment! creases, folds, and so on, take care that
no shiny places are created on the sheets.
The sheet, which has been well prepared
TREATMENT OF GRAPHICS for stretching, is placed on a cardboard
MOUNTED ON WOODEN BOARDS or a double layer of blotting paper and
the break, and so on, is carefully rubbed
Prints mounted on wooden boards with the aid of blotting paper and a bone
should never be weighted down with bot folder. The bone folder should only be
tles or other weights if you want to guided over the break and should never
remove them from their mount in a cold be pushed down too hard or vigorously.
bath. The wooden boards would crack Any movement of the support should be
and severely damage the mounted prints. avoided because the sheet will be dam
The sheet should be put on the water sur aged otherwise. Even if the sheet still
face and the back of the board should be shows slight traces after being stretched,
rinsed. The curving of the board, which it is better not to do any further rubbing.
The velvety tone of a mezzotint or thorough cleaning.

aquatint is very subtle and, therefore, Color prints or hand-colored prints
very delicate and has to be preserved by are treated as follows. Tears or types of
every means. The same caution is other damage that run through the col
applied to French crayon-manner prints ored illustration are only brightened
and engravings with burr as well as to old slightly or, often better, are not cleaned
woodcuts with embossed ridges on the at all because any subsequent shaving of
back. All other techniques, if they can be the mended tear from the front must be
recognized as such—works performed very limited. Only the edges of the paper,
with a burin (engraving), crible, iron including the title, are cleaned more
etching, stippling, mixed method (dots thoroughly.
and lines), steel engraving, lithography, If a damaged sheet shows more
wood engraving—also have to be treated intense yellowing that for certain reasons
with care but are slightly less sensitive. cannot be removed or even reduced
through cleaning with bleaching agents,
the repair is preceded by at least a dry
POINTS TO TAKE INTO CONSIDERATION! cleaning and a bath in cold water, which
contains a small addition of table vinegar
Heavily damaged sheets, if they are at most.
severely yellowed, must be cleaned quite In such a sheet—which is not being
thoroughly before they are repaired. For treated any further, of course—the yel
instance, it may be necessary to match lowing of the skin will naturally remain
the color of one sheet from a series to stronger than that of the flesh of the
that of the other sheets. If only a slight paper. Depending on the difference in
brightening is carried out, further recon yellowing, after shaving down the tear,
ditioning, and therefore mending or evidence of a faint, light-colored area the
"true" repair work, would not produce a width of the shaved area may appear on
satisfactory result. the front, where the lighter flesh of the
The reasons for this are as follows. paper has been laid open by the shaving
An insufficient cleaning lightens only the knife. However, this trace can be
skin of the paper but not its flesh at the matched to the surrounding area with
same time. Therefore, after the damaged relative ease by slight retouching.
places have been closed, a yellow area of Light, heat, and other influences —
the width of the area that was shaved as causes of the yellowing—chiefly affect
down will appear if one carries out addi the skin of the paper. The flesh of the
tional light shaving of the tear from the paper is affected only later and less
front. This not so pleasant surprise is severely by browning. Papers that were
caused by the fact that the brightening manufactured after 1840 and have wood
has not reached the interior of the paper. fibers added are an exception. These
Even though this yellowing was not papers "age" quickly; they take on a
visible during the preparations, it was coloration that may extend to dark
there. It also goes without saying that the brown, affecting the skin and the flesh
mend has to undergo the same kind of simultaneously.
C H A T S A B O U T O L D AND N E W
R E S T O R A T I O N S OF BOOKS
During my work as a restorer, I have fre fore gave a page of this book to a chemist
quently held in my hand old prints which friend of mine, asking him to find out
were restored over one hundred years whether the paste contained a special
ago. Often it has been my task to improve agent. The chemist informed me that he
on the restoration. Such old restorations had not discovered any special agent and
are a joy to work with, books even more that one of his tests had shown that the
so than engravings. You can draw many adhesive was starch. I was very happy
valuable conclusions from the work of with these findings, since they agreed
the restorers of that time. In one case, for with my theory that it is not necessary to
instance, I was dealing with a major add any special agent to an adhesive to
restoration on a book in which about protect it against decay—a theory that,
twenty pages had to be worked on. The by the way, has been proven by my work
work of the colleague who had restored of more than forty years also.
the book more than one hundred years During my work, I have encountered
ago showed that he was a skilled expert. other cases in which the restorers or
I was especially interested in the adhe bookbinders did not do their work neatly.
sive that had been used. Since I could not Although they had been entrusted with
discover any change in the restored part the restoration of the entire book, they
and found the surrounding parts in did not spend any time deliberating. The
order, too, no special agent could have brittle binding was patched temporarily,
been added to the adhesive to protect it but the different layers were not put
against decay. Let me remind you that together neatly. It has even happened
more or less all agents that are mixed in that guards have been glued right up to
with paste in order to preserve it from the type area to strengthen the brittle
decay will develop acid and attack paper paper. One definitely must try to improve
in later years at the mended places. Since on such repairs, and it is best to start by
the adhesive was colorless, I concluded it removing the old mends.
might be starch paste and performed A few years ago I read in a small pro
appropriate experiments. First, I gave fessional publication that potassium per
the sheet a water bath and discovered manganate should be used for dyeing
that the restored place readily absorbed mending papers if it is impossible to find
water. Yet, after more than a hundred paper in the original hue. I caution you
years, the quick water absorption was not not to use this agent. Instructions should
definite proof that the paste did not con not list any chemicals unless their effects
tain some kind of preserving agent. have been tested. I do not think that the
There was the possibility that a weak author of that article could report actual
agent had lost its efficiency over the long results. At the beginning of my career, I
span of time, so much so that it could not used this agent too. I saw one such
be readily recognized anymore. I there restoration later, when the client at that
time informed me that the repaired In other suggestions by the restorer

places were standing out in strong con of books, mentioned above, I missed—as
trast with their surroundings. I had to an absolute requirement for success in
admit to myself that the restored places this kind of work—an urgent reference to
had changed so much that I would never painstaking cleanliness. Above all,
use this kind of dyeing again. repair of dusty sheets should not be
If the mending paper is somewhat attempted. The sheet has to be cleaned
lighter in tone, there should not be any first, beginning with a dry method, that
dyeing until after all work is done. is, using an eraser.
Otherwise, because dye is easily dis A special repair technique from the
solved and only clings to the surface, one writings of this expert should also be
might observe the following while con mentioned. He writes verbatim: "If a tear
tinuing to work: first, the easily soluble on a book page extends far into the print
dye might mix with the paste, making the ed part, apply paste to the tear in such a
mending paper darker in color than way that the paper can be overlapped i
desired; and second, mottled spots might mm wide in the unprinted parts of the
appear when shaving. paper to stick it together, even if the writ
The dear colleague who recom ing appears slightly distorted this way."
mended this kind of coloring should have This calls for two criticisms. First, the
asked himself what would happen if mending will not hold when the edges of
someone dyed just any piece of paper the tear are overlapped so narrowly; and
according to this method, perhaps using second, everyone attaches great impor
paper manufactured at the end of the tance to being able to read the print com
nineteenth century as mending paper for pletely. My suggestion would be to paste
a print from the fifteenth century. I do finely torn paper, matching the original
not want to deprive him of the answer. in color, over the gaps between the writ
The nineteenth-century paper, having ing or to cover the entire tear from both
been manufactured with the addition of sides with extremely thin goldbeater's
a lot of wood, would turn darker and paper. For the technique of working with
darker over the course of time, whereas finely torn paper, see the section on tear
the paper from the fifteenth century ing paper. The fine goldbeater's paper
would not change. This means that the allows the writing to be visible and the
restored places would stand out more tear to be closed in a simple way. This
and more distinctly. I mention this not type of work can be done in the book
only to caution against the use of such itself even if the book is torn near the
coloring but also because one should back. To work more efficiently, put a
use paper in the original tone and from cardboard support under the tear so that
the appropriate time. The paper supply the thin paper can be rubbed down well.
must be refilled continually. Even today, For the closing of wormholes, this
there is enough paper around if you just "expert restorer" suggested verbatim
keep looking. the following as the best method: "Small
To protect a work from decay, place pieces, slightly larger than the worm-
just as much value on whether your work holes, are cut out of exactly matching
is appropriate as on whether it is artistic. repair paper. This is best done by cutting
them out with a hole puncher; the hole the little patches are pared off around the
puncher for the Soennecken loose-leaf edges with a sharp knife. This work
binders is well suited for this. The small, requires time and patience but is safe.
circular pieces are glued over the worm- For larger damage, larger pieces of paper
holes in such a way that they extend a lit are cut to size; the edges of the damaged
tle beyond the holes. One prerequisite is parts are 'smeared' [quotation marks are
secure gluing. When they are half dry, mine] thinly and conscientiously with
the sheets are pressed separately glue; the cover piece is stuck on, pressed
between two polished sheets of metal for when half-dry, and the edges around the
a longer period of time, and afterward damaged parts are pared. Finally, each
Fig. 38.
The wormholes which have been

shaved down (2.), indicated by hatched
lines, have been cut out with the adja
cent ones so that a better treatment is
possible. The line around the worm-
holes (1) also extends into the healthy
paper and is supposed to indicate
that the restoration could also be
done in this size. The cutting of the
mends is done in exactly the same way
as in other restorations. If there are
many wormholes scattered over the
unprinted areas of the paper—which
are to be mended individually—I rec
ommend that you number every mend
and every small wormhole consecu
tively (3) so that the correct little
piece is taken if it is to be applied
while moist. 136
sheet is pressed separately for a longer be shaved down. Of course, the small
period of time between metal sheets." fibers and hairs at the edges have to be
I can hardly believe that my dear col left standing because they improve the
league from the book trade ever tried this implanting of the mend.
prescription. I have the impression that My procedure does not endanger the
he just imagined the method for closing writing in the least, since after the prepa
wormholes to be something like this. rations the applied mend only occasion
Based on my experience, I suggest ally has to be shaved down. In any case, it
the following process. First, the area sur is advantageous for the writing when the
rounding the holes is cleaned, then some preparatory work is carried out accu
shaving is done from the side on which rately instead of having to do shaving
the hole does not go through the writing. in the book for hours. Since both proce
Unfortunately, it is often the case that dures take the same amount of time, it is
the wormhole goes through the writing unnecessary to say which method of clos
on both sides of the sheet or is at least in ing wormholes is to be preferred.
close proximity to the writing. Then it When there are several wormholes
is better not to shave but to apply in one sheet, it is not advisable to close all
finely torn paper equally to both sides so of them from the same side. It is better to
that the thinly torn edges of the paper close some of them from the front and
hardly touch the writing. Tearing such some from the back of the sheet. A one
extremely thin mends does not present sided restoration would be much more
any special problem to the expert. Small conspicuous. Let me emphasize one
mends of this kind, however, should more time that when the surroundings of
never be punched out because their the hole permit it, it is definitely advan
abrupt edges need to be shaved down— tageous for the success of the work to
posing a greater danger to the surround shave down the edges of the wormholes.
ings of the mend to the extent that there If the restored book pages are not
is writing. The small mends that are brought back to the original thickness of
needed to close wormholes are prepared the paper, the book will not shut proper
by scratching into a sheet of mending ly once it is bound again.
paper with a fine knife and then tearing I would not have included the spe
them out. The tearing produces the cialist on books with his suggestions or
extremely thin edges that are really given him considerable room in my
needed. If you have not been able to description if he himself had not called
acquire this skill yet, the mends have to his restoration methods "the best."
THE S T O R A G E AND P R E S E R V A T I O N
OF E N G R A V I N G S
A work on paper is protected from dam glued on, breaks would be easily created
age by being mounted on cardboard and at the lower edge of the glued area.
kept in a tightly covered, dustproof box When you are dealing with a small
or in a portfolio with wrappers. A good sheet, draw a dot on the cardboard with a
frame, of course, also offers protection if pencil, just below each of the upper cor
the sheet is not exposed to the sun too ners. Then turn the sheet—as if it were
much. Therefore, the room that is sup already fastened—and bring the corners
posed to hold the works may certainly be to the dots. After that, moisten the
pleasant but not too sunny. Faded places hinges and attach them to the reverse of
on the wallpaper can help you to deter the sheet, up to 2 mm wide. 138
The hinges
mine which walls get more sunlight. should only be moistened lightly, since
A sheet is mounted on cardboard the paper may become buckled and
with the aid of strips of gummed paper. transparent where they are attached. The
Strips 10 to 15 mm wide are cut from a hinges must be attached so that they are
sheet of strong, white gummed paper and flush with the edge of the sheet. There
divided into lengths of 2 to 3 cm. The should be no distance between the edge
small strips, which are cut from the adhe of the sheet and the hinge. If more dis
sive strips with scissors, are called tance or space is left, the sheet can tear
hinges. For mounting, the sheet is posi easily when someone tries to lift it, that
tioned agreeably on a piece of cardboard; is, wants to turn it, from the cardboard.
that is, the distances from the edge of the Smaller tears in the sheet in the vicinity
picture to the edge of the cardboard are of the hinges occur only when inexperi
measured in such a way that the upper enced viewers try to turn the engraving
and lower margins around the picture like a book page instead of first looking
correspond to the golden section and137
to see to which side of the margin the
equal margins are created on the left and hinges have been attached. Viewers usu
right. The cardboard has to be strong ally assume that the hinges have been
enough to protect the sheet from break attached to the left edge of the sheet or
ing and tearing. It must be large enough margin. If the hinges are flush [with the
that the viewer never has to touch the edges] on the right and left, the viewer
sheet with his hands. immediately knows that the sheet cannot
It us not advisable to glue the sheet be turned in the desired way. More space
directly onto the cardboard at the upper or distance will deceive the viewer. 139
edge; it is better to attach the sheet by Larger sheets, especially those that have
means of hinges at its upper edge. These much greater height than width, have to
hinges make it possible to lift the sheet be fastened on the cardboard with hinges
from the cardboard at any time; that is, at the left margin, whereas smaller
the hinges permit the sheet to be lifted sheets — also because they lie better—are
without being bent. If the margin were fastened to the cardboard at the upper
margin. For this reason, unfortunately, ful in removing a print, the one that is
no single system can be used. The larger underneath can be damaged by scratches
sheets can be turned like a book page from the corners of the cardboard—even
when the viewer wants to look at the if these have been rounded or
back of the sheet or see the watermark smoothed—because tissue paper does
by looking through the paper. The turn not have enough resistance. Such a
ing is done with the left hand, while the scratch can cause a shiny line in a mezzo
right holds the cardboard. Even for tint, which in most cases cannot be
larger sheets only two hinges should be removed. I recommend blotting paper as
used, since the sheets could become effective protection. It combines the
distorted otherwise. advantage of sufficient protection
I had to offer this little observation against pressure and scratches with
in advance so that the work may be given another one —the ability to render mois
due consideration. ture, even as may occur when talking,
After the hinges have been attached ineffective.
to the sheet according to the instruc
tions, press the protruding portion of the
hinges onto the cardboard with your PRESERVATION
fingertips. Turn the sheet back—the
image is now on top 140
—align it with the Preservation cannot be compared to
dots, and carefully rub down the hinges restoration, nor is it necessary to do so.
with a bone folder and blotting paper. The essential point is that the prints and
In addition, I would like to mention paper are protected from further deterio
that museum board 141
is especially suited ration. A blemish should be removed
as a support for prints, which lie as if set only if it could become a source of danger
into a frame and are therefore well pro to the sheet.
tected. Although such cardboard is Does foxing definitely have to be
somewhat expensive, I consider it an removed? Yes and no. The complete
absolute necessity for pastels, chalk removal or destruction of a mold stain is
drawings, and so on. not always possible. Usually, its color can
For further protection of prints, I be removed by chemical treatment so
advise you to cover them with white, soft that it is hardly visible. At the same time
blotting paper. Tissue paper should this treatment also prevents the stain
definitely not be used because it cannot from spreading for a while. The better
protect especially delicate prints, for the composition of the paper—for exam
example, mezzotints, chalk prints, or ple, early papers up to about 1650—the
aquatints. Tissue paper is shiny and also easier it is to remove and even perma
too thin. If engravings are stored lying on nently eliminate mold stains. Occasional
top of each other in boxes or in folders, mold stains in an early work are only
tissue paper does not offer any protec rarely due to defects in the material.
tion. If you want to take a particular These spots might not have been covered
engraving out of the box, the prints are by the surface sizing, perhaps because
lifted from the right to the left until the they had been made unreceptive by some
one
desired appears. If You are not care- kind of substance. Later papers-after
1650 to about the middle of the nine covered with a coat of varnish to save
teenth century—were heavily mixed with engravings and lithographs from decay
cotton and are therefore more suscepti and to prevent yellowing or the forma
ble to outside influences. Papers after tion of mold stains. This measure did not
1850, which were heavily mixed with work; after the varnish was removed, the
wood pulp, are even more susceptible decaying process was still visible.
to outside influences and can show Mold stains are the outward mani
brownish discoloration in addition to the festations of an illness of the paper
well-known foxing. Never apply strong which, like many illnesses, spreads
remedies to free mold stains from a paper because it is contagious. If you are
which has been mixed with cotton. If you thoughtless and irresponsible enough to
not only want to hide seriously disagree keep papers with mold stains in a folder
able spots by removing their color but with healthy papers, you will soon know
also want to eliminate them completely, what you have done. You will have
you have to treat them with strong agents enabled the illness to be transmitted to
while they are dry. It is not safe to assume a healthy sheet to work on its destruc
that sizing the paper will protect it from tion. In this regard, however, it has to be
further decay after the mold stains have made perfectly clear that the original
been treated. After sizing, the paper can mold stains were produced on one or
later become brittle and blistered. With another sheet by dampness. Since you
increasing decay, the paper becomes like never know how the sheets were stored or
a piece of puff pastry. In such cases it will treated before you acquired them, it is
have to be enough that the color of the imperative that you examine the sheets
stains is reduced and their ability to from time to time. This advice should be
spread is temporarily checked. You have followed even if the storage conditions
to be aware of the fact, however, that are perfect.
mold stains can reappear in ten to twenty I do not intend to enumerate all
years, although in weaker form if proper the different kinds of mold stains here
storage is provided. With such care, small and explain their special characteristics.
mold stains that are still in the beginning This could be the subject of a scientific,
stages will not reappear because they have chemical treatise but can hardly be
already been completely removed by the incorporated into the framework of these
thorough treatment methods mentioned practical instructions.
in earlier sections. I consider it more appropriate to
Papers after 1850 that are heavily look at the mold stains that are caused by
mixed with mechanical wood pulp and the climatic conditions in central
have mold stains will also show good Germany and to give a summary discus
results after chemical treatment. These sion of the methods for treatment of such
results, however, only extend to the sur stains, rather than to give lengthy expla
face, and unpleasant changes will often nations and to categorize.
occur before fewer than ten years have However, one kind of mold stain
passed. These changes are almost certain that is especially worthwhile to mention
to take place if the sheets are exposed looks like flyspecks and develops espe
to light and air. In the past sheets were cially on the decaying, bluish-purplish
parts of the paper. These symptoms indi that all the dirt in the picture has been
cate severe deterioration, and surgery drawn in one line from the edge of the
cannot be avoided. The sick, rotting part picture to the water stain. The sheet can
of the sheet must be removed up to the therefore be damaged at these spots.
upper skin of the paper. 142
This is usually Unfortunately, a water stain often does
a serious decision. It is also noteworthy more harm than a mold stain.
that these areas of decay are reluctant to The following test, which, however,
absorb water. In this case a bath of vine takes a lot of time—even years—is useful
gar water, in which the sheet is soaked for if you want to determine whether the for
twenty-four hours, is helpful. Since the mation of mold stains is spreading or has
decaying parts are brittle, no attempt been arrested. A sheet of no great value,
should be made to clean them while dry. heavily covered with mold stains, is cut
After the vinegar bath, I have had good into two pieces. To determine the condi
experience with a sunbath. If this is tion of both pieces and to have a basis for
impossible for some reason, the sheet comparison, a circle 5 cm in diameter is
should at least be dried in fresh, dry air. drawn on the back of each piece. The
I would like to add that chemical treat mold stains inside each circle are count
ment of this kind of mold stain is totally ed, the larger ones are circled by pencil
useless, since it does not yield any marks, and the color of the mold stains is
results; on the contrary, it is very danger described in detail. One part is stored in
ous because it would cause the paper a dust-free folder; the other is put in a
to disintegrate. dark place and protected by a glass pane.
After the sheet has dried, the areas After three to four months, the pieces are
of decay are sized with a weak but hot gel compared with the aid of the notes, and,
atin solution. You can also use a soupy if necessary, new notes are made. It is
starch paste if the paper can tolerate it, also possible to put one piece in a twenty-
that is, if the paper does not wear away. four-hour vinegar water bath and then
The front can also be sized with a weak under glass after drying. Such compar
gelatin solution. Stretching is to be isons are interesting and can dispel any
avoided in most cases because the paper doubts about the pros and cons of a treat
tears easily. ment or a chemical cleaning procedure.
If the print shows whitish spots, you Old repairs must always be removed
are dealing with a fungus that is not dan completely and replaced by new ones,
gerous and that has originated because expertly done even if they are only
the engraving has been stored moist. temporary. In the past mostly rye flour
These fungi can be removed simply with paste was used as an adhesive and was,
soft bread crumbs on the surface. A unfortunately, applied generously. Flies,
strong, sour-tasting vinegar-and-water bugs, and bookworms found not only
bath will cause them to disappear. nourishment in the rye flour paste but
Severe water stains definitely must also homes.
be reduced by treatment with water or There may be reasons that force the
removed by means of local treatments restorer to line a sheet. This is the case
with warm vinegar. The dark brown color when the sheet is affected too much by
of the water stain is caused by the fact areas of decay and there is no other way
to preserve it. Lining has to be done on paper, moistened with a flat paintbrush,
the same kind of paper. Papers that are dried lightly, and covered with soupy
not the same — do not belong in the same starch paste. The piece is lifted with the
category—have to be avoided for reasons support and placed onto the deteriorated
mentioned earlier. For example, if you sheet. Be careful when lifting the sup
line an absorbent print on a nonab- port so as not to damage the brittle sheet.
sorbent support, the support will buckle If the piece of silk or paper is also lifted
and distort the sheet. If we assume that up with the support, lay the support back
the paper is appropriate, the following down and moisten it with a flat hog's
procedure is performed: Both sheets are hair brush.
placed into water, drip-dried thoroughly, A few drops of turpentine and a little
and the back of the print covered with white wax mixed into the starch paste
starch paste. The drying can be acceler make the attached piece of paper or silk
ated by placing the lined sheet under a even more transparent, which is impor
pile of cardboard. The uniform weight tant for papers with print or writing on
presses the mounted print down better, both sides, in order that the picture and
and at the same time creases and small writing become clearly visible.
bubbles disappear. Of course, lined The transparent paste is prepared
engravings and etchings always lose their according to the following recipe. Pour a
plate mark; that is, the plate mark is teaspoon of refined turpentine and a
visible, but the indentation is reduced. piece of white wax the size of a white
When stretching a lined sheet, take care bean into a small enamel kettle and heat
that the sides of the sheet do not curve both over a low gas flame until the wax is
inward. If you put a ruler on the edges melted. Take a heaping tablespoon of
of the sheet, the edges should be parallel cold starch paste and mix it into the wax
to the ruler. If this is not the case, the mixture. Bring the paste to a boil several
framer will encounter great difficulties. times, stirring constantly with a stainless
The picture will be warped in the frame. steel spoon so that all three ingredients
Books, engravings, autographs, and mix together well. After cooling off,
so on are specially treated if they have press the paste through a linen bag or a
deteriorated so severely that even a fine strainer. It is now ready for tasks
rather long water bath would harm them. requiring a transparent adhesive.
Place the item that is to be treated on a
glass pane while dry. Take light, trans
parent gauze, silk, fine China paper, FRAMING
Japanese paper, or goldbeater's paper;
cut out a piece the size of the sheet and A word to the framer and the customer:
cover it with the soupy starch paste. Lay Engravings of a size less than 60 to 80 cm
this piece on the deteriorated areas or should never be stretched under glass.
over the entire sheet. There is a reason why I do not include
This is done in the following man larger prints. They are generally done on
ner. The cut piece of paper or silk is stronger papers and their plate marks are
placed on an absorbent or damp support not quite as sensitive. Also, usually we
are dealing with later prints that are not not in danger. The framer, therefore,
as valuable. deserves credit for acting deliberately,
A customer should never demand of and one should ignore minor perturba
the framer that a framed sheet look as flat tions in the interest of the preservation
as a board. If occasional slight cockling 143
of the picture. One should recall that
occurs, the customer should not criticize because the framer only has to moisten
too much and find fault with the framer. the picture, he would have a much easier
Such grumbling only shows that the time placing it under glass when it is as
customer has little knowledge of paper straight as a board.
and its treatment; otherwise, he would This leads to the question whether
understand that his whole argument is excessive tension can cause further harm
useless. The formation of small wrinkles to the paper. When the print is to be
is proof that the framer has worked care stretched under glass, the framer has to
fully. The customer must realize that attach a guard of i to 2 cm width to the
development of minor wrinkles is quite back of the sheet. If the plate mark is
important for the sheet. Is it really advan located near the opening of the frame, it
tageous for a sheet to be tightly stretched certainly cannot tear because it is com
for decades? Is it not even more advanta pletely affixed to the guard. However, the
geous if it is possible for the tension from plate mark does lose its charm, and the
the stretching to be reduced? I hardly print does tend to look flat. The use of
think that many will adopt the first point adhesives is not beneficial to the print
of view, especially if they think of the either, since the guard has to be removed
consequences. The tension can one day when the frame or the glass is changed. If
become noticeable in an undesirable the guard is not taken off carefully or if
way. A major change in temperature can the framer has added alum to the paste,
cause the plate marks to tear, through then —as we know—the sheet can be
increased tension. This damage is not harmed in many ways.
always immediately noticeable. It is not The rabbet should under no circum
always possible to determine the damage stances be too narrow or too shallow. The
from the front, since the plate mark first picture glass should not fill the entire
opens up from the back and can still be rabbet. Keep in mind that the frame and
held together for a while by the thin the glass are not dead bodies! The pic
paper surface. Much depends also on ture wire should, therefore, not be
where the prints are hung. Often, dam attached too tightly. Between the glass
age remains unnoticed, because nobody and the rabbet there should be a space at
looks closely at a picture in its usual least the width of a match. To achieve
place or because of the lighting condi this, put a strip of thin cardboard on the
tions, until it becomes visible after a cardboard backing. After nailing in the
change in location. Sheets that have a few brads, pull the cardboard strip out and
wrinkles, however, are different. The treat the other sides of the frame in the
paper still gives, and the wrinkles prove same way. This permits some room for
that the tension is not too great. As far as play, and if the glass should bow—for
the plate marks are concerned, they are example, when a sheet has been
stretched inexpertly, excessively—the want to protect your picture—be it an

danger of the glass shattering will have engraving, pastel, or oil painting—from
been reduced. damage that might be caused by moisture
What other dangers are there for emanating from the wall, put several
engravings mounted under glass? pieces of cork between the frame and
If a framed engraving that has been the wall.
stretched under glass falls to the floor, How should prints be framed? Prints
it can be destroyed because the tension always have to lie loosely under the glass;
of the sheet at the moment the glass the print, having been stretched pre
breaks can tear the entire sheet. viously, 144
is fastened with two hinges to
Stretching under glass always poses a cardboard the size of the rabbet, and
threat to prints. the clean glass is put on top. At the
When framed engravings are sup same time, to frame the sheet in a dust-
posed to be hung on the wall and no pic resistant way, the glass and cardboard are
ture railing is available to hold the chains sealed to each other with a wide strip of
on which the frame is suspended, nails paper. The loosely framed print cannot
have to be put into the wall. Who puts in change; the plate mark stays the way it is;
the nails? In many instances an inexpe and even major changes in temperature
rienced person, since the master of the cannot cause any harm. Minor wrinkles
house does not have time and there is no will not be disturbing since a previously
money available to hire a carpenter. How stretched engraving does not show any
often is the load capacity of the nails large wrinkles. This method of dust-free
investigated? A nail does not get fastened framing is much more beneficial for the
securely in the wall just because you say, print than stretching under glass. In the
"It will hold all right, and the little pic latter case, the guard is under tension
ture is not that heavy." Valuable engrav because the moist sheet dries and
ings are often entrusted to a totally inad becomes taut at the same time as the
equate hanger! People spend thousands guard. You will have observed a number
of dollars on an engraving and then save of times that the guards at the edge of the
a fraction of a penny on the hanger. glass give over the course of time and
Economy does not have a place here! become loose. Dust penetrates and soils
Obtain good hooks and steel nails, and the surface of the print. Of course, the
make sure that the wall will hold the damage is less than if the plate mark is
hook or nail without any further prepara harmed; in this case the tension affects
tion. After the nail is hammered in, it the guard, not the plate mark.
should be examined carefully to find out However, a guard is not under ten
if it is really secure, and no valuable piece sion if it is put onto dry cardboard and
should be entrusted to a loose one. Each affixed to the glass. If a framed print falls
vibration of the house caused by passing down or if the glass is changed, there is
cars, each vibration of the room caused much less danger for the print that has
by falling objects or the running and been placed loosely between the card
jumping of a child, can cause consider board and the glass, since tension
able damage. is absent.
Another hint at this point: If you A double cardboard backing is rec-
ommended as protection against exter placed on an empty table. The chamois

nal influences. To protect the print in all or sponge should be dampened very
circumstances, a double layer of grease lightly and should never be dripping.
proof paper should be placed between Also, no moisture should remain stand
the cardboard and the print if the back ing on the surface of the glass during the
ing consists of wood pulp cardboard. 145
cleaning process. Methylated spirit is
Wood pulp cardboard absorbs moisture, often added to the cleaning water. This
and the oxygen in the air renders it procedure has the disadvantage of turn
fragile and brittle. Finally, sealing the ing the glass surface bluish if it is used
backing with a sheet of paper that does frequently. 146
It should also be men
not contain wood pulp is highly recom tioned that a generous amount of methy
mended. The most inexpensive material lated spirit can affect the finish of the
is commonly used because it is generally frame. It is, therefore, better to add vine
assumed that nobody will see the back gar to the water, which results in the
since it is facing the wall. This is a ter same cleaning power but without detri
rible mistake! The protective backing ment to the glass or frame.
needs a lot of attention, and the best When cleaning glass, remember the
material should be used. One should bear following rules:
in mind that mold stains find their way 1. Place the picture flat on an
through the layers of cardboard. Gen empty table.
erally, it may be sufficient to soak the 2. Wipe off any dust on the glass
cardboard with a tar preparation or var while dry.
nish. It is even better to use cardboard 3. Add a shot of vinegar to the
that has been made without wood pulp. cleaning water.
And now to another unfortunate 4. Polish the glass with a wrung-
matter: water stains. Their origin will be out chamois or a well-squeezed
known or understandable to many art sponge.
lovers. Water stains usually originate (If you want to have a chamois
when the glass is cleaned or polished. always ready for use, do not hang it on a
The picture is hanging on the wall, and clothesline to dry but fold it several times
the glass is wiped with a moist chamois or while moist or roll it up. This way the
a sponge. When pressure is applied, chamois cannot break, since it will
excess water runs down the glass to the always be a little moist.)
lower edge of the frame. Moisture pene If you use this method, you protect
trates through the guard into the engrav your pictures from water stains, save
ing and creates an ugly water stain. If the your frames from damage, and avoid
cleaning water is dirty, water stains of a loosening the picture nails in the wall
dirty gray hue are created which cannot during cleaning. I certainly must not
be removed even by chemicals. Here, we overlook this last problem, since a loose
cannot simply recognize the creation of nail is a special source of danger for
such stains; we must also be emphatic works of art.
about their prevention.
Pictures to be cleaned should be
THE S T O R A G E AND P R E S E R V A T I O N
OF B O O K S
The most ideal temperature for prints gases can escape when the container is
and books is so-called museum air. turned upside down on the table. Several
Overheated rooms pose a great danger glass bowls or wide, bowl-shaped liqueur
to books because they promote the prop glasses are filled with strong liquid
agation of bookworms. Also, when books ammonia and positioned at different
are kept on open shelves or in closed cab heights on the inner walls of the glass
inets, one seldom checks to see whether container. These are best attached by
the wood itself is in good condition. It means of suction-cup holders. The open
is imperative that valuable works be kept book is put upright under the glass cover
cool and out of the sunlight. I have often and left for the ammonia vapors to take
been asked whether the larvae could effect. A few hours later you can observe
be exterminated. Looking at valuable the larvae emerging. If none appear, it
works, I have found the question is possible either that they have suc
justified. If someone owns greatly treas cumbed to the ammonia or that they are
ured books and has not yet had any bad only immobilized.
experiences, I advise him to consider Before you start to exterminate the
the following: Earlier collections were larvae, to permit the vapors to work
usually stored in dry basements. If a book much more intensely and achieve success
was needed, it was fetched from a cool more quickly, the paper powder that is
basement and read in a warm room. left in the insect channels must be
Therefore, it is advisable to turn off the removed completely. Depending on the
central heating in one's library or to pro condition of the book, this can be
vide adequate ventilation. It is also not achieved by simply knocking the book
good if books stand close together on the with a long or square ruler. If the binding
shelves. To impede the progress of the is severely weakened and only loosely
larvae, it is often sufficient to place a connected to the pages, the knocking has
small piece of wood between books. to be done very carefully. After the exter
Moreover, if the pieces of wood are mination, the book is isolated. In four to
coated with a tar or petroleum prepara five weeks the book is tapped again to
tion, the larvae are further restricted. determine whether any paper powder is
Exactly fitting glass panes are also rec present. If more powder has appeared,
ommended. The question mentioned the ammonia has not been effective
above — can larvae be exterminated com enough. You must attempt to attack the
pleted—does not have a simple answer. larvae in other ways. Experiments have
I recommend several remedies, to be made with everything from spirit of
which I have tried. A glass container, an wine to gasoline to the foul-smelling
aquarium of any size, can easily be hydrogen sulfide.
obtained. The upper rims are covered Spreading camphor on the floor is
with window putty so that no vapors or also highly recommended. Or you can
work with sulfur gases or T-gas, which in publisher has become interested in
recent days has also been used for the them. As much as this is desirable in
extermination of insects. 147
In this case itself, it can also be quite dangerous
I recommend that you consult an expe because here —as anywhere else —quali
rienced exterminator. These gases do not ty, not quantity, should be the deciding
cause harm, and even valuable works with factor.
precious bindings can tolerate this cure. I would never have moved my pen to
Another preventive method consists write about restoration and conservation
of rubbing the inner sides of the cabinet if the opinions and ideas of many of these
with kerosene. Small bowls filled with published experts had not been so
kerosene and laid out in the cabinet can conflicting and often so dangerously far
also help to destroy the larvae. (It should from practice. For instance, it can be
also be mentioned that moths cannot read in many places that paper is more
tolerate the smell of kerosene.) vulnerable to decay when it is soaked in a
In addition, there are larvae that sizing solution made from animal prod
cannot tolerate any sweet smells. In such ucts. What does the proponent of this
cases experiments can be made with opinion really mean? Does he want to
strong-smelling perfumes. give instructions on how to prepare
If these experiments for the exter paper for the printing process? Such
mination of larvae are made with three instructions are unnecessary. Our mod
or four glass containers, the most effec ern paper factories prepare paper per
tive preparation can be discovered in a fectly. If, however, he is talking about old
short time. papers, I have to answer him. Papers that
By using these simple methods of were manufactured hundreds of years
extermination, collectors, librarians, ago have survived well over time without
conservators, bookbinders, and so forth, having been afflicted by decay in any way
can contribute further to the preser in spite of their being sized with animal
vation of valuable works so that they can substances. I have never heard that any
be passed on in better condition to future substances were added to animal sizing
generations. to protect it from decay or spoiling. At
the end of the eighteenth century, paper
manufacturers occasionally used rosin
A FEW SMALL OBSERVATIONS sizing—not an animal product—and
AND H I N T S REGARDING added a small amount of alum, thinking
THE PRESERVATION OF BOOKS that it would make the paper more

durable. This thought did not prove cor
There are many experts on books who rect since this kind of sizing, as men
occupy themselves with the conservation tioned previously, dissipates within a few
of books and prints. Some of them have years if the papers are exposed to air.
the habit of stepping into the public light I now feel justified in asking the
now and then with small articles or with question, Why should we not use, with
the revelation of dubious recipes, per the same success as seven hundred years
haps because they feel the need to unbur ago, animal sizing without preservatives
den themselves or perhaps because a to size restored sheets and the like? The
only secrets that I can divulge here are rials? Did papermakers in the twelfth
the following useful suggestions: century not consider that their products
1. Use utmost cleanliness. were supposed to last over thousands of
2. Use only boiled water. years? Did the longevity of their products
3. B oil the starch paste. not concern them? On the contrary, as
4. Boil the gelatin water. we can see in the many books and writ
These four innocuous but important ings that have survived seven hundred
basic conditions have been proven over years splendidly, the material is excel
the centuries to be correct. After all, lent. Poor storage and treatment are
soaking a coating of gelatin and exposing mainly to blame for the decay of books.
it to light and air is bound to turn it Moisture is the greatest enemy of paper.
quickly into a bacterial culture. But this Oxygen, too, contributes to its decay.
is not proof that animal sizing cannot be The frequently used rye flour paste does
used or that animal sizing in paper might its part. I have already mentioned the
be subject to the same danger. enemies of paper, so a short reminder
Unfortunately, there are experts should suffice at this point.
who do not deliberate before occasion The following should be added
ally making their own adhesives. I regarding the storage of old books. From
recently asked a master bookbinder how time to time on dry days they should be
he prepared his starch paste and learned cleaned. The accumulation of dust con
that he mixed it cold and, if he was in a tributes greatly to their decay. Use a hand
hurry, simply added boiling water. That sweeper to brush every sheet individ
is, of course, totally wrong. It is right that ually, or better yet, use a vacuum cleaner.
the paste should be started cold. But it is When using a vacuum cleaner, cover the
wrong to pour boiling water into it. The book pages with a fine-mesh wire screen
water that is going to be used for the to prevent any damage through suction. I
preparation of paste should have boiled would suggest to a bibliophile to have
for at least fifteen minutes. And the this kind of work done by an experienced
starch mixture should be brought to a bookbinder who can detect signs of dete
boil several times over a small flame rioration in its beginning stages and
while being constantly stirred. If this is thereby prevent the book from being
done, you will always have a sterile adhe destroyed. It is also recommended for
sive handy. The preparation of starch large collections of books that remarks
paste for repairs is not the work of an about the condition of the book and any
apprentice but a task to which the master restorations be added on index or catalog
should devote a few minutes. Not only cards. It is important for the future
the immediate but also the long-term restorer to know what treatments the
success of the work depends on the qual book has undergone—if water baths or
ity of the paste. chemical baths were used, if treatments
To what can the decay of books be for insects were performed, and which
attributed? Is it the use of poor mate preparations were used.
IMPORTANT PRINTMAKING TECHNIQUES
Excerpt from My Book Collecting and Picking ^
1
We distinguish between relief, intaglio, any raised or indented areas. The use of
and planographic printing. The early stone permits production of as many
woodcut, perhaps the oldest graphics prints as desired because it does not get
technique, is a relief printing process. worn by the printing process. Since stone
The lines of the image, left standing in also is not subject to splitting, as is wood,
relief by the carving knife, are covered its period of use should be unlimited,
with ink and impressed deeply into the provided it is stored properly (fig. 42).
paper during printing. The term "relief Before the graphic artist began to
printing" is derived from the ridges on work, it was necessary to prepare the
the printing block (fig. 39). material that was to express his artistic
In intaglio printing, it is the lines of concepts. The printing surface was made
the print itself that are raised. After completely smooth and even and—
dampening, the paper is printed and depending on the material and technique
absorbs the ink from the incised places chosen for the enterprise—was treated
on the metal plate. The ink thus lies in specially, which is discussed in the indi
relief on the paper. If you run a finger vidual paragraphs on techniques.
lightly over strongly printed areas of an After the preparations, the image
intaglio print, you can easily feel the chosen for graphic reproduction was
raised parts, whereas the woodcut print drawn onto the printing surface,
will show indentations. The intaglio reversed as in a mirror. The graphic
printing process derives its name from artist usually needed two drawings for
the incised places or engravings on the this: one that showed only the outlines
metal plate (fig. 41). of the picture (outline drawing) and
Planographic printing is done another—if he did not draw from the
almost exclusively from slabs of stone. original with a mirror—that was true to
The image in this case lies flat on the detail but was a mirror image of the draw
paper, and the printing does not show ing. If the drawing was not a mirror
Fig- 39-
Relief printing; cross section through

printing block and paper
Fig. 40.
Woodcut by Lucas Cranach, 1509,
German School
Fig. 41.
Intaglio printing. Plate mark;
printed lines (showing the raised
texture of the ink)
Fig. 42.
Lithography. Cross section: stone
and paper with top view
image, the print would not correspond to T H E WOODCUT
the original.
The outline drawing was placed on Up to about the end of the eighteenth
the plate, with the picture side down, and century, primarily nut or pear trees pro
traced. The paper was oiled for this pur vided the material for woodblocks, which
pose to make it transparent. Sometimes were cut in lengthwise planks from the
the oiled drawing was glued to the plate trunk. About 1788 very hard boxwood
with an easily removable adhesive and was used—for the first time by Thomas
the outline was scratched into the plate Bewick in England—and planks were no
through the paper. longer cut with but, rather, across the
The literature shows us that very grain (end-grain). The thickness of the
early on some engravers transferred the
outline drawing to the plate by etching—
the same method used in making etch
ings. If the outline was only traced, the
drawing on the grounded plate had to be
made resistant to wiping by means of a
fixing agent. Only after the main lines of
the picture were cut or engraved into the
Fig- 43-
plate was the ground washed off and
Tools of the woodcutter's craft:
work started on the details, with the aid (a) V-cutter; (b) gouge; (c) knife
of the second drawing.
early woodblocks varied according to the

size of the picture — somewhere between
2 to 8 cm. For larger pictures, several
blocks were joined together.
In the early woodcut, which —as
already mentioned—was done by relief
printing technique, the wood surround
ing the lines of the drawing was cut from
the woodblock with a wood-carving tool.
Fig. 44.
The lines of the drawing, which
Cutting with a knife remained standing, appeared as relief
like ridges (fig. 43). To achieve the clear
est possible image when printing, larger
blank areas were cut especially deeply
out of the woodblock with stronger,
chisel-like knives. To create softer tran
sitions, the ridges were sanded finely in
these places so that they lay under the
level of the other ridges when seen in
cross section (figs. 44, 45, 46).
In the beginning, and sometimes
Fig- 45-
Cutting with a gouge even today, proofs of woodcuts were
pulled by hand. The edition could be
almost unlimited because of the low
mechanical stress on the woodcut.
Slightly dampened paper was placed
on the inked woodcut and covered with
several sheets of dry paper, and the sheet
was pressed down with the flat hand, a
brush, or a broad bone folder wrapped
with leather. If the printer was not
sufficiently skilled or careful, the proofs
showed breaks in the printed lines in
Fig. 46.
areas that had not been rubbed down
Clearing the wood from around the
printing surfaces with a flat chisel thoroughly. With the invention of mov
able type for book printing, the screw
press was also used more frequently for
woodcut prints. In the beginning, room
was left for woodcut illustrations when a
book was printed. But the woodblock was
printed together with the type in the
press (fig. 47).
Using the press for woodcut proofs,
however, had the disadvantage that the
Fig. 47.
Gross section of a relief printing press:

(a) platen; (b) paper; (c) printing
block; (d) bed of the printing press
woodblocks could split under the great wood end-grain for his work, at the same
pressure, the cracks showing up as white time went a step further, using the
lines in the proof. This happened quite engraver's burin instead of the usual
frequently. The cracked woodblocks wood-carving tools. This afforded him
were sometimes repaired again, and it greater freedom —compared to the
takes an exacting comparison to distin severe restrictions of the older woodcut
guish between earlier proofs —made ting techniques—in the creation of lines
from the undamaged woodblock—and and increased pictorial effects. The very
later ones made from the repaired block thin plaques of end-grain wood were
(fig. 48). (It is very important to under glued onto thick wooden boards to pro
stand that the restorer should never tect them from damage.
touch up these lines to imitate an ear Bewick's work was the start of the
lier proof!) development of more refined, or tonal,
As already mentioned, the relief woodcuts, which were to play a big part
printing method described here was used around the middle of the nineteenth
until the end of the eighteenth century. century, especially in book illustrations
Bewick, who was the first to use the box- (fig. 49)-
Fig. 48.
Colored print from a repaired wood
block (from 1470)
Fig. 50-
Burin for metal engravings
Fig. 5 i -
Engraving straight lines
Fig- 49-
Wood engraving by Adolf Menzel
Fig. 52.
Engraving curves on the cushion
ENGRAVING Using a burin, the engraver gouges

out the lines of the drawing from the cop
Engraving techniques have changed very perplate. Depending on the work to be
little if at all. The plate consists of hard done, he uses burins of different widths
copper, hammered and polished. If soft (fig. 50). The burin is held flat (fig. 51);
copper were used, the wear on the plate only the handle of the burin, which rests
would be such that very few proofs could in the right hand, is lifted slightly. The
be made. artist now digs into the copper at the
Whether the work is successful or start of the line to be engraved and moves
not depends to a great degree on the the burin forward. To create straight
careful preparation of the plate and its lines, the copperplate is put down flat.
hardness and smoothness. Curved lines are engraved as follows.
Fig- 53-
Cross section of the individual engrav
ing techniques: (a) burin and burin
Fig- 55-
movement; (b) metal cuttings, taper
Cross section of an intaglio press: (a)
ing at the end of the groove; (c) begin
steel roller, adjustable up and down,
ning of the groove, increasing in
rotating in place, but otherwise not
width; (d) grooves created with burin
movable; (b) printing felt; (c) damp
ened paper; (d) copperplate; (e) bed of
press, driven by a roller that moves the
printing plate, paper, and felt simulta
neously under the upper roller
Fig- 56.
Fig. 54- Drypoint: (a) drypoint needle
Inking the plate on a hot plate pre and direction of movement;
heated over charcoal (b) drypoint line with burr pushed
up from the metal
The plate is placed on an engraving cush gouged out runs flat, deep, narrow, or
ion. The cushion is circular, firmly filled, wide until it tapers to a point, since the
slightly flattened on both sides, and engraver eventually has to guide the
covered with leather (fig. 52). The right burin up again to remove the cuttings.
hand, which is holding the burin, stays in The engraving created has sharp, promi
position. The left hand guides the plate nent edges called burr that have to be
toward the burin, following the lines of removed with a burnisher.
the drawing. By the degree of penetra The deeper the engraving, the more
tion and movement of the burin, finer proofs of usable quality the plate can pro
or wider copper cuttings are removed duce. Properly prepared and completed,
(fig. 53). Depending on the pressure or a copperplate yields three hundred to
the movement of the burin, the line five hundred proofs. Since the copper is
Fig. 57-
Wolfgang Kilian, engraving on
copper, 1629
greatly affected by the application of CRIBLE

color and wiping and finally by the print
ing process itself, the first three hundred Crible 149
began in the second half of
proofs are sharper, the later ones less the fifteenth century but only survived
distinct and softer. for a relatively short time. Technically,
To produce very fine lines, engrav it is a relief printing technique like the
ers use a sharp needle called a drypoint, woodcut. Soft metals, like copper, tin,
with which the lines are not cut but bronze, brass, and, very rarely, wood,
scratched into the copper. The disad were commonly used as plate materials.
vantage of the drypoint is that during the The drawing was chased into the plate
printing process the finely engraved with punches of various shapes. It was
lines wear quickly and therefore have to therefore not recessed in the plate but
be rescratched repeatedly. raised like the woodcut (figs. 59, 60).
The high areas or lines are the ones
that print in the relief printing process.
In crible prints the drawing is recessed
Fig. 58.
Will, engraving on copper, ca. 172,0
Fig- 59-
into the plate and appears white; the sur Punch hammer and punches
rounding, which remains high, appears
black (fig. 61).
Soon after the beginning of the six
teenth century this technique became
obsolete. The number of extant crible
prints 150
is very small. Therefore, they
are difficult for the collector to obtain.
Fig. 60.
Punching technique: (a) punching
hammer with conical tip on a flexible
shaft; (b) indentation of the punch,
with raised burr; (c) with burr
removed; (d) scraper for removing
the burr
Fig. 61.
Example of the crible technique
IRON ETCHING
Iron etchings were attempted for a short

time. Although this print medium was
used by famous graphic artists, it was
never successful because the proofs were
too coarse in comparison with copper
engravings. The following is worth men
tioning. Inscriptions, especially delicate
details of the image and ornamental bor
ders, were executed with a wax solution
on the etched iron plate. Since the wax
solution did not absorb the ink used
at that time, the places that had been
Fig. 62. painted with wax stayed white when
Diirer, etching on iron, 1518; detail printed (fig. 62).
from The Canon
ETCHING solution. This procedure was repeated

until all tones and shades reached the
Three methods are known to us from ear desired depth.
lier times: drypoint, 151
etchings on hard These gradations were the source of
ground, and etchings on soft ground. By the special pictorial charm of an etching.
far the most common technique was It was also possible to create the finer
etching on hard ground. For this, the lines after the main etching process.
copperplate was coated thinly with a Then, however, the etcher had to scratch
mixture of pitch, wax, asphaltum, and the fine lines into the hard ground. But at
rosin. After drying, the ground was the same time, undertaking this further
smoked with a pitch or wax taper. Care
had to be taken that the hard ground did
not melt, contract, or get scorched. After
this preparation, the principal outlines
of the drawing were transferred onto the
smoked ground. The image was then
Fig. 63.
scratched into this ground with the etch
Cross section of the etching technique.
ing needle. The needle was used in the Etching plate coated with hard asphal
same way as a pencil is used for drawing a tum ground (etchingground), (a) Even
sketch on paper—but with somewhat etching line, created by very dilute
acid; (b) uneven and underbitten etch
more pressure. Wherever the needle
ing line, created by concentrated acid;
removed the hard ground, the bare (c) etching needle, drawing through
copper became visible against the black the ground and revealing the copper.
ened ground. The parts of the plate not
protected by the ground—the back and
the edges—were covered with an acid- work had the advantage that additional
resistant varnish, and after this dried, lines could be created by the same tech
the plate was placed into an acid bath. nique if examination of the plate indi
The acid solution would bite into the cated that this was necessary. After the
copper exposed by the etching needle, final etching, the hard ground was
the depth of the metal determined by removed from the plate. It was now ready
the strength and duration of the bath for the printing.
(fig. 63). The plate was left in the water When looked at with a magnifying
for ten to twenty minutes, depending on glass, the etched line is completely differ
the strength of the acid solution, then ent from the engraved line. There is no
taken out and rinsed with clear water. thickening and thinning of the line;
Since acid works uniformly, there had instead, it appears as an even, one could
to be certain gradations in the etching say monotonous, stroke with an equally
process to create tonal values and soft blunt beginning and end.
transitions. The etcher examined the To give the end of the etched line
subtlest parts first. If he found that they a finer point, several early etchers added
had been etched sufficiently, he coated minor so-called corrections to their
them with an acid-resistant varnish. He work. With a drypoint needle or a rein
then returned the plate to the acid forced etching needle, they gave individ-
ual lines the appearance of an engraved The burr—which gave the shadows
line. But only a small minority of etchers of the etching not only a richer tone
undertook additional work of this sort. but also almost the velvety depth of a
Much more common was the execu mezzotint—soon disappeared because
tion of new lines and the drawing of of the mechanical wear on the plate
details with drypoint in the etched plate. during the application of ink and the
Depending on whether the needle was printing process. Depending on the
held vertically or at an angle, special strength of the burr, ten, at the most
effects were created in the print. If held twenty, such first-quality proofs with
vertically, the needle created rough burr were produced.
edges along the line. No cuttings were The third and last etching technique
removed as in the engraving process, but was soft ground etching (fig. 66). It was
the copper was slightly gouged and the certainly as old but not as frequently used
edges of the furrow were raised. as the two other methods. The procedure
Only when the needle was held at went as follows. The well-prepared plate
an angle was the well-known burr pro was coated with a ground consisting of
duced, which collectors appreciate. wax and tallow but was not blackened.
Again, the copper was gouged but was The image was drawn on textured paper,
raised up prominently only on the side on put on the ground upside down, and
which the needle formed a sharp angle, impressed into the wax ground by tracing
while the other side was roughened only with a needle that was not too pointed.
very slightly. Because the paper had prominent ridges,
the needle could not be drawn evenly
over the paper; therefore, the impres
sions from the paper were irregular. If
the paper was lifted after the drawing was
impressed, the soft ground was pulled
up, exposing the copper wherever the
needle had pressed the paper more force-
Fig. 64.
Etching of the grounded plate: (a) rim
formed with modeling wax around the
edge of the plate; (b) etching solution
(nitric acid, hydrochloric acid, or fer
rous chloride); (c) slow etching with
very dilute nitric acid (weak formation
of bubbles); (d) rapid etching with con
centrated nitric acid (vigorous forma
tion of bubbles)
Fig. 65.
Etching on hard ground; detail of a
print by Rembrandt
Fig. 66. Fig. 67.

Working with a mattoir: pressing the Drypoint etching
drawing and the paper texture into the
soft ground
fully into the ground. where the lines in the shaded parts were
This etching method, too, was car close together, gave the first proofs the
ried out in stages to achieve different velvety depth we admire so much in
tones and gradations. Small corrections prints by the Old Masters.
were made with drypoint. The smooth copperplate was made
The lines the acid bath bit into the rough by a rocker (fig. 68). If you look
copper were not continuous but showed through a strong magnifying glass at
many interruptions —similar to the the lighter print in a mezzotint, you can
crayon manner. In the print they still see the traces of the rocker. They are
appeared much softer than lines etched all even, closely spaced, and visible as
into hard ground or created by drypoint short dashes. Since they also cross each
(fig. 67). other, they form small diagonal squares
the size and distance of the rocker teeth
(figs.. 70,71).
MEZZOTINT After the plate was completely
roughened, the image was drawn or
Mezzotint was somewhat revolutionary painted on it, and the mezzotint was
as a copperplate technique but less so worked out on the copper with the
compared with the etching method than
with engraving. Surfaces that had previ
ously been represented only as systems of
lines with the burin suddenly could be
expressed in a completely different, tonal
manner. This possibility, of course, was
not unknown to the etcher who—like
Rembrandt—by this time had already
used burr to create the aesthetic effect of
Fig. 68.
surfaces. After all, it was the burr created
(a) Rocker, with movement indicated;
by the drypoint which, especially in areas (b) indentations from the rocker
Fig. 69.
Mezzotint, English School, ca. 1770
Fig. 70.
Rocker and pattern of rocking
Fig. 71.
Rocker for one hand and scraper
Fig. 72.
Scraping
Fig. 73-
Mezzotint, English School, ca. 1780
(proof before addition of writing).
Refined technique.
scraper. Where there was supposed to be T H E CRAYON MANNER

a deep, full tone—in the background and
especially in the dark, shaded parts (fig. In the softness of its lines, the crayon or
72)—the roughened areas remained. The chalk manner is similar to soft ground
lighter the individual tones were sup etching. The technique originated from
posed to be, the more the roughened attempts to reproduce chalk or crayon
places were smoothed. Places that had drawings or pastels as closely as possible
to stay entirely white were polished in graphic form. Although in soft ground
completely smooth. A burnisher was etchings the line shows numerous inter
used for this (fig. 73). ruptions, in the crayon manner it con
Assuming that the plate was handled sists entirely of finer or coarser points
extremely carefully by the printer—not applied next to each other. This tech
only when he applied the ink but also nique should not be confused with pure
when he pulled the plate through the stipple method in which all surfaces in
press—one mezzotint plate could yield the image are characterized by countless
about one hundred to one hundred fifty closely spaced dots. In the crayon man
usable proofs. ner, however, the sketchlike, linear char
acter is preserved.
The width and depth of the lines
were determined by the shape of the
roulette used (fig. 74). There were some spacing, the looser and more delicate the
with narrow and some with wide wheels, lines. If individual lines were supposed to
with teeth spaced evenly or unevenly in end delicately, several separate dots were
one or more rows. The different applica engraved into the plate with a stippling
tions possible with the many varieties of burin after the etching process (fig. 75).
the instrument were clearly evident. The For the background and wide areas of
distance between the rows of teeth on the shade, a mattoir—the instrument usual
wheels varied between 0.3 and 0.5 mm. ly employed in the stipple technique—
The closer the spacing of the teeth, the was also used in the crayon manner,
deeper and fuller the lines; the wider the although very seldom. In contrast to the
Fig- 74-
Drawing done by the roulette, sky exe
cuted with the mattoir, English School,
ca. 1787
Fig. 75-
Roulette
roulette, the mattoir was shaped like a

ball and covered with irregularly spaced
teeth and, therefore, produced randomly
textured strokes.
The prepared plate was covered
with a hard ground and blackened with
smoke and the drawing was transferred
reversed, as in a mirror. The roulette was
then guided across the plate, making
strokes. The small teeth exposed the
copper in a pattern of dots. Since the
roulette was applied with more force
than the etching needle, the teeth not
only penetrated the ground but also left
more or less deep impressions in the
copper. The acid solution, therefore, had
much more of an effect on the dots pro
duced by the roulette than on the lines Fig. 76.
drawn into the ground with the needle. Punching
T H E STIPPLE TECHNIQUE
Originally, the dot puncher, an instru

ment which consisted of one needle or
a bundle of up to seven needles, was
Fig. 77.
employed for the stipple technique. (a) Mattoir; (b) moulette; (c) roulette
Over the course of time, the instruments
used for the crayon manner were also
employed (figs. 77-80).
By simply looking at the surface, you
can recognize the stipple print, because
on almost all sheets the dots cover the
entire area of the illustration, regard
less of whether it is a round, oval, or
square image. Even if the background is
depicted as light and transparent, there
are no areas without evidence of print
ing. The print in the crayon manner, on Fig. 78.
the other hand, may show many areas in Stipple engraving
which there is no trace of printing.

Whereas the sketchlike, linear technique
of the roulette was supposed to reflect
the character of a chalk drawing, the stip-
Fig. 79-
Stipple engraving, English School,
ca. 1780. Larger areas worked with
mattoir and roulette, delicate parts
with a roulette, fine contours with a
drypoint (mixed technique). A roulette
was used for the dotted border.
Fig. 80.
Stippled work, German School,
ca. 1770. Same instruments as in
figure 79, only with stronger etching.
pie technique was intended to imitate After this preliminary etching, the
miniature paintings, which for the most ground was removed and the plate was
part provided the models for artists covered with fine or coarse grains of
working in this technique. rosin. For this work, a series of the most
As another more frequently encoun varied methods was developed over the
tered example of stipple technique, I course of time. Of these, only the two
would like to mention the dotted border, oldest ones, which dominated the field
which was applied 1 to 2 mm from the from the time of their invention until
image as a frame around the picture. well into the nineteenth century, are
It is assumed today—and certainly described here in detail. This limitation
not without justification —that artists is justified insofar as we are dealing only
using the stipple technique generally with older graphics.
worked on hard ground. After the light The bare copperplate, from which
parts were covered, the plate was etched the ground had been removed, was
in stages until the pictorial effect was dusted with a fine-grained, acid-resistant
achieved. Small details were applied rosin powder, which was then fused to
"dry" to the exposed copper after the the plate by heating. One had to be care
etching process was finished. ful to heat the plate only enough so that
the granular rosin became fused to it,
forming small droplets.
T H E AQUATINT TECHNIQUE The finer and more evenly the rosin
powder could be distributed on the plate,
The aquatint technique, also called the the more evenly and finer could the acid
watercolor or lav is technique, provided a bite the bare parts of the plate between
means of reproducing watercolor, sepia, the granular rosin.
or bistre drawings in graphic form. Like Another procedure was the follow
the older mezzotint process, aquatint ing. Heated sea salt was sprinkled on a
permitted treating large areas. As we plate coated with a ground that was not
know, the tonal areas of mezzotint were too hard, and because of the heating,
created by the formation of burrs with a the salt sank through the ground onto
rocker. In aquatint this effect is cause by the copper. When the plate had cooled,
a special kind of granular etching. the grains of salt were washed out to the
The following procedure was used. ground, leaving the copper exposed in
The prepared plate was covered with these places. The tone achieved through
ground into which the outlines of the etching with this method was much
drawing were scratched. The plate was coarser because salt particles have a
then etched in the acid (fig. 81). larger diameter than granular rosin.
Fig. 81.
(a) Large aquatint grain etched and
inked for printing; (b) large aquatint
grain before etching, fused to the plate
surface; (c) brushing asphaltum onto
the parts of the plate that are not sup
posed to be etched. These areas appear
blank in the final print.
R E S T O R A T I O N O F E N G R A V I N G S , B O O K S , D R A W I N G S , AND O T H E R W O R K S ON P A P E R
190
Fig. 82,.
Aquatint, German School, ca. 1800
Fig. 83.
Print in the crayon manner,

French School, ca. 1770
The application of acid was done excitation caused by the grain of the
in stages as in etching. stone, in the same way as strokes drawn
lightly with a pencil on rough paper
appear indistinct and are interrupted by
T H E LITHOGRAPH many white dots (figs. 84, 85).
Once the illustration has been drawn
The best stone for the various litho onto the stone, it is sprinkled lightly with
graphic techniques is found in Solnhofen talcum and then etched. Acid is applied
in Bavaria. It comes in slabs of a thick to the stone with a broad paintbrush. To
ness of up to 15 cm. There are light and etch delicate drawings, a wax edge is
dark stones. The dark stone is harder and placed around the stone and then the
is preferred in most instances. acid solution is poured onto the stone.
For the crayon technique, the stone The marks of the greasy crayon color are
must be prepared specially. Depending acid resistant. However, all other parts
on the type of image, the stone can have of the stone, where there is no drawing,
a fine, medium, or coarse grain. The are affected.
greasy crayon used to draw the image on When the printer rolls ink onto the
the stone produces in its lines a certain stone, the places where there is drawing
Fig. 84. Fig. 85.

Crayon drawing on stone, by Crayon drawing on stone, French
Demanne, French School, somewhat School, more refined technique
coarser technique
Fig. 86.
Materials for drawing
Fig. 88.
Cross section of aflatbedpress:

(a) scraper bar covered with leather,
adjustable up and down, otherwise
fixed; (b) tympan; (c) paper; (d) stone£
(e) gear-driven press bed that moves y
stone, paper, and tympan under the ;
scraper bar.
Fig. 87.
Rolling ink onto the stone
Fig. 89.
Dark-field manner lithograph, by Adolf

Menzel, with remarques on the margins.
will accept ink, whereas the etched parts

reject it. The entire process of lithogra
phy is based on the mutual repulsion of
grease and water.
If small light areas or highlights are
to be created, they must be done not with
a finger but with a scraper. The finger
leaves a little grease, just enough to
reduce the effect of the etching solution
at the places that were touched. In oppo
sition to the desired effect, these places
will take on ink, causing the print to have
shadows where there are supposed to
be lights.
For pen-and-ink lithographs, a
lighter color stone is used, and it has to
be ground especially smooth. After it has
been ground, it is covered with turpen
tine and rubbed dry with a linen cloth.
The lines of the drawing are applied with
a greasy ink or tusche with pen or paint
brush and, in contrast to the crayon tech
nique, form continuous strokes (fig. 90).
For this reason, the etching process for
Fig. 90.
Pen-and-ink drawing on stone,
German School
the pen-and-ink lithograph is a different in pencil, and the stone is coated with a
one too. After it has been etched, the thin asphaltum varnish. The drawing
stone is rinsed with warm water—a soft, remains visible through the varnish. The
grit-free sponge is used—and coated image is worked out with a scraper. The
with a gum solution. For the crayon etching solution has to be stronger than
drawing, on the other hand, the etching in the other two techniques, but other
solution stays on the stone until it is wise the etching process is the same as
completely dry so that the lighter breaks for the crayon technique.
in the line can be thoroughly bitten.
For the dark-field technique, one
again uses the hard, dark stone (see fig.
89). The outlines of the image are drawn
Fig- 9 i -
Proof from a steel plate
STEEL ENGRAVING
When working with a steel plate, one

applies the same methods used with a
copperplate (fig. 91). Mezzotint, dry-
point, etching, aquatint, and stipple
technique as well as diamond-tipped
needles and burins can be used. Before
the artist works with the plate, the steel
is annealed to make it easier to use.
After the work is completed, the plate
is hardened.
ADDITIONAL HINTS FOR T H E RESTORER
OF POSTAGE STAMPS
Also included in the broad field of graph more adhesive or mending paper than
ics is the postage stamp. I have not men necessary on the undamaged part of the
tioned this area of restoration up to this stamp is reprehensible. One should not
point because other fields of graphic arts be surprised if the stamp buckles, espe
have taken up my time. For this reason, cially when it travels to exhibitions and
I have put more emphasis on collecting is exposed to different climates. The
recipes than on performing practical more a stamp is exposed to daylight, the
work. The little knowledge that I have faster it will deteriorate. Impregnating
accumulated over the course of many the stamps with paste, too, will eventu
years generally is not suitable for a pro ally have rather unpleasant conse
fessional book on graphics. Only in the quences. It is impossible for a stamp
past few years have I been able to find saturated with paste to hold a mend over
a number of guides, catalogs, and exten many years. (Please read about the dam
sive treatises that, in my opinion, con age paste—a foreign body—can cause,
tain useful hints for the restoration of earlier in this book.) I will return to this
stamps. I have tried the recipes I kind of treatment, which should not be
received, selected the best ones, and put used under any circumstances.
forth new methods, hoping that I have The catalogs of the Michel and Senf
been of some service to both philatelists Brothers generally list separately the
and expert restorers of stamps. stamps that were printed with water
In my view, cleaning is more impor soluble inks. 152
In addition, different
tant than pure restoration. The mending methods for cleaning and treating such
of small margins and the addition of stamps are described. Among other
parts present no problem to me as a things in these instructions, I do not like
restorer of old prints, since that kind of the suggestion of putting wet stamps on
work is performed in the manner towels. Moist stamps should be dried
described earlier in this book. (And I between pristine blotting paper. Fur
would like to point out that these point thermore, the recommendation that
ers should be followed very closely.) I am hydrogen peroxide be used to lighten
not going to give any special hints or postage stamps is only correct within
instructions because the restoration of limits; lighter stamps can become dis
postage stamps is exactly the same as colored again within a short span of time
that for the Old Masters. The following or can become even darker. Cleaning
remarks refer to special considerations with potassium permanganate and a
in this context. subsequent bath in oxalic acid, which is
Several advisers have recommended used by most restorers of stamps, is also
that a mend should extend onto the not a harmless cleaning and detoxi
stamp i to 2 mm beyond the shaved area. fication procedure. 153
This advice betrays the dilettante. To put How often a stamp has to be treated
with potassium permanganate depends among all graphic techniques. Even a

on the condition of the stain. But, and very minor mistake can cause the color
this is important, if you follow every to fade. And what use is the application
cleaning attempt —no matter how or hydrogen peroxide—it is only a short-
slight—with a bath of oxalic acid, there term expedient—if it has not been pre
is no telling what can happen. After all, ceded with a mild chlorine treatment?
consider that you are working with two Even the adhesive coating, which in many
potent poisons, oxalic acid being a cases contains some coloring, can cause
stronger cleaning agent than potassium yellowing that eats deeply into the paper.
permanganate. Oxalic acid is used to Stamps that are not able to with
bleach straw and yellowed wicker fur stand even water or benzine must be
niture and to remove strong rust spots excluded from any cleaning treatment.
from clothes and paper. Instead of oxalic After all, it is impossible to call those
acid (also popularly called saccharic stamps unique that have changed color.
acid), you should use potassium meta- Cleaning with the weakest chlorine
bisulfite. water is carried out from the reverse. The
All other instructions given in the picture side should be treated locally
catalogs I can recommend. with chlorine only when all other means
Before you start to lighten them or have failed. As an antidote, vinegar baths
merely to remove small paper remnants, should be used, followed in turn by fre
the stamps should be sorted according to quent baths in fresh water. Only in one
colors. Never treat more than ten stamps case is it appropriate to go to a somewhat
of one color at the same time. You should stronger chlorine solution, and that is
always have a good view of the stamps when a change in color has been caused
floating in a bath, to prevent one stamp by oxidized lead carbonate.
from losing color or bleeding and thus In an impressive book, whose
endangering the others. It is a good idea author—allegedly a serious collector—
to place all stamps—only a small per maintains that he has occupied himself
centage have to be omitted—into a bath for years with the restoration of stamps,
that tastes strongly of vinegar or table the following monstrous piece of advice
salt. In many cases this bath prevents the is given: Mold stains cannot be removed
loss of color. unless one erases them with a knife, even
For cleaning or lightening stamps, I though a hole is scraped into the stamp
use dissolved chlorinated lime. This this way! Who can simply ignore this and
agent, which I have been using for more not raise his voice?
than fifty years—I work with more than In all his suggestions I find lacking
ten different solutions—has never done the exhortation to use absolute cleanli
any harm or damage to a sheet. ness. And it is cleanliness that is the basis
Chlorinated lime in the right dosage is for successful treatment. If a stamp has
an excellent cleaning agent. The weakest been shaved down for repair, it should
solution should not even smell like chlo not be put into a paper bag or container
rine. Cleaning French aquatints printed until twenty or even thirty stamps have
in color, including stamps, presents accumulated to be treated. The treat
the most difficult restoration problem ment of the stamp —except for retouch-
Fig. 9a.
Tools for the restoration of stamps
ing—should be continued immediately. only be seen under a magnifying glass.

If everything I have written about Therefore, to achieve an invisible junc
restorations is followed, repairing ture, the space from the beginning of this
stamps should not be too difficult a task swelling must be filled with the thin
for a sensitive restorer. paper. Subsequent shaving will be neces
If you shave only 0.5 mm, the work sary in most instances. Again, look at
is bound to fail. This need not be. Each the front side and remove the fine fibers
shaved area should be 2 mm wide. After along the edge of the thin paper, since
mending, any additional shaving is done it was not cut with scissors but torn.
strictly according to instructions. To make the pasting more efficient, a
A new procedure is the pasting of slight roughening of the thin paper is
thin paper onto the face of the mended recommended.
stamp, outside the stamp design. To If the stamp is damaged in such a

achieve a smooth transition from the way that it shows many thin spots, shave
original paper to the restored parts of the the entire stamp thin. The shaving can be
stamp, very thin, matte-finish paper is performed dry or moist, or the picture
pasted over the mended place on the side side of the stamp can also be glued onto a
with the design, precisely up to the edge small glass pane with acid-free glue. As
of the original. When doing this, take with all other treatments, gluing is done
into consideration (as mentioned earlier while the stamp is moist. (Shaving, of
in this book) that the moist treatment course, is practiced first on stamps with
revives all parts once again; that is, out any value.)
because of the rice starch paste they swell The paper used for backing should
0.01 mm, although this swelling can be so thin that together with the stamp it
•If
Fig- 93-
Repairing stamps
equals the thickness of the original run the danger of being considered a
stamp. Shaving is done in the usual man forger. The less retouching, the better.
ner. If a stamp that has been shaved thin Depending on how the mend will be
has a watermark, transfer the watermark set into the original, use the restoration
ahead of time, reversed, as in a mirror, knife to cut the mend out of the extra
onto the inside of the backing paper. 154
stamp so that it is a little larger than the
Restoration of the printed parts area to be mended, which has been
(retouching) is difficult only if you are shaved down in advance. Go to a window
not sufficiently experienced in using the or the shaving box and put the original
paintbrush or drawing pen. But you can stamp on it; take the little piece of the
get help by finding, for use in restoration, extra stamp, put it exactly in place, and
extra stamps that are healthy in those with the back of the knife (edge facing
parts in which the good stamp is sick. upward) carefully scratch out the part
When deliberating what shape and what that is to be added. The scratching must
size of mend to cut out of the damaged be done cautiously (the wrist has to be
stamp, you should start by finding loose) and should under no circumstance
a salient feature that might be useful. If damage the original stamp. The excess,
possible, choose a dark point in the projecting paper is removed, and the
stamp design, a wider line in a letter, a mend is placed exactly onto the empty
darker line in the drawing, or a similar area of the original stamp. It should fit
place. This facilitates the work of creat precisely. (If too much has been cut off,
ing a transition and saves you from more there is no point in continuing.) The
extensive retouching. The additions mend is shaved exceedingly thin and
must be minor because otherwise you again placed into the empty space.
Fig. 94-
Well-known watermarks from the
early sixteenth century
Several drops of water are applied to the pane and, like the pane, is to be used for
stamp and the mend so that both float. positioning the mend, is dabbed with
Should the mend become displaced a lit water, lightly dried, and laid flat onto the
tle, direct it back into a proper position stamp. The front of the mend (stamp
with a small, blunt wooden rod. This can design) has been dabbed with a weak
be done very easily while the stamp and paste beforehand so that it can be trans
the mend are moist. To remove the ferred to the blotting paper when the
excess water, put blotting paper carefully blotting paper is put over it. To accom
onto the stamp, first covering the side of plish this, press down on the blotter with
the glass pane with the blotting paper your finger directly over the location of
and gradually lowering it onto the stamp. the mend, and the mend will adhere
A previously cut piece of blotting to the blotting paper with the back side
paper, which is the full size of the glass facing upward. After applying a little
stronger paste to the mend, it is peeled a small amount of water, and stirred well.
off the blotting paper, and the part is Before using the pulp, the water is
returned to its place on the stamp. If the drained off, the stamp is put on a clean
mend does not fit within a hair's breadth, piece of linen, and the pulp is filled into
drip a few more drops of water on it and, the places to be restored. When the pulp
with the aid of a magnifying glass, move has dried a little, the stamp is carefully
it into the right position again with a placed between blotting paper and both
small wooden rod. The stamp is put parts are put under a press. The pressure
between blotting paper under a copy from the press should be light and last
press [see Rhodes 1999], and the press is two minutes. This procedure is repeated
tightened slightly. After two minutes the until the pulp is as strong or thick as
paper is removed, and the stamp is again the paper.
placed under the press between new Long soaking in water. A stamp does
sheets. The pressure of the press now has not lose its firmness through extended
be to be little greater. soaking in water —five to ten hours.
Thisfinishesthe restoration. Neither do paper fibers start to dissolve,
In writing the above essay, it was my an impossibility even when hot water,
intention to point out to the expert which now and then has to be employed
restorer things he might have overlooked for removing a stamp, is used. Prolonged
that are essential. For this reason, the boiling can endanger the colors but can
essay is merely supposed to give certain never cause the deterioration of paper if
hints and not to be an exhaustive treatise the water does not contain any destruc
for future restorers. To explain all details tive additives. The sizing of the paper,
in the repair of damaged stamps, I would which was weak and contained a small
have to write a special book, which would addition of alum, is reduced through this
take too much time at the moment. procedure or completely eliminated.
The following are little, practical Sizing or strengthening. Each chemi
hints. cal treatment (chlorinated lime, hydro
A few remarks about paper pulp. gen peroxide, potassium permanganate,
Paper pulp —recommended by many, oxalic acid, eau de Javelle, strong vine
rejected by many—needs to be put in gar, or salt solutions) causes a sizing loss.
its rightful place. In the section "Actual Often an old or new stamp that received
Mending or True Restoration" (pp. only a rosin sizing loses its sizing when it
109 - 2,2), I rejected paper pulp because it has been exposed to wind and weather
should not be used for restoration pur even if it has not been treated with chem
poses. When I recommend paper pulp icals. The lost sizing can and should
here it is because pulp serves well for be refreshed by adding a small dash of
the smallest repairs on stamps (needle aluminum subacetate or the smallest
pricks, thin places, perforations, etc.) amount of alum. The stamp is soaked in
when the shaving is done properly and this solution before retouching and is
utmost cleanliness is observed. For dried off immediately.
larger repairs follow my guidelines. Removing the gum. The gum on
Paper pulp. Clean paper containing some stamps is firm and tenacious and
no wood pulp is finely shaved, mixed with cannot be removed even after long soak-
ing in water. First, treat such a stamp in of the colors can be lost and the stamps
a cold bath, then follow with lukewarm can become useless.
to hot baths in short intervals. Place Removal of old oil stains. Dab the
the stamp on a glass pane, and try to lift stamps softly from the back with a small
the gum with a bone folder and a restora linen cloth that is dampened again and
tion knife. Be careful in this process again with carbon tetrachloride. The
not to damage the stamp and render blotting paper —the stamp has been
your work pointless. The gum has to be placed onto it with the design facing
pulled off the stamp, not the stamp off downward—takes up the old oil and turns
the gum. If this cannot be done in one yellow. Repeated treatment is advisable.
procedure, put the stamp back into the Copying-ink pencil or similar crayon
lukewarm water, wait a while, and con lines can be removed by simple methy
tinue to work. lated spirit baths. Longer soaking is not
Dyeing of mending papers. Dyeing recommended since certain stamps can
can be done by mixing color into the not tolerate a bath of several hours. At
paper pulp or in stages by boiling in a certain intervals — say, every ten min
color solution. The more experience you utes—the stamps should receive a bath
gain, the more successful you will be. in fresh water.
To be useful, each colored paper must Removal of writing in ink. A major
become thoroughly impregnated with part of writing in ink can be removed
color. Before using the paper, you should completely when you go over the writing
perform a tearing test. Tear the paper in with a 5 percent solution of hydrochloric
such a way that overlapping edges are acid after local treatment with chlorine.
created (see fig. 31). If the interior of the Immediately after treatment, even if the
paper, as seen at the edges, is consider writing is still visible, put the stamps into
ably lighter or even white, only the sur a vinegar bath. Repeat this procedure
face of the paper has been colored, and until the writing is removed. If the writ
it cannot be used for repairs. ing has not faded at all after the first
Eau de Javelle consists of a certain attempt, do not continue with the treat
percentage of soda 155
and is therefore ment. Caution is called for!
not a suitable cleaning agent. (Soda Foxing is treated with chlorine
affects colors.) water.
Removal of grease spots. Grease Each chlorine bath requires an anti
spots can be removed by producing a dote—a bath in vinegar or sodium bicar
magnesium oxide poultice that is heavily bonate (natron) —which in turn is
156
saturated with benzine or carbon tetra followed by baths in fresh water.

chloride. The poultice is applied to the Hydrogen peroxide. No more than
back, and after evaporation of the liquid, a 10 percent solution can be used even
the magnesium oxide is removed by tap if the cleaning process is slowed down
ping. This procedure is repeated until this way. A stronger solution could cause
the spots are removed. Dipping the the stamp to decompose and become
stamps and soaking them for some time worthless.
in benzine, ether, and so on, is not good Potassium permanganate can be
for the stamps since the slight oil content used up to almost 5 percent by volume.
Instead of oxalic acid use potassium from appearing.

metabisulfite, which can be mixed for Waterproofing colors. Add a drop of
you by a pharmacist, photographer, or purified water glass to the retouching
dentist. color. 157
Retouching should not be done
Examining paperfor the presence of on papers containing wood pulp,
mechanical wood pulp. Two percent because they would develop a slightly
phloroglucinol should be mixed with 10 yellow tone.
percent alcohol and well shaken. (Order Removal of dirt. Do not use benzine
from the pharmacy.) To try it out, put a to wash the stamps, since the slight oil
drop of the phloroglucinol solution and content of the stamps could be lost. Pure,
a drop of 10 percent hydrochloric acid, clean water is the best cleaning agent.
which does not have to be pure, on a The paintbrush used for cleaning should
piece of paper. The place immediately not be too soft or too hard. It can be
turns dark red if the paper contains a pressed down somewhat forcefully.
large amount of mechanical wood pulp. Starch paste. Starch paste used for
A lighter color appears if the paper stamps may be prepared a little stronger
contains only a little mechanical wood than for other repair work. The main
pulp. Should a 10 percent solution of consideration here is that all pasting as
hydrochloric acid not be sufficient, a well as all lightening or cleaning proce
stronger solution, almost up to a concen dures are done while moist. Adhesive
trated one, can be used. strength is not thereby reduced; on the
Fifteen percent aluminum subac- contrary, paste will adhere better to the
etate prevents colors from bleeding onto fibers of the original paper. The mois
restored places. After saturating the ture—wetness—is immediately removed
stamps, dry them immediately with with blotting paper in order to continue
blotting paper to prevent shiny spots further treatment.
SUMMARY
I have arrived at the end of my book but Some time ago, in a monthly pub
certainly not at the end of all I could say lication for bibliophiles, an article
about restorations. Caution prevented appeared under the title "Clinics for
me from talking about some things. I Antiquities." This is a title after my own
wanted to avoid making a bad situation heart. The restorer should feel in his
worse. My book should not be regarded workshop—his clinic —like a medical
as a cookbook that contains instructions chief of staff who recognizes with an
for all circumstances. A restorer has to be experienced eye whether treatment or an
a very sensitive person who avoids harm operation is indicated. There is a certain
ful methods of treatment and knows how amount of basic knowledge that defi
to adapt useful treatments to his object. nitely has to be followed by the physician;
This is how my remarks should be under this is also true of the restorer. In medi
stood and used. The reader is free to try cine much depends on the experience of
other methods on his own. He should, the physician and everything on the con
however, do this as a responsible con stitution of the patient, and the same
noisseur and lover of the arts and experi applies in restoration. The restorer has
ment with his new methods first on to collect experience and possess it. His
worthless things and try them over and success or lack of success often is
over again before he treats valuable dependent on the object he is working
works and perhaps exposes them to on. A lack of success is not always his
destruction. The reader will have noticed fault; it is also not a consequence of the
that I took a similar road. My friends methods of treatment recommended
have a great advantage: I have revealed to here but can depend on the treated mate
them the experiences of my fifty years rial with its mortal weaknesses.
of professional life. The responsibility of Only he can become a restorer who
the restorer to objects of cultural value is enjoys his occupation, who treats the
the same as that of the physician to objects of his work with love. This love of
human beings. My book cannot be a the object caused me to write down my
cookbook, for the cook can throw out the experiences. It has forced me to explain
soup if it does not taste good. But when why I work a certain way and what dan
the physician or the restorer has made an gers I have avoided, to help others and
error, frequently all is lost. And we to spare them lost efforts and destruc
restorers often deal with a dangerously ill tive methods.
patient and are happy when we succeed I emphasized in the foreword that
in bringing it back to life again, when we I would like to exchange experiences. I
succeed in saving a culturally valuable would be happy if in a later edition
work of art not just for decades but for I could distribute suggestions that others
the foreseeable future. have worked out and would like to make
them available to the public just as I have

done with mine. In the path toward the
preservation of works of cultural value
there should not be any professional
secrets, for we owe it to our nation and
mankind to preserve the few treasures
that have been handed down to us from
past times.
THE AUTHOR
E D I T O R ' S N O T E S ON T H E T E X T 207
EDITOR'S NOTES ON THE TEXT 10 I.e., those w h o prepare w i n d o w mats for pic
tures, in c o n j u n c t i o n w i t h f i t t i n g the matted
pictures into frames.

1 Hugo Ibscher (1874-1943) was a restorer of
manuscripts and papyri. Trained as a book 11 Approximately $4,786 in 2002 U.S. dollars. See
binder, he entered the service o f the Berlin note 5.
M u s e u m in 1891, where he was entrusted w i t h 12 The phrase zum Abspulen der Blatter is trans
the m o u n t i n g and restoring of the papyri, at lated here as "rinsing off the prints." To most
first under the direction of Ludwig Abel but readers, the distinction between "rinsing" and
independently after 1894. He also undertook "washing" may seem trivial, but to paper c o n
private commissions for collections elsewhere. servators the implications are i m p o r t a n t , espe
For his w o r k on restoration of parchments cially in the context of using water to remove
and other manuscripts in the Vatican, he was f r o m paper any reagents or chemicals that
awarded the Order of Saint Gregory. See might have been used in treating a print and
Dawson and Uphill 1972. that might damage the paper if not removed.
2 A. Bonnardot, Essai sur la restauration des anci- The verb abspulen connotes cleansing, as one
ennes estampes et des livres rares (Paris, 1846). w o u l d do w i t h one's dishes. If Schweidler had
A second revised edition was printed in 1858, w a n t e d t o imply a more t h o r o u g h cleansing,
titled Essai sur I'art de restaurer les estampes et as in washing of one's clothes, he probably
les livres, and a German translation appeared w o u l d have used the w o r d waschen. Schweidler
in 1859 (Stevenson 1995:117). discusses rinsing and washing of paper in more
detail in the section "Brightening and Cleaning,"

3 See glossary.
pp. 51-57.
4 See glossary.
13 See glossary.
5 In U.S. dollars as of 2002, this w o u l d be equiv
14 As stated on p. 6 6 , by "vinegar," Schweidler
alent t o approximately $ 4 , 7 8 6 . This conversion
means w i n e vinegar (presumably w h i t e w i n e
is based on the assumption that in 1934, about
vinegar, since it is essentially colorless).
4.20 German marks was equivalent t o U.S.
Generally, the strength of the w i n e vinegar
$1.00 and that the value of U.S. $1.00 in 1934
sold for home use is approximately 6 percent.
is equivalent to $13.40 in 2002. Officer 2002;
Williamson 2002. 15 See glossary.
6 Presumably it was possible in Schweidler's era 16 [Author's f o o t n o t e a] Carbon tetrachloride is
t o purchase paste ready for use, and f r o m the harmless, since it is not flammable; it is a g o o d
context it seems likely that this paste contained substitute for gasoline and a very g o o d spot
alum, but I have not f o u n d further information remover for fresh grease spots. [Although the
about this kind of commercially prepared paste. author asserts that carbon tetrachloride is
harmless, it should be emphasized that this

7 See the section "Removing Prints f r o m
solvent is n o w considered quite hazardous
Backings," pp. 5 8 - 6 3 .
and a p o t e n t carcinogen. —R.P.]
8 See glossary. A l t h o u g h the m e t h o d o f attach
17 Distilled ethyl alcohol.
m e n t is n o t entirely clear here, the p o i n t seems
t o be that a print should not be glued directly 18 See glossary.
to a m o u n t b u t should instead be attached by

19 See glossary. In the text that follows,
means of narrow strips of paper applied around
Schweidler sometimes refers t o a "soda
the margin of the print. Schweidler elaborates
solution," by w h i c h one should understand
on the m o u n t i n g of prints and the use of
that it is a solution o f "bleaching soda."
guards in the section "The Stretching of Prints,"
20 [Author's f o o t n o t e b] A sponge is only usable
pp. 1 3 0 - 3 6 .
w h e n the little stones f o u n d in it have been
9 Schweidler's reference is unclear.
completely removed. The sponge has to be
208 E D I T O R ' S N O T E S ON T H E T E X T
examined by t o u c h i n g it, and the stones have papermaking are sometimes inaccurate. For
t o be removed one by one. more reliable i n f o r m a t i o n , refer t o Hunter 1947.
21 [Author's f o o t n o t e c] Excerpt f r o m Hugo 27 Current practice is t o use the phrase "laid lines"
Ibscher, Das Papyrusblatt und seine t o refer t o the closely spaced lines in laid paper.
Wiederherstellung nach funftausend Jahren, The w i d e l y spaced lines—the "chain lines"—are
Westermanns AAonatshefte, February 1935. due t o the chain stitches on the paper m o l d ;
these serve t o anchor the closely spaced wires

22 In the original, Schweidler uses the German
t o the w o o d e n ribs that lie beneath and give
w o r d Schleudern, w h i c h means "to fling, hurl,
support t o the surface of the m o l d . Collectively,
or swing" but also "to centrifuge." In this c o n
all the lines in laid paper, w h e t h e r f o r m e d by
text Schweidler must have in m i n d the device
the wires or the chain stitches, are usually
sometimes called a "duster," w h i c h Labarre
called "wire lines." For information on European
([1952] 1969:83) defines as follows: "a mechan
laid paper and the molds used t o make it, see
ical contrivance, usually consisting of a revolv
Hunter 1947:114-38.
ing d r u m of mesh wire fitted w i t h teeth for
o p e n i n g o u t and cleaning rags, books, waste- 28 Bleichhollander, a machine used for bleaching
paper, esparto grass, straw, etc." Also, in paper pulp (Labarre [1959] 1962:23).
Cutbush's American Artist's Manual: "The duster
29 This paragraph is confusing. In the first t w o
is made in f o r m of a cylinder, four and a half
sentences Schweidler seems t o recognize the
feet in diameter, and five feet in l e n g t h . . . . A
dangers of rosin sizing, compared to traditional
convenient quantity of the rags after the selec
gelatin sizing, but the paragraph eventually
t i o n are enclosed in the duster, and the rapidity
descends into a m u d d l e of inaccurate infor
of its m o t i o n separates the dust f r o m t h e m , and
mation—alum-rosin sizing does not prevent
forces it t h r o u g h the w i r e " (Bidwell 1990:63).
water stains and f o x i n g — c o m p o u n d e d w i t h
23 Schweidler uses the w o r d Feuchtigkeit, which lack of clarity.
means "dampness," but perhaps he intends t o

30 Here he seems t o assume that because the
suggest that the rags w o u l d be inspected for
paper is inherently strong enough, it will not
discoloration due t o m o l d .
be necessary t o have any additional support.
24 Schweidler's knowledge of papermaking is inac But on p. 49, he indicates that severely t o r n or
curate. Usually, t w o paper molds were in use damaged sheets need the additional support of
alternately by the "vat man" and his assistant, a g o o d piece of paper.
the "coucher," whose task was t o take the p u l p -

31 See note 30 about not requiring a support w h e n
laden mold f r o m the vat man and t u r n it upside
a sheet is strong enough not t o require one.
d o w n o n t o a felt, thereby transferring the w e t
pulp t o the felt. The coucher w o u l d then cover 32 Marginal note by C. S.: "That w o u l d be a self-
the pulp w i t h another felt, in preparation for accusation."
receiving the next layer of pulp. Next, he w o u l d 33 Marginal note by C. S.: "Never erase w i t h i n the
place the e m p t y m o l d w i t h i n easy reach of the printing, only on the margins and back of the
vat man, w h o , in the meantime, w o u l d have sheet."
been scooping up another layer of pulp on the
34 See glossary.
second m o l d . Thus, at any one t i m e , one sheet
of paper is being f o r m e d by the vat man w h i l e 35 The author does n o t offer a reason for using
the previous sheet is being placed between a bath of dilute vinegar, but it may have a basis
felts. Eventually, w h e n many layers of paper in c o m m o n household cleaning methods. The
and felt had accumulated, the entire stack use of a bath of dilute vinegar recurs t h r o u g h
w o u l d be pressed to remove excess water. Then o u t the book. W h e n I was a f e l l o w at the
the w e t , pressed sheets of paper w o u l d be sep J. Paul Getty M u s e u m d o i n g research on this
arated f r o m each felt and hung up t o dry. book, M a r y Sackett, conservator at the Getty
Research Institute, made it possible t o conduct

25 See glossary.
some simple experiments using scraps of four
26 Schweidler's description of the structure of old papers that showed slight signs of discol
paper molds is vague if not incorrect. Here, for oration. One paper was machine made, and
example, he indicates that the chain stitches it may have been sized w i t h alum-rosin sizing.
that serve the i m p o r t a n t function of holding The other three were probably handmade, w i t h
all the wires in place are merely wires that are gelatin sizing. On a w h i m , w e brushed some
used for support. In general, his explanations animal glue across the ends of t w o of the
of the materials, tools, and techniques of
papers t o see w h a t the effect w o u l d be after pattern caused by the brush w i t h w h i c h the
bathing. Each of the scraps was cut into three paste was applied. It is also possible that he
pieces. One piece was retained as a " c o n t r o l " means that minute bits of the m o u n t may be
for comparison; the second was bathed in plain left behind on the back of the print, and that
water; the t h i r d was bathed in 5 percent dis the pattern of these residues may result f r o m
tilled w h i t e vinegar, w i t h a pH of approximately variations in the a m o u n t of paste brushed o n t o
2. Perhaps the most interesting result was that the print during its m o u n t i n g .
all four kinds of paper w e t t e d more readily in

44 Schweidler probably means t o say that if the
the vinegar bath than in plain water. Also, w e
w o o d e n strainer is larger than the print, then it
noted that more of the swaths of animal glue
is easy t o cut through the secondary support,
were removed f r o m the samples that had been
w h i c h , in this instance, w o u l d extend o u t
bathed in vinegar. After bathing the samples
beyond the edges of the print so that it w o u l d
for one hour at r o o m temperature, they were
be easy t o cut t h r o u g h the support, thus freeing
removed and air-dried on blotters. W i t h regard
both the print and its support f r o m the strainer.
t o the overall appearance of the samples, those
On the other hand, if the strainer is exactly the
that were bathed in vinegar were not dramat
size of the print, then there w o u l d be no mar
ically different f r o m those bathed in water,
gin of the support beyond the print, and it
although all those that were bathed looked
w o u l d therefore be more difficult t o cut b o t h
somewhat lighter than the controls. In short,
support and print off of the strainer.
it is not clear w h a t benefit if any might result
f r o m bathing paper in vinegar, so it is not clear 45 I.e., papers that are dense and strongly sized.
w h y Schweidler w o u l d recommend this prac W h a t m a n papers were well k n o w n for these
tice. On the other hand, the effectiveness of characteristics.
the vinegar in dissolving the animal glue sug

46 The author often refers either t o dry calcium
gests one possibility. To the extent that a water
hypochlorite p o w d e r or t o a solution of c h l o r i
stain on a gelatin-sized paper might consist of
nated lime (calcium hypochlorite) as "chlorine,"
deteriorated gelatin, perhaps the stain might be
although technically the latter should apply
reduced more in vinegar than in water. W i t h
only t o the element itself, w h i c h is a gas.
o u t further study, this is merely speculation, so
47 The "Dr. X" referred t o is Dr. Hans Bohm, and
Schweidler's reasons for r e c o m m e n d i n g baths
the book is Die Praxis des Restaurators. See
o f vinegar to remove stains remain uncertain.
references. This book is Bdhm's update of a
Regarding vinegar as an "antidote" to be used
much earlier book by Friederich Lucanus,
f o l l o w i n g bleaching w i t h a chlorinated bleach,
Vollstandige Anleitung zur Erhaltung, Reinigung
see p. 6 6 .
und Widerherstellung von Cemalden, Aquarellen,
36 Just imagine that one w o u l d have on hand Kupferstichen, etc., w h i c h was published in 1812
enough "worthless prints" of sufficient size to and has been described as "the first major tract
use merely as a support w h i l e bathing a print! on print restoration" (Stevenson 1995:117).
37 Marginal note by C. S.: "Nonsense! That almost 48 The q u o t e is f r o m Bohm [1929] 1979:84.
always affects the print."
49 That is, rather recently, considering t h a t the
38 For more information on bleaching soda, see first edition of Schweidler's book was p u b
glossary. lished only nine years after the publication of
Bohm's book.
39 See glossary for more information on bleaching
soda ("soda solution"). 50 Marginal note by C. S.: "So, chorine t r e a t m e n t
after all, you old racketeer!"

40 Marginal note by C. S.: " W h y soda, w h i c h is so
dangerous? Borax is also helpful." 51 I.e., a solution of "chlorinated lime" (calcium
hypochlorite).
41 Marginal note by C. S.: "Therefore, hands off
the soda 'medicine.'" 52 In this section, Schweidler mentions t w o " a n t i
dotes," vinegar and sodium hyposulfate, but

42 Marginal note by C. S.: "can destroy the sheet."
later, on p. 202, in discussing t r e a t m e n t of
43 Schweidler probably means that if the paste
stamps, he suggests using sodium bicarbonate
has not yet become sufficiently soft to permit
as w e l l .
easy removal of the m o u n t e d print, attempts
53 The idea of using an acidic bath t o remove
to remove the print may leave residues of
chlorinated bleach appeared t w o years before
incompletely dissolved paste on its back in a
the first edition of Schweidler's book in a p u b l i -
cation in English (Keck 1936:117-26). The theory paper w i t h hypochlorite bleaches and discov
was that lowering the pH of the bath (making it ered that this was probably the result of prior
more acidic) w o u l d cause a shift in the equilib t r e a t m e n t w i t h potassium permanganate, a
rium of the reactions in the solution so that any chemical that can be employed either as a
residual chlorine w o u l d be t u r n e d into chlorine bleach or as a means o f t i n t i n g paper a y e l l o w
gas, w h i c h w o u l d eventually be expelled f r o m ish hue, depending on the circumstances of
solution. In the f o l l o w i n g decades, it was shown its use. Certain colorless residues of the per
that causing the pH of a chlorinated bleaching manganate, if present, may react t o f o r m m a n
solution t o shift f r o m an alkaline state (pH ganese dioxide, a b r o w n c o m p o u n d .
higher than 7) t o an acidic state causes more

60 The reference is unclear. Perhaps the author is
disintegration of cellulose, and hence greater
trying t o suggest that early colored w o o d c u t s
loss of strength o f paper, than if the pH o f
were influenced by pictures on ancient
the bleaching solution were t o be kept some
Egyptian papyrus.
w h a t alkaline.
61 Schweidler mentions "Swiss color prints" or
54 Marginal note by C. S.: "in a zinc tray?" Carl's
"Swiss color artists" several times in this section
terse c o m m e n t is hard to understand. Perhaps
of the book and elsewhere. He is probably
he is questioning the fact that the tray is made
referring to delicately and decorative hand-
of zinc and suggesting that there could be an
colored etchings that were made in Switzerland
undesired chemical reaction between the vine
in the late eighteenth and early nineteenth
gar and the zinc. Alternatively, he could be
century and often represented picturesque
questioning w h e t h e r an entire bottle of vinegar
views of various parts of Swiss scenery. A few
is an appropriate a m o u n t . ,
of the artists w o r k i n g in this vein were Gabriel
55 Schweidler's appreciation of sunlight as an Ludwig Lory Pere (1763-1840), Heinrich Rieter
effective and desirable means o f reducing or (1751-1818), Johann Jakob Biedermann
removing discoloration f r o m prints is in keeping (1763-1830), and Carl Hackert ( 1 7 4 0 - 9 6 ) .
w i t h a long t r a d i t i o n . "As print restoration

62 See glossary.
developed in the seventeenth and eighteenth
centuries, the use of the sun's rays t o bleach 63 In this paragraph the author must be referring
prints was repeatedly 'discovered' by individual t o the drawing technique called metalpoint, but
restorers before Robert Hecquet finally p u b I am unaware of examples of such drawings in
lished his 'secret' in 1751. Until the develop w h i c h t w o t o four parallel lines could be drawn
m e n t of chlorine bleaches and their application by special shaping of the metal. For m e t a l p o i n t
t o print restoration in the late eighteenth cen drawings, it was customary t o prepare the
tury, sun bleaching was the usual manner of paper not w i t h chalk alone but w i t h a coating
lightening the paper of prints, and in some of chalk, ground or calcined bone, or other
circles, particularly a m o n g collectors w h o • w h i t e substances, w h i c h , w h e n mixed w i t h ani
restored their o w n prints, it was still employed mal glue and water, were applied t o paper as
into this century" (Stevenson 1990:422). Johann a ground on w h i c h the drawing w o u l d be exe
Wolfgang von Goethe was a notable practi cuted. Colored pigments were also often added
tioner of sun bleaching. In his autobiography to this mixture t o produce a colored back
he describes how, w i t h the help of his sister, ground for the entire drawing. I am grateful
t o T i m o t h y M a y h e w for sharing w i t h me his

he "laid prints belonging to his father on
expertise about m e t a l p o i n t drawings.
boards, w e t t e d t h e m , and propped t h e m in
the roof gutters so they could bleach in the 64 In other words, the author asserts that pencil
sun" (Stevenson 1995:124 n. 20). For more on drawings were indeed made f r o m as early as
the use of light for bleaching, see also Keyes the seventeenth century and that a drawing
1982:100-104; Van der Reyden 1 9 8 8 : 7 3 - 1 0 6 . that appears t o be f r o m that period should not
automatically be regarded as a forgery simply

56 Marginal note by C. S.: " H o w p r o f o u n d ! "
because it is in pencil.
57 Marginal note by C. S.: "God only knows!"
65 The darkening of w h i t e lead pigment is the
58 See glossary.
result of reaction w i t h sulfur, not oxygen, light,
59 The nature o f this peculiar reaction is uncertain, and air as the author suggests (although air p o l
but it resembles an effect described by A. D. luted w i t h gaseous sulfur c o m p o u n d s can cause
Baynes-Cope (1977:3). He reported that b r o w n oxidation of w h i t e lead).
stains had developed d u r i n g t r e a t m e n t o f

66 Marginal note by C. S. regarding this paragraph: not be giving off anything as "vapors," but given
" W r o n g ! It must be treated w i t h dilute hydro (as he says later) that the solution is actually
gen peroxide." Carl is quite correct, in that the boiling, it is certainly conceivable that minute
usual t r e a t m e n t for oxidized w h i t e lead pig droplets f r o m the boiling solution could be
m e n t is dilute hydrogen peroxide, not citric or present in the steam j u s t above the solution
hydrochloric acid. and that it w o u l d be wise t o cover those areas
of the print that one did not intend t o expose

67 Marginal note by C. S.: " . . . then hardly possi
t o the solution.
ble." He refers t o his previous marginal note
indicating that hydrogen peroxide is the correct 77 A l t h o u g h these directions are confusing, the
means of treating oxidized w h i t e lead pigment. author seems t o suggest that oil stains in the
margin o f a print can be dissolved by rolling

68 See glossary. I k n o w of no source for
the print as described and standing it in boiling
Schweidler's use of this material. From the
bleaching soda solution, w h i c h is drawn up
chemical standpoint, given that a l u m i n u m ions
into the margin.
are trivalent, it is possible that a l u m i n u m subac
etate may harden gelatin and hence make gela 78 It is likely that the effect described by
tin sizing more effective, but it also may make Schweidler is due t o the dissolution and trans
it more acidic. port of water-soluble substances present in the
paper (these are responsible for the "yellow

69 See glossary.
ing") t o w a r d the perimeter of the area t o w h i c h
70 See glossary.
the bleaching soda solution was applied. A t the
71 This section is likely t o be confusing because center of this area, the bleaching soda w o u l d
the author does not begin substantive descrip certainly dissolve these substances and cause
t i o n of the process of shaving d o w n paper in t h e m to move o u t w a r d (and thereby lighten
preparation for m e n d i n g until the section the paper), but these very same dissolved sub
"Actual M e n d i n g or True Restoration," espe stances w o u l d be deposited at the perimeter,
cially pp. 112-14. thus creating a brownish ring. (An experiment I
carried o u t some years ago seemed t o indicate

72 The location of this reference is unclear, but
that sodium carbonate can also have a lighten
considerable discussion of paste, especially
ing effect on some of the discolored materials
alum paste, occurs on p. 34 and in the section
in paper, perhaps due to the alkalinity of this
"Removing Prints f r o m Backings," especially
chemical.)
pp. 5 8 - 5 9 -
79 See glossary.
73 It is difficult t o interpret the assertion that paste
only swells w h e n boiled repeatedly, or that 80 The author does not indicate w h y the water
swelling of paste during cooking must be pre should be boiled for this much t i m e prior t o
vented. W h e n the temperature of the water pouring it into the starch. Perhaps this is t o kill
and starch mixture is raised t o a certain point, any bacteria that might be present; or if the
the starch granules inevitably swell and burst, water contained high concentrations of mineral
f o r m i n g a gel, regardless o f h o w much water carbonates, boiling it w o u l d cause t h e m t o pre
is added during cooking. Perhaps the author cipitate and thus help t o purify the water, but
means that water should be gradually added it is not clear h o w this w o u l d improve paste
at a rate that keeps pace w i t h the swelling and made w i t h this water.
that by continuous d i l u t i o n in this manner the

81 Schweidler seems to assume that the more
paste will not become very thick.
absorbent a paper is, the more likely it is t o
74 A bone folder is a flat, s m o o t h t o o l , t r a d i t i o n a l have foxing. Today one may try t o distinguish
ly fashioned f r o m bone, although the author foxing that is due t o mold g r o w t h f r o m those
suggests that one might use an old t o o t h b r u s h stains that result f r o m the presence of small
to make such a t o o l (see fig. 25). It is invalu particles of metal. Given that m o l d grows so
able, particularly in the practice of b o o k b i n d i n g , readily on gelatin, surely it w o u l d be more likely
and is often used for manipulating paper and for a paper that is heavily sized t o g r o w m o l d ,
other materials. and hence develop b r o w n stains, than a paper
that has little or no sizing. Foxing that is due

75 See note 53 regarding using a hypochlorite
t o oxidation of small particles of metal w o u l d
bleach in c o m b i n a t i o n w i t h an acid.
be as likely t o develop regardless of h o w much
76 Technically, a solution of bleaching soda w o u l d gelatin sizing is present.
82 Schweidler is probably trying t o say that papers unusual that chamfered repairs do not in t i m e
f r o m about 1750 and later generally have less become evident as result of buckling unless
sizing than earlier papers and therefore will eas they are rather small. (See Appendix: the splic
ily lose some of their "weaker sizing," especially ing in the Altdorfer w o o d c u t is only a few
w h e n treated w i t h baths of chemicals. inches long and yet is s o m e w h a t buckled,
whereas the repaired w o r m h o l e s in the

83 The discussion of dissolving w h i t e gelatin actu
Housebook Master d r y p o i n t are small and show
ally occurs a few pages later, on 102-3.
no signs of buckling.) Indeed, if one discerns
84 C.S. marginal note: "Like, for example, the any buckling in a print or drawing, the area of
Rembrandt that I have here f r o m Colnaghi buckling should be scrutinized w i t h great care,
t o remove the spots that my brother Max as this might indicate the presence of a repair.
messed up."
90 In this context, one might w o n d e r if the author
85 Marginal note by C. S.: " W h a t about the is suggesting that one first cut and shape the
stretching that also takes place in nonabsorbent repairs and then check t h e m for expansivity,
paper and that has t o be checked even more but that w o u l d of course be very labor i n t e n
thoroughly?" sive. He is instead suggesting that after one has
86 C.S. marginal note next t o fig. 22: " W r o n g selected t w o or three papers that match the
placement of marks [falsche Zeichenstellung]. original visually and therefore might be suitable
The marks were already erased." It is u n f o r t u for making mends, these could be tested as a
nate that Carl did not elaborate on his cryptic group t o see w h i c h of t h e m might have expan
remarks on the diagram, given the importance sivity characteristics that match the original. A
of this subject in the book. Also, note that marginal note by Carl confirms this interpreta
figure 22 seems somewhat o u t of place, as it t i o n : "That's right, one must test not the repair
is even more relevant t o the section "Actual pieces but rather the papers [from w h i c h they
M e n d i n g or True Restoration," especially are made]."
pp. 113-14, w h e r e he gives more specific

91 Marginal note by C. S.: "It is absolutely
instructions for chamfering and inserting
necessary."
mends into their precise positions.
92 It is interesting that in Schweidler's discussion
87 The original reads: " . . . man pflanzt die Flicken of h o w t o split paper he says n o t h i n g about
ein." Here and in many places in the f o l l o w i n g its use in c o n j u n c t i o n w i t h adding margins.
pages Schweidler uses the verb implant For more on this application of the splitting
(einpflanzen) to refer t o the process of pasting of paper, as well as information about notable
and inserting a repair into the area on the back British practitioners of this technique in the
of a print that has been deliberately t h i n n e d second half of the nineteenth century, see
as part of the repair process. Later he uses the Walsh 2 0 0 0 : 3 8 3 - 9 0 . Also, see in the Appendix
same w o r d t o refer t o the process of t h i n n i n g the discussion of the splitting of a Durer
the repair paper in order to simulate the engraving.
appearance of the wire lines in paper. I have
As t o historical precedents for splitting of
tried other ways of translating this but u l t i
works of art on paper, I am indebted t o Kristal
mately decided t o leave it as simply the most
Smentek for directing me to an e i g h t e e n t h -
expressive choice, t h o u g h it may at first sound
century example. In 1775 a sale catalog was
rather o d d to the reader.
published of the vast art collections of the
88 "Die geklebte Stelle w i r d sich w o l b e n oder w e l l - k n o w n collector Pierre-Jean M a r i e t t e
seitlich ganz kleine Faltchen schlagen." In this (1694-1774). In this catalog, item 116, by
context, it seems best to translate kleine Francesco Albani, is described as having origi
Faltchen schlagen as "develop slight puckering." nally been double-sided, but either M a r i e t t e or
For more on the translation of the w o r d his assistant separated it into t w o layers so that
Faltchen, see note 143. the t w o sides could be m o u n t e d and seen sep
89 Here Schweidler touches on an i m p o r t a n t arately. According to a recent catalog of the
aspect of this repair technique. From the stand w o r k of Albani, the t w o drawings still exist and
p o i n t of the restorer, it is obvious that buckling are in the collections at Frankfurt and Dresden
of the repair will detract f r o m its effectiveness. (Puglisi 1 9 9 9 7 2 ) .
On the other hand, f r o m the standpoint of

A l t h o u g h paper splitting has generally been
anyone w h o needs t o detect such repairs, it is
regarded as an offensive and inappropriate
g o o d t o k n o w that in my experience it is quite
practice, in recent times this concept has been
revived as a means of preserving badly d a m Schweidler himself is not entirely averse t o the
aged archival materials. For more i n f o r m a t i o n , use of paper pulp repairs as applied t o stamps
see Bruckle and Dambrogio 2 0 0 0 : 2 9 5 - 3 2 5 . (p. 201).
93 Considering the date of Schweidler's book, 102 It may seem o d d , having j u s t described shaving
"carpenter's glue" must have been a gelatin- away some of the back of a picture, to e m p h a
based glue, made f r o m animal by-products, size preservation of the paper. I think that
rather than the synthetic, polyvinylacetate Schweidler's p o i n t here is that one should be
emulsion adhesives that are n o w more c o m careful during the process of shaving d o w n
m o n l y used in carpentry. paper that one does not remove more of the
original than is really necessary t o carry o u t

94 Probably Schweidler means that one should
the repair.
practice this procedure by splitting another
sheet of paper. It is possible, however, that he 103 Note that he does not specify by w h a t means
is suggesting that one could try t o split one of the color matching can be done.
the t w o half-sheets that were j u s t produced,
104 See figure 29.
thus producing a sheet of only one quarter
the original thickness. 105 The author's statement that the mended area
will be quite thick may come as a surprise.

95 For a reference t o splitting of a double-sided
It indicates that although the m e n d i n g paper
drawing in the late eighteenth century, see
has been t h i n n e d along its edges t o give it
note 92.
a wedge-shaped cross section (see p. 113),
96 For other breathtaking examples of the use nevertheless, the shaving of both the original
of prints for decorative purposes, see Edi-tor's and the mend must have been done only t o a
I n t r o d u c t i o n , note 16. limited extent, w i t h the result that the c o m
bined thickness of the t w o papers w h e n pasted

97 The author's t e r m i n o l o g y is not in accordance
together will be greater than that of the origi
w i t h usual practice whereby the so-called b o t
nal. Therefore, he instructs the reader that
t o m side of a sheet of paper shows the wire
further t h i n n i n g d o w n of the mend will be nec
pattern more clearly than the " t o p " side. It is
essary. This additional shaving on the back of
interesting that the w o r d Senate, translated
the mend is likely t o be much more noticeable
here as "surface," has a more organic or bio
than if the previous a m o u n t of shaving had
logical c o n n o t a t i o n than can be conveyed by
been continued until the t w o papers were of
the English w o r d . The German w o r d refers
the required thickness w h e n the mend was put
t o "skin," "bark," "peel," or "shell," none of
in place. In general, mends of this latter type
w h i c h quite make sense in this context as
are much more difficult t o detect.
English equivalents. The author later speaks
directly of the "skin" and "flesh" of paper, and 106 One might w o n d e r if Schweidler really meant
although such terms may seem quaint or t o say "millimeter by millimeter."
strange in reference t o paper, perhaps their
107 The reader will probably realize that the proce
use is in keeping w i t h Schweidler's image of
dure Schweidler describes for creating wire
the restorer as a doctor.
lines can be applied for creating a watermark.
98 Regarding the process of stretching a print, see (See Appendix, Urs Graf and Schongauer.) On
the section that begins on p. 130. p. 199, he alludes t o creating a watermark in
a lining sheet that is t o be affixed t o the back

99 Marginal note by C. S.: " O h , h o w nice!"
of a stamp.
100 Marginal note by C. S.: "or a great one."
108 Marginal note by C. S.: "Nonsense! W i l l cer
101 From Schweidler's description of the results
tainly tear into pieces."
he had seen of the use of macerated pulp for
109 Regarding the procedure for stretching a print,
repair of holes, his antipathy t o this approach
see pp. 1 3 0 - 3 6 .
is understandable. In more recent times, h o w
ever, considerable skill and success have been 110 Given that he is discussing shaving away paper,
attained in using paper pulp for repairs not only it may seem o d d that he expresses concern that
of small holes but also o f large losses in sheets. one not lose the "smallest particle." I interpret
See, for example, the AIC Book and Paper this to mean that one must be especially care
C r o u p catalog of t r e a t m e n t procedures relating ful that in the process o f shaving the paper
t o paper repair, v o l . 26. Also, note that absolutely no more than necessary be r e m o v e d ,
otherwise the final effect—re-creating a margin

around the p r i n t — m a y not be appear t o be begun (it is assumed that the w i d t h of this gap
seamless and w o u l d therefore be less convinc can be determined by looking at an example of
ing t o the viewer. an u n t r i m m e d impression). He advises under
taking such a restoration because if the added

m It may seem o d d , considering all the effort
paper "is 5 t o 6 cm w i d e " it w o u l d be "espe
of adding a new margin, that one w o u l d not
cially conspicuous." Also, "because it is partic
have chosen to add a w i d e margin. I think that
ularly difficult t o get the paper between the
Schweidler is well aware that even a very nar
image and the [new, artificial] plate mark
row margin around an Old Master print can
smooth," given that the added paper will not
enhance its value substantially and is thus
have been subjected to the pressure of print
quite sufficient. Moreover, in my o p i n i o n , the
ing. Regarding the textural differences between
w i d e r the margin one adds, the greater the
an added repair paper and the paper that has
chance that buckling—in either the print or the
been s m o o t h e d by the process of intaglio print
margin (or b o t h ) — w i l l result f r o m differential
ing, see the discussion of the Master of the
tension between the original paper and the
Housebook and the van Dyck in the Appendix.
added margin.
114 See glossary.

112 I.e., plain paper. See note 113, below.
115 See glossary.

113 This paragraph exemplifies Schweidler's fre
quent lack of clarity. Marlies Comjean, w i t h 116 N o t e that in the f o l l o w i n g pages the assump
w h o m I collaborated on the initial translation, t i o n is that stretching of prints is simply a nor
observed, "Schweidler is no Thomas M a n n . " mal and expected part of the final stage of
The problem here stems f r o m his use of the treating prints. Schweidler does not explain
w o r d margin. W h e n speaking of intaglio prints directly w h y stretching is necessary, but by the
(etchings and engravings), a margin is that end of this section several reasons emerge. On
p o r t i o n of a sheet of paper that begins at the p. 133, t o the question of w h e t h e r it is "always
plate mark, and thus bears no printed image, absolutely necessary t o stretch a small sheet,"
and extends to the outer edge of the sheet. he answers that stretching is done "as a matter
Schweidler, however, refers to the "margin" in of course w h e n the sheet has undergone major
this context as any paper that is added by the repairs or shows creases, breaks, broken cor
restorer to compensate for whatever t r i m m i n g ners, and so o n . " From this, I assume that one
was done. In many prints f r o m former cen purpose of stretching is t o help to flatten a
turies, blank paper beyond the plate mark was print and reduce any buckling or irregularities
removed; in other instances, both the margins it might have as a result of repairs, damage, or
and the plate mark were cut away. Schweidler's aqueous treatments. He also implies, on p. 134,
instructions presuppose that if a print has been that in some instances a print that has been
t r i m m e d the restorer will need t o add paper stretched may remain permanently attached to
around the perimeter so that the print w o u l d its support, presumably in order to put it into
appear not to have been t r i m m e d . From the a frame. Indeed, on p. 132, he states that large
standpoint of the restorer, the ideal c i r c u m prints must be stretched as part of the framing
stance is that very little if any of the original process; but this, t o o , seems ambiguous: on
plate mark will have been t r i m m e d away, so p. 135, he says flatly that "stretched papers
that it will only be necessary t o extend the should not stay on stretching supports for
existing paper slightly beyond the plate mark. weeks." Later he states that engravings "less
If, however, the plate mark has been t r i m m e d than 60 to 80 cm should never be stretched
away entirely, the restorer must add enough under glass" (p. 164) and that "if a framed
paper (a new "margin" of paper) that one can engraving that has been stretched under glass
simulate a plate mark, as he goes on to falls t o the floor, it can be destroyed" (p. 166),
describe. The worst scenario is w h e n not only and for this reason stretching prints under glass
the plate mark but also some of the printed for purposes of framing is bad practice.
image has been t r i m m e d away. This is the situa

117 See glossary.
t i o n he refers t o in the first sentence of this
paragraph. In this instance it w o u l d be neces 118 Considering his remark in the previous sen
sary to add " w h i t e paper," that is, plain paper, tence, it is likely that this second guard is
around the printed image in effect t o fill in the coated w i t h paste, rather than glue, b u t this
gap between the t r i m m e d image and the place is unclear, as is most of this paragraph.
where the original plate mark w o u l d have

119 Schweidler is trying t o say that as the stretched mends t o make the repairs resemble the
print dries, it shrinks. Therefore, the glass or surrounding areas of the back of the print by
cardboard needs t o be somewhat flexible so simulating the way that printing ink often pene
that it can b o w o u t w a r d , away f r o m the print, trates through t o the back of a sheet of paper.
as the tension f r o m shrinkage of the print (See Appendix, Pollaiuolo.) See the Cleveland
increases. M u s e u m of Art w e b site regarding this print for
detail views of the retouching of the mends

120 The author's suggestion here that a large print
(www.clevelandart.org/exhibcef/battle/html).
can be stretched under glass seems t o contra
dict advice later in the book, according to 126 Perhaps Schweidler is referring to hand-colored
w h i c h it is bad practice t o attach a print t o mezzotints, but equally he may be speaking of
the picture glass. In any case, it is not clear mezzotints in black ink, since they are so easily
w h y simply laying the stretched print into the damaged by abrasion or rubbing.
frame w o u l d help to prevent the glass f r o m
127 John Raphael Smith, b. Derby, 1752; d.
becoming b o w e d .
Doncaster, 1812. English printmaker, publisher,
121 Two types of rectangular w o o d e n structures and painter. He made numerous mezzotint
have been employed as supports for pictures, engravings after paintings by Romney,
particularly for paintings on canvas but occa Reynolds, and others.
sionally for works on paper. If the corners of

128 This sentence resists comprehension. If
the support are glued or nailed together so
Schweidler means that the back of the China
that they are permanently fixed in position, the
paper is to be covered w i t h one sheet of b l o t
support is called a strainer. If the corners can
t i n g paper, it is hard t o see h o w one w o u l d lift
be spread apart to p e r m i t changing the a m o u n t
the b l o t t i n g paper "from the center." Perhaps—
of tension on the picture, the support is called
although I find this explanation rather forced —
a stretcher.
he assumes that the back of the China paper
122 Presumably Schweidler refers t o paints of the would be covered w i t h four sheets of b l o t t i n g
kind used by both Chinese and Japanese artists. paper, each covering one quadrant of the China
Typically, these consist of a pigment and a paper and arranged so that their edges are
water-soluble binder prepared in the f o r m of butted together. Then it might be feasible to lift
a hard stick or cake. For use, they must be the sheets of b l o t t i n g paper starting "from the
rubbed on a dish or flat surface w i t h sufficient center" by lifting each one by the corner lying
water t o dissolve enough color for the artist's nearest the center of the China paper.
purposes. His remark, "If y o u w a n t t o use

129 In this illustration one corner of the support
Chinese watercolors as liquid paint," is puzzling
sheet has been lifted t o reveal a portion of the
since such sticks cannot be used dry. Perhaps
China paper, w h i c h is n o w affixed t o the under
he means to say that one might apply a w e t t e d
side of the support sheet.
brush to a stick of color t o obtain just a small
a m o u n t o f color b u t that it w o u l d be necessary 130 By "chlorine antidote," Schweidler probably
t o rub the stick in water if one needed a means vinegar, although he sometimes uses
greater quantity. He does not explain w h e t h e r this w o r d t o refer to sodium hyposulfate
Chinese watercolors are in some way better or (p. 66) and, on one occasion, sodium carbonate
more useful than European watercolors. (p. 202).
131 It is likely that "Chinese rice paper" refers t o

123 Marginal note by C. S.: "only distilled water."
thin layers of pith, the soft, spongy interior of
124 The German phrase is stellt wieder her, w h i c h
certain w o o d y plants. Cut into sheets, this
has a c o n n o t a t i o n similar to that of the English
material was sometimes used instead of paper
w o r d "restorative": causing a return to g o o d
as a support for watercolor paintings. Because
health.
of its similarity t o paper and its origin in China,
125 In other words, Schweidler is concerned that it was misnamed "rice paper," although it is
even w h e n one looks at the back of a print, neither a true paper nor made f r o m rice.
there should be no apparent difference

132 It is possible that by "chalk-filled cardboard"
between the mends and the surrounding
Schweidler may be referring t o cardboard that
areas of the original print. The Cleveland Art
has some kind of coated or chalk-filled paper
Museum's impression of the Pollaiuolo engrav
on one or both sides, but this is uncertain. In
ing, Battle of the Nudes, provides an example of
any case, if one can infer that the paintings on
a concerted effort through retouching of the
"rice paper" usually encountered by Schweidler
are attached t o cardboard of this kind, it is 138 It w o u l d have been helpful if Schweidler had
not clear w h y this should be the case. Perhaps included an illustration of the hinging of a pic
this was the way in w h i c h they were typically ture. The key p o i n t is that one should attach
m o u n t e d before export f r o m China. the t o p t w o corners of a picture t o the back
board by means of f o l d e d , g u m m e d paper

133 A l t h o u g h the author uses the t e r m "soda
hinges of short strips of g u m m e d paper, as
water" here and in the f o l l o w i n g sentence,
described above, and that the p o r t i o n of the
he later refers t o "soda solution," and it is
hinge affixed t o the picture should extend o n t o
clear that the material referred t o is a solution
the back of the picture by "up t o 2 m m . " It is
of bleaching soda, not simply carbonated
interesting that his suggestion corresponds
water. See my i n t r o d u c t i o n and the glossary
essentially t o current practice in the United
for further discussion of "soda solution" and
States (although he subsequently indicates that
bleaching soda.
large prints should be hinged at the sides),
134 Marginal note by C. S.: "Crazy! Must be treated except that g u m m e d paper has been supplant
in a tray." ed by Japanese paper and starch paste. Also, it
135 Schweidler means to say that a print that is is interesting that he recognizes in the f o l l o w i n g
affixed t o a w o o d e n board should not be sub sentences that his suggestion for hinging is not
merged face up in a tray of water because the the n o r m and that it is usually assumed that the
w o o d e n board w o u l d absorb water, begin t o hinges w o u l d be affixed along the left edge of
bow, and thus damage the print. (Weighting the picture.
w i t h bottles relates to the fact that the w o o d e n

139 Presumably he means that if the hinges are
board w o u l d of course be buoyant and w o u l d
placed so that they are flush w i t h the left and
impede w e t t i n g of the print unless one were
right edges, this might become apparent as
t o w e i g h t d o w n the board to keep the print
soon as the viewer tries t o lift the sheet. By
submerged.) Thus he recommends that the
observing that "more space or distance will
print should be placed face d o w n into the
deceive the viewer," he means that placing
water w h i l e applying water t o the back of
the hinges farther away f r o m the edges (i.e.,
the board t o counteract any b o w i n g of the t o w a r d the center of the t o p edge) might per
w o o d e n board. m i t the viewer t o start t u r n i n g the sheet w i t h
136 It may not be apparent, but this illustration o u t quickly encountering the resistance (and
represents t w o adjacent book pages that have hence a warning) that w o u l d occur if the hinge
been opened o u t flat t o show the presence o f were attached near the left and right sides,
numerous w o r m h o l e s . The location of the holes near the t o p corners.
in one page is therefore mirrored by those in

140 That is, the picture is n o w rotated on its hinges
the other page. The author explains that for the
so that it is t u r n e d w i t h its f r o n t facing d o w n .
sake of more efficient treatment, contiguous
141 I have been unable t o determine exactly w h a t
clusters of holes should be cut out, as has been
he means by "museum board" but assume that
done on the page on the right, thereby reduc
t h e n , as now, some kind of cardboard was
ing the problem t o that of repairing a f e w large
available that was regarded as being better in
holes rather than many small ones. Note that
quality than ordinary cardboard.
the numbers 1, 2, and 3 m e n t i o n e d in the cap
t i o n of this figure were o m i t t e d in the actual 142 The author seems t o suggest removing all the
illustration. deteriorated paper f r o m beneath the upper
"skin" (surface) of the sheet, but steps for

137 In mathematics, the golden section is a geo
replacing or repairing this portion of the paper
metric p r o p o r t i o n in w h i c h a line is divided
are not given.
or sectioned into w h a t are called mean and
extreme ratios. Since ancient times, the golden 143 "Sollten sich gelegentlich kleine Faltchen
section has intrigued many philosophers, artists, zeigen " The w o r d Faltchen can mean "small
and mathematicians. In practical terms, if a line folds, pleats, creases, wrinkles, or puckering,"
is divided into t w o segments, the length of the all of w h i c h seem t o suggest a surface quality
larger of the t w o will be approximately three- that, in the context of this sentence, seems t o o
fifths the length of the entire line. Therefore, in abrupt or sharp. The verb fatten can mean "to
this case, the author suggests that the w i d t h of cockle," so it is this c o n n o t a t i o n that seems
the b o t t o m margin of the mat should be about most appropriate t o convey here.
three-fifths of the c o m b i n e d w i d t h s of the t o p
and b o t t o m margins.
144 The reference t o stretching pertains t o the into a f o r m that is more readily soluble. For this
procedure for drying and flattening prints reason it has long been m e n t i o n e d as a reagent
described in an earlier section (pp. 1 3 0 - 3 6 ) . that can remove iron stains f r o m organic mate
rials such as paper.

145 The author seems t o be saying that t w o layers
of oilpaper w i l l provide sufficient protection 154 That is, re-create the watermark on the backing
for a print if the oilpapers are put between the sheet by shaving away fibers so as t o corre
print and the backboard, but obviously one spond exactly w i t h that p o r t i o n of the original
might w o r r y w h e t h e r oilpaper itself could harm watermark that remains on the f r o n t of the
the print. stamp. The backing sheet, w i t h its re-created
watermark, is then affixed t o the stamp so that

146 Marginal note by C. S.: "It also turns blue w i t h
both the original p o r t i o n of the watermark and
alcohol alone."
the re-created p o r t i o n coincide. For more on
147 It is not clear w h i c h sulfur gases the author has h o w the shaving of paper is done to create
in m i n d , nor has it been possible t o identify wire lines, see pp. 118-19.
"T-gas," but presumably the latter is a p r o p r i
155 This is incorrect. See glossary.
etary gaseous c o m p o u n d used for extermina
t i o n of insects. 156 See also the section on "antidotes" for chlorine,
p. 66.
148 See Editor's I n t r o d u c t i o n , p. 1.
157 See glossary.

149 See glossary.
150 See glossary.
151 The inclusion of d r y p o i n t under the heading
"Etching" may be puzzling because it is properly
regarded as a m e t h o d of engraving. In succeed
ing paragraphs, however, the author indicates
that the d r y p o i n t technique is often used as an
adjunct to the etching process in order t o exe
cute new lines and add details.
152 The catalogs of the M i c h e l company are still
w i d e l y k n o w n as resources for information on
stamps f r o m countries t h r o u g h o u t the w o r l d ,
and the company also offers specialized cata
logs relating t o Germany. The Senf Brothers,
in Leipzig, were active f r o m around the 1870s
well into the t w e n t i e t h century. Thus far, I have
f o u n d no catalogs by either M i c h e l or Senf
f r o m Schweidler's era that contain information
about the price of stamps as well as directions
for cleaning t h e m , as Schweidler indicates. As
t o the activities of Louis and Richard Senf, h o w
ever, it is w o r t h n o t i n g that they are included
in a book on forgers of stamps. It seems that
they were k n o w n for producing high-quality
facsimile reproductions of stamps that were
clearly marked as "falsch" or "facsimile," but
they also made and sold some forgeries as well
(Tyler 1991:115-16). I am grateful t o George S.
N o r t o n , Curator o f Philatelic Collections,
Spellman M u s e u m of Stamps and Postal
History, for his assistance w i t h my inquiries.
153 Chemically, oxalic acid is a chelating agent; that
is, it is able t o react w i t h metal ions (such as
iron), thus effectively converting the metal ions

APPENDIX
Eleven Case Studi
In assessing the c o n d i t i o n o f a p r i n t or d r a w i n g , the conservator, curator, or
collector must t r y t o answer many questions, such as w h e t h e r there is any
retouching, w h e t h e r t h e color and t h e texture o f t h e paper seem appropriate,
and w h e t h e r there is evidence of f o r m e r stains, or chemical t r e a t m e n t t o
remove t h e m . A n s w e r i n g only these questions is challenging, b u t occasionally
one also may discover t h a t t h e basic structure of the paper s u p p o r t has been
repaired or, in some instances, substantially altered. Sometimes these structural
changes may be fairly obvious, b u t t h e y can also be so difficult t o detect t h a t
t h e i r presence may go u n n o t i c e d for many years.
A l t h o u g h there are many facets o f Schweidler's b o o k t h a t are fascinating,
one o f t h e most interesting and i m p o r t a n t is his detailed instructions on h o w
t o execute structural repairs and alterations (sometimes, major reconstructions),
w h i c h , if skillfully d o n e , can be so effective as t o be nearly invisible. It is thus
f i t t i n g t o include in this appendix several prints t h a t illustrate such repairs or
alterations. I hope t h a t these examples w i l l help readers t o become more adept
at d e t e c t i n g t h e m . Structural changes in some o f t h e prints described b e l o w
(Raimondi, Massacre of the innocents; Rembrandt, Landscape with a Cottage
and a Large Tree; Lucas van Leyden, Susanna and the Elders) are n o t especially
difficult t o discern — p r o v i d e d t h a t one knows in advance t h a t the kinds o f
alterations t h e y illustrate were in fact p e r f o r m e d on prints. O t h e r prints illus
trate t h a t some repairs or alterations can be extraordinarily difficult t o detect.
O n e p r i n t t h a t is k n o w n t o be an o u t r i g h t forgery (Urs Graf, Two Landsquenets
with a Maid and Death) is included as an example o f a fake w a t e r m a r k (for
Schweidler's discussion o f h o w t o create w i r e lines in paper, and hence a w a t e r
mark, see t h e section " I m p l a n t i n g t h e W i r e Lines" (pp. 118-20). I regret t h a t no
examples o f false margins are included, b u t I could find no satisfactory means of

A P P E N D I X 221
c o m m u n i c a t i n g w h a t t h e y look like t h r o u g h p h o t o g r a p h i c illustrations. The task
o f f i n d i n g false margins must be left as "an exercise f o r t h e reader," b u t e x a m
ples a b o u n d in virtually every large p r i n t c o l l e c t i o n .
W h e n t h e y first entered the collections o f w h i c h t h e y are n o w a part, some
o f t h e examples in t h e f o l l o w i n g pages were n o t initially recognized as prints
bearing moderate t o substantial changes or repairs t o t h e i r paper supports.
This fact p r o v i d e d my initial m o t i v a t i o n for this translation project: if one needs
t o detect certain features in a p r i n t or d r a w i n g , it is helpful if one k n o w s b o t h
t h e kinds o f things t h a t could have been d o n e and t h e techniques by w h i c h
t h e y were d o n e . The w o r k s on paper s h o w n here serve t o illustrate the m e t h
ods described in Schweidler's manual, b u t the main goal in assembling these
examples is t o help acquaint t h e reader w i t h ways in w h i c h one can discern
t h e presence o f structural features o f paper supports t h a t m i g h t otherwise elude
d e t e c t i o n . As m e n t i o n e d above, some o f t h e examples s h o w repairs or alter
ations t h a t one can discern w i t h relative ease; b u t even the most apparent o f
these can be vexing if one has never e n c o u n t e r e d t h e m before. In any event,
s h o w i n g some o f t h e simplest examples can be a useful foil against w h i c h t o
compare t h e most challenging, in w h i c h t h e level o f skill required t o have
executed t h e repairs is q u i t e remarkable. The Cleveland Pollaiuolo is such
an example.
The first e n c o u n t e r w i t h a deceptive repair can generate paranoia—one
begins t o see deceptive repairs everywhere — b u t one should n o t assume t h a t
t h e examples given here are extremely c o m m o n . Nevertheless, awareness o f
w h a t one may e n c o u n t e r can be a means t o become a better conservator,
curator, or collector.
Tools and Techniques for Examination
For d e t e c t i n g deceptive repairs, t h e best starting place is one's o w n eyes, aided
by excellent light; n o r t h light is especially h e l p f u l . I am often impressed w i t h
h o w m u c h one can see w i t h these simple means, coupled w i t h insistence on
understanding anomalous features o f an a r t w o r k and provided t h a t one knows
w h a t sorts o f things one m i g h t f i n d . W h e n examining a print w i t h light directed
across its surface at a l o w angle, w h y does the paper buckle w h e r e it does?
W h y does t h e surface texture of t h e paper change in a particular area? W h y is

the paper t h i n n e r in certain areas w h e n examined w i t h t r a n s m i t t e d light? W h y
is t h e paper s o m e w h a t stiffer than one m i g h t ordinarily expect? W h e n looking
at a picture w i t h strong light b o u n c i n g off its surface, w h y are there variations
in the gloss or reflectivity o f t h e paper? In t r y i n g t o obtain the best possible
p h o t o g r a p h i c illustrations for this book, I have often been frustrated in t r y i n g t o
capture in photographs those subtle features one's o w n eyes can discern. One
e l e m e n t o f the process o f examination is simply impossible t o duplicate in a
p h o t o g r a p h : the subtle ways in w h i c h color, t e x t u r e , and reflectivity o f paper
can change as one moves a p r i n t slightly or as one shifts v i e w i n g position in
relation t o t h e print. I have often wished t h a t instead o f photographs I could
offer a video presentation o f w h a t t h e prints look like under varying conditions
of lighting. O n t h e o t h e r hand, given t h a t many of the prints s h o w n here are in
t h e collection o f t h e M u s e u m o f Fine Arts, perhaps the reader w i l l accept this
open invitation t o see t h e originals in person. The o t h e r collections represented
are also open t o t h e public and w o u l d no d o u b t be w i l l i n g t o make their prints
available t o visitors.
W h i l e direct observation w i t h one's o w n eyes is generally t h e best way t o
begin examination o f a print, special e q u i p m e n t can also provide useful supple
mentary i n f o r m a t i o n . Auxiliary e q u i p m e n t and techniques include a binocular
microscope, ultraviolet light, betaradiography, x-radiography, and infrared imag
ing. Technical or scientific e q u i p m e n t is generally most useful in p r o v i d i n g clues
one m i g h t have missed t h r o u g h direct visual examination and in c o n f i r m i n g or
helping t o provide p h o t o g r a p h i c d o c u m e n t a t i o n o f repairs or alterations. The
binocular microscope is o f considerable value chiefly because it allows one t o
magnify small features and t o see t h e m in three dimensions. It is especially
helpful for revealing m i n u t e variations in t h e finest details o f paper texture,
microscopically fine ridges w h e r e one layer o f a paper repair m i g h t overlap
o n t o t h e original, and evidence of scraping by a knife or r e t o u c h i n g along a
j o i n . Fiber o p t i c light sources for microscopes are n o w available in w h i c h the
l i g h t - e m i t t i n g glass fibers are held in a flat, linear configuration t h a t can be
especially effective in enhancing textural features o f paper.
W h e n examining a p r i n t or d r a w i n g w i t h ultraviolet light, one may see
variations in paper color or residues o f adhesive, or certain areas t h a t look quite
normal under visible light may appear unexpectedly absorptive (dark) or fluores-
A P P E N D I X 223
cent (light). All such anomalies should be scrutinized by every means possible.
Betaradiography and x-radiography have been used for several decades t o
record accurately details o f watermarks (Kushel 1999:116-23; Stevenson 1967),
b u t because t h e y are so effective at revealing m i n u t e features of paper structure,
they can be helpful in ferreting o u t the t r u t h a b o u t a print (see the discussion
b e l o w a b o u t Durer's Adam and Eve and van Dyck's Portrait of Lucas Vorsterman).
The newest t e c h n i q u e for discovering repairs in prints is infrared imaging.
Using infrared wavelengths f r o m around 3.0 t o 5.8 m i c r o n s , AAoyna Stanton

1
and her colleagues at the Cleveland M u s e u m o f A r t have had notable success in
revealing and d o c u m e n t i n g repairs in their impression o f Pollaiuolo's Battle of
the Nudes and have p r o d u c e d an informative w e b site w i t h details and images
relating t o t h e i r research. They have kindly agreed t o a l l o w a f e w o f these

2
images t o be reprinted below. Infrared imaging has been in use for many years
t o study u n d e r d r a w i n g in paintings,- b u t its application t o t h e study o f repairs in
works on paper is so new t h a t it is still unclear w h y it w o r k s . Indeed, it was sur
prising t o find t h a t infrared imaging w o u l d be so useful in making repairs in
paper more visible. Infrared light has been w i d e l y used f o r the study o f paint
ings and occasionally in research on w o r k s on paper because it is effective at
revealing u n d e r d r a w i n g and o t h e r features t h a t may ordinarily be concealed
beneath layers o f paint, b u t this is the first t i m e t h a t anyone has tried using this
particular p o r t i o n o f t h e infrared spectrum t o record and d o c u m e n t repairs o f
w h i c h it may be otherwise difficult t o capture images.

NICOLAS LANCRET, THE SKATER
Figure A.1. Nicolas Lancret, The Skater (study

for Winter), ca. 1 7 3 5 - 3 8 . Red chalk on cream
laid paper. 20.6 x 12.9 cm. Fine Arts
Museums of San Francisco, Museum
Purchase, Achenbach Foundation for Graphic
Arts Endowment Fund, 1964.133.
Provenance: Jean Masson; Georges de

Batz (after 1953); Achenbach Foundation for
Graphic Arts purchase, 1967.
This drawing is included here to illustrate

t w o points: structural alterations are found
in drawings as well as prints; and w h e n t w o
pieces of paper are j o i n e d , buckling often
results along the j o i n (see the Altdorfer print
below) unless they are pasted or glued to
another sheet of paper or to cardboard.
W h e n the drawing is viewed under illumina
tion coming more or less from the front, as in
figure A.1, it is not immediately apparent that
a piece of paper has been added at the lower
left. Figure A . r a shows the line along which
the t w o sheets of paper are j o i n e d . The color,
texture, and presence of minute impurities in
the t w o sheets—the original and the added
paper—were chosen w i t h considerable care,
and until I examined the drawing carefully in
conjunction w i t h curatorial research for a cat
alogue (Hattis 1997), no one had noticed that
a piece of paper had been added, presumably
in order to repair the loss of the lower left
corner. Knowing that part of the original
sheet has been lost and that a piece of paper
has been added to the original has consider
able effect on one's understanding of the
drawing. The drawing might once have been
continued at the left—possibly a sketch of
the sled that the standing figure is pushing—
but the visual effect of the blank paper is to
deny this possibility. Figure A/i.b d e m o n
strates h o w useful it can be to examine draw
ings and prints w i t h raking light, which easily
reveals the buckling along the j o i n and, in
t u r n , provides strong evidence of the repair.
A P P E N D I X 225
Drawings are commonly laminated, or, | Figure A.i.a.
as it is sometimes called, "mounted," onto a Nicolas Lancret, The Skater.
secondary support of thin cardboard, and if Detail showing j o i n between the
original and the added paper.

that has been done in this instance it would
been more difficult to detect the repair. In Fine Arts Museums of San Francisco,
Museum Purchase, Achenbach Foundation
the past, prints, too, were affixed to second
for Graphic Arts Endowment Fund,
ary supports (pages of albums or books), but 1964.133-
for many decades it has been more common
for prints to be sold "loose," without such | Figure A.i.b.
secondary supports. Therefore, if the restorer Nicolas Lancret, The Skater.
judges it necessary to apply a secondary sup Raking light view s h o w i n g the
buckling along the j o i n .

port in order to overcome the buckling that
can result when a print has been repaired Fine Arts Museums of San Francisco,
Museum Purchase, Achenbach Foundation
with one or more pieces of paper, he or she
for Graphic Arts Endowment Fund,
may attempt to downplay or conceal its pres 1964.133-
ence by opting to use a lining of extremely
thin paper rather than thin cardboard or
paper of an ordinary thickness. Among the
following examples, the Rembrandt, Durer,
and van Dyck have been lined with a thin
sheet of paper.
MARCANTONIO RAIMONDI,
MASSACRE OF THE INNOCENTS
(WITH THE PINE TREE)
Figure A.2. AAarcantonio Raimondi, Massacre illustration that buckling of paper can be an
of the Innocents (with the Pine Tree), 1511-12. important clue to the presence of structural
Engraving, Bartsch 18, first state. 28.3 x repairs and demonstrates that the simplest
43.31 c m . Museum of Fine Arts, Boston, techniques of examination —in this instance,
Harvey D. Parker Collection, P1217. raking light—can be fruitful in detecting such
Photograph © 2005 Museum of Fine Arts, repairs. It is also interesting historically as an
Boston. example of a repair performed in the nine
Provenance: Purchased by M F A , teenth century.
November 1897, from the estate of Henry F. The majority of the print is intact,
Sewall (1816-96, N e w York, L u g t i 3 0 9 ) ; although it is somewhat rubbed and has
Louis Gallichon (Lugt 1060); Ambroise an overall grayish color. Approximately
Firmin-Didot (Lugt 119). V4 inch of the entire bottom edge has been
repaired by the addition of paper; from A 3
to 1 A inches across the entire top have been

3
The repairs in this print, though extensive, added; and there are numerous instances of
are relatively easy to detect, although if damage to the paper and image throughout,
framed behind glass, it might pass as a which have been repaired by various fills
print in fairly good condition. This is a good and retouching.
A P P E N D I X 227
| Figure A.2.a.
Marcantonio Raimondi, Massacre
of the Innocents (with the Pine Tree).
View w i t h raking light.
Examination w i t h raking light (figs. A.2.a, Photograph © 2005 Museum of Fine

Arts, Boston.
A.2.d) easily reveals areas of buckling along
the t o p and b o t t o m of the sheet, corres
ponding t o where paper repairs were added. collection through purchase funds provided
Use of ultraviolet light (fig. A.2.b) shows that by Harvey David Parker. The stamp of Firmin-
the repairs fluoresce differently from the orig Didot overlies the restorations along the bot
inal paper, thus confirming the presence of t o m edge, which were probably done at the
the repairs. We also examined the print w i t h same time as the more apparent restorations
infrared (see discussion below regarding the along the t o p edge and elsewhere. Therefore,
Pollaiuolo), but in this instance this technique it seems plausible that all the restorations
yielded no additional information. were done before Firmin-Didot's death in
On the back of the print, the three col 1876. Considering that it was in three very
lector's marks (see provenance information, important private collections subsequent t o
above) suggest the probable sequence of these restorations and prior t o its acquisition
owners: Ambroise Firmin-Didot (1790-1876), by the M u s e u m of Fine Arts, one might
Louis Galichon ( 1 8 2 9 - 9 3 ) , and Henry F. w o n d e r whether experts in the nineteenth
Sewall (1816-95). It was acquired by the century were less adept at discerning restora
Museum of Fine Arts in 1897 from the Sewall tions; but the description in the catalogue
| Figure A.2.b. I Figure A.2.c.

AAarcantonio Raimondi, Massacre of AAarcantonio Raimondi, Massacre of
the Innocents (with the Pine Tree). the Innocents (with the Pine Tree).
Detail, upper left, ultraviolet light Detail, upper left, normal lighting.
fluorescence. Photograph © 2005 Museum of Fine
Photograph © 2005 Museum of Fine Arts, Boston.

Arts, Boston.
A P P E N D I X 229
| Figure A.2.d.
Marcantonio Raimondi, Massacre
of the Innocents (with the Pine Tree).
Detail upper left, raking light.
Photograph © 2005 Museum of Fine

Arts, Boston.
for the 1 8 7 7 sale of the Firmin-Didot collec the length of the added margin may be sev
tion states clearly that the print is restored. 3
eral centimeters long. Remarkably, the Lucas
Therefore, a more plausible assessment of van Leyden print, discussed below, shows
the print is that because it is quite rare virtually no buckling.) It is plausible that the
and because there was great demand for buckling n o w evident in the Raimondi was
Raimondi's prints in the late nineteenth not immediately apparent f o l l o w i n g the
century, collectors were simply willing to restoration but only developed over time
overlook its defects for the sake of adding as a result of differences between the expan
a rarity t o their collections. sion and contraction characteristics of each
The restorations of the print have led to paper. Buckling along a j o i n is also seen in
the kind of buckling that sometimes, but not the Altdorfer, discussed below. In prints
always, results from j o i n i n g t w o different whose margins have been lost and where
papers (the original and the repair paper) extremely narrow margins ("thread margins")
(figs. A.2a, A.2.d). Buckling such as this seems have been added, buckling may not occur as
to occur more often in instances where the readily, presumably because the added paper
j o i n extends for more than one or t w o cen is so narrow that its o w n characteristics of
timeters and where both papers are more expansion and contraction w i t h changing
than a few millimeters w i d e . (The addition of humidity are overridden by the behavior of
narrow margins t o prints can sometime cause the print itself. 4
buckling, but often there is none, although

REMBRANDT HARAAENSZ.
VAN R U N , LANDSCAPE WITH A
COTTAGE AND A LARGE TREE
Figure A.3. Rembrandt Harmensz. van Rijn, the paper) to reveal important information
Landscape with a Cottage and a Large Tree, that one might otherwise miss. Figure A.3.C
1641. Etching, Hind 178. Harvard University gives dramatic evidence that there is some
Art Museums, Gray Collection 3267. Courtesy thing very odd about this print. There is a
of the Fogg Art M u s e u m , Harvard University long, irregularly linear pattern in the surface
Art Museums. Gift of William Gray from the horizontally across the middle of the back,
collection of Francis Calley Gray. Photo: Allan almost as if someone had creased the print
Macintyre. © 2004 President and Fellows of from the front and had caused the paper to
Harvard College. protrude upward on the back wherever the
Provenance: Francis Calley Gray, to front was creased. This anomalous feature
Harvard University, 1857. corresponds exactly to the location of the

contours of the horizon.
A similar pattern, toward the left side,

At the first glimpse of this print, someone coincides on the front w i t h the opening in
familiar w i t h Rembrandt's prints is likely to the branches and leaves of the copse of
be suspicious: the sky has none of the subtly trees next to the cottage. The reason for this
atmospheric veil of plate tone or subtle sug becomes clear w h e n the print is examined
gestions of cloudiness that one should see w i t h transmitted light (fig. A.3.d). Note that
in a good impression (see fig. A.3.a). Viewed the spacing of the parallel wire lines in the
w i t h nondirectional light, or if the light is paper in the area of the sky (and in the o p e n
mostly from overhead, the back of the print ing in the trees) is farther apart than in the
(fig. A.3.b) may look normal. I selected this b o t t o m half of the print, although some
print, however, as an excellent example of effort seems to have been made to try to
the power of raking light (light directed from line up the chain lines of both papers. The
the side at a very low angle to the surface of inescapable conclusion is that t w o separate
A P P E N D I X 231
| Figure A.3.a.
Rembrandt Harmensz. van Rijn,
Landscape with a Cottage and a
Large Tree, 1641. Etching, Hind 178.
Plate mark: 12.7 x 32.1 c m . Sheet:

pieces of paper have been spliced together.
13.7 x 33.8 c m .
There is no way to know w h y such extensive
Museum of Fine Arts, Boston. Harvey D.
"reconstruction" was undertaken. Was there
Parker Collection, P609. Photograph
extensive damage in the sky? Were there © 2005 Museum of Fine Arts, Boston.
unsightly stains? Or was it simply an instance
where some blemish would have decreased
the price of the print in the marketplace? 5
With light coming through the print

(figs. A.3.d A.3.e), small thinned areas are
r
also visible along the contours of the horizon,

the cottage, and around the opening in the
trees. If the two papers were joined by shav
ing down overlapping edges and then past
ing them together, the thinned areas must used for this lining must be remarkably thin,
be places where the restorer failed to match probably only about 0.002 to 0.003 inch
the thickness of the overlapping edges so thick. Microscopic analysis of fibers in the
that w h e n pasted together their combined lining sheet showed that the paper is made
thickness would have equaled the surround of linen. Given that this work must have
ing paper. been done before 1857, w h e n Francis Calley
Perhaps partly to conceal any flaws in the Gray died and left his collection to Harvard,
joinery and perhaps to try to make the print there are several possibilities for the kind of
lie as flat as possible, at least initially, the paper that could have been used for the lin
entire back of the print was lined with a ing. One is "pottery transfer tissue," which
piece of paper. Measuring the present thick was used since the eighteenth century as a
ness of the lined print showed that the paper means of transferring printed designs onto
I Figure A.3.b. I Figure A.3.C.

Rembrandt Harmensz. van Rijn, Rembrandt Harmensz. van Rijn,
Landscape with a Cottage and a Landscape with a Cottage and a
Large Tree. Harvard University Large Tree. Harvard University
A r t Museums. A r t Museums.
View of back. View of back, raking light, showing
Photo: Allan Macintyre. Photograph ridge that follows the main contours
© 2004 President and Fellows of of the image.
Harvard College.
Photo: Allan Macintyre. Photograph
© 2004 President and Fellows of
Harvard College.
A P P E N D I X 233
I Figure A.3.d.
Large Tree. Harvard University
Art Museums.
View w i t h transmitted light. Note
t h i n n e d areas along t h e contours
of the landscape, t h e cottage, and
the opening in t h e trees.

© 2004 President and Fellows of
Harvard College.
I Figure A.3.e.
Large Tree. Harvard University
Art Museums.
Detail view w i t h transmitted light,

unfired pottery, prior t o glazing and f i r i n g . 6
t o show t h i n n e d areas along t h e

A n o t h e r is early-nineteenth-century cylinder
contours o f the cottage and land
machine-made papers, such as those pro
scape, w h i c h is evidence o f t h e
duced by Gilpin, w h i c h were made t o be
joins between t h e original and t h e
especially t h i n for the popular "gift" books of added paper.
the day. A t h i r d possibility is that a sheet of
7

paper of the thickness of book paper (about © 2004 President and Fellows of
0 . 0 0 5 - 0 . 0 0 6 in. thick) could have been split Harvard College.
into t w o layers, as described by Schweidler.
This procedure w o u l d have produced t w o
sheets, each half the thickness of the original,
and either half could have been used as a
t h i n lining paper.
MARTIN SCHONGAUER,
ST. JOHN THE BAPTIST
Figure A.4. Martin Schongauer, St. John This print is a good example of a practice
the Baptist, 1 4 7 0 - 9 1 . Engraving, Bartsch 54. known in the w o r l d of prints as "silhouet
Plate mark: 15.5 x 9.9 cm. Museum of Fine ting." Prints to which this is most often done
Arts, Boston. 23.894. Photograph © 2005 are those in which the main part of the
Museum of Fine Arts, Boston. image is visually distinct from a surrounding
Provenance: O. Gerstenberg; Gift of of blank paper. The van Dyck Portrait of Lucas
W. G. Russell Allen, 1923. Vorsterman (see below) is another example. 8
In this instance the print also has some

retouching w i t h a shiny ink, and also recon
struction of some of the lines in the hair, the
A P P E N D I X 235
I Figure A.4.a.
M a r t i n Schongauer, St. John
the Baptist.
originals of which were lost in conjunction Detail of area around the head,
showing boundaries between the
with the silhouetting. Figure A.4.a shows
original print and the added paper.
the boundaries between the original and the
added paper. Another feature of this print is
Arts, Boston.
that it has evidence of scraping to create a
portion of a watermark. There was a water
mark in the original, but because of the sil
houetting, slightly more than half of this
watermark was lost. To simulate the missing
portion of the watermark in the surrounding
| Figure A.4.D. •I Figure A.4.C.

M a r t i n Schongauer, St. John M a r t i n Schongauer, St. John
the Baptist. the Baptist.
View of back of print. Note bull's View of back of print, w i t h trans
head watermark (upside d o w n ) at m i t t e d light. Note bull's head water
right. The half of the watermark on mark (upside d o w n ) at right. The
the print is original. The half that p o r t i o n of the watermark on the
extends o n t o the surrounding paper print is original. The p o r t i o n that
is false, having been created by extends o n t o the surrounding paper
scraping away paper fibers. is false, having been created by
Photograph © 2005 Museum of Fine scraping away paper fibers.
Arts, Boston. Photograph © 2005 Museum of Fine

Arts, Boston.
A P P E N D I X 237
| Figure A.4.d.
M a r t i n Schongauer, St. John
the Baptist.
M i c r o p h o t o g r a p h , showing the
roughening o f paper fibers where the
paper was scraped t o create a false
watermark (red). The m i c r o p h o t o
blank paper, the paper was carefully scraped
graph also shows retouching in the
away on the front and, to a lesser degree, on
f o r m of minute, short strokes of gray
the back of the added paper (see figs. A.4.b,
ink or watercolor, to simulate the
A.4.C). Figure A.4.d shows the roughened appearance of printing ink coming
paper fibers where the false watermark was through the paper f r o m the printed
produced, as well as some retouching in gray image (blue).
ink or watercolor in order to simulate the Photograph © 2005 Museum of Fine

appearance of ink coming through the paper Arts, Boston.
from the printed image. For Schweidler's

directions for simulating wire lines (and
hence watermarks) by scraping away paper
fibers, see pages 118-20. Also see the discus
sion below about the Urs Graf print, in which
the entire watermark is false.
LUCAS VAN LEYDEN,

SUSANNA AND THE ELDERS
Significant portions of this print have been
Figure A.5. Lucas van Leyden, Susanna and removed and replaced with portions of
the Elders, ca. 1508. Engraving, Bartsch 33, another sheet, as with the Rembrandt and
second state. Image: 19.8 x 14.5 cm. Sheet: Schongauer above. Unlike the Rembrandt,
19.9 x 14.6 c m . Museum of Fine Arts, however, it is not lined (fig. A.5.a), and unlike
Boston, 63.2829. Photograph © 2005 the Schongauer, the contours along which
Museum of Fine Arts, Boston. the original paper was cut away are much
Provenance: Gift of Mrs. Lydia Evans more complex and irregular. In some places,
Tunnard in memory of W. G . Russell Allen, blank areas of the original paper were
1963. removed from within the boundaries of

A P P E N D I X 239
I Figure A.5.a.
Lucas van Leyden, Susanna and
the image proper, in effect creating holes that the Elders.
View of back.
then were filled in with the new paper. In a
few instances new ink lines had to be drawn
Arts, Boston.
in to replace some of the original engraved
lines that were lost when the original paper
was cut away.
This is an excellent example of what can
be seen with the simple means of using spec
ular illumination. Figure A.5.b shows the
print lying on a table, with light reflecting
| Figure A.5.0. Using another simple method of exami

Lucas van Leyden, Susanna and nation, transmitted light, it also becomes
the Elders. clear (figs. A.5.C, A.5.e) that the laid lines in
Specular illumination. The original
the original are much finer than those of the
portions of the paper of the original
added paper—conclusive evidence of what
print are noticeably glossier than the
has been done to this print. Mismatched laid
added paper.
lines were also a feature of the Rembrandt
mentioned above. Figure A.5.d shows the
Arts, Boston.
boundary lines of all the areas where the
off its surface. This method of illumination original and the new paper were joined.
involves placing the print midway between I often wonder w h y someone felt that
yourself and the source of illumination. Posi it was necessary to do this work. Perhaps
tion your eyes so that you view the print at there were some disfiguring stains in the
an angle to the table (about 3 0 - 4 5 degrees) blank areas of paper, but this does not easily
that is exactly equal to the angle between explain w h y it also seemed important to
the table and the lamp on the far side of the remove the smaller areas toward the interior
print. (If the print were a mirror, you would of the image, thereby creating holes that
see the lamp's reflection on its surface, hence would then have to be filled. In any case, w e
the term "specular" illumination.) With the in the paper conservation laboratory have
print illuminated in this manner, one can see found this to be useful pedagogically, in part
a dramatic difference in the reflectivity of because the "repairs" are remarkably exten
the paper of the original print and that of the sive but also because it is, after all, relatively
added paper. The paper of the print itself is easy to find them.
much glossier, having been in contact with a
metal printing plate and under great pressure
during the printing process.
A P P E N D I X 241
| Figure A.5.C. | Figure A.5.d.
Lucas van Leyden, Susanna and Lucas van Leyden, Susanna and
the Elders. the Elders.
Transmitted light. Transmitted light. The purple lines
indicate t h e boundaries b e t w e e n the

Arts, Boston. original print and the added paper.

Arts, Boston.
| Figure A.5.C
Lucas van Leyden, Susanna and
the Elders.
Detail, t r a n s m i t t e d light.

Arts, Boston.
ALBRECHT ALTDORFER,
ST. GEORGE AND THE DRAGON
Figure A . 6 . Albrecht Altdorfer, St. George In the course of examining this print (figs.
and the Dragon, 1511. Woodcut, Bartsch 55. A . 6 , A.6.a) in conjunction with a request to
Sheet: 19.5 x 15 cm. Museum of Fine Arts, borrow it, my colleague Elizabeth Lunning
Boston, 55.481. Stephen Bullard Memorial discovered that it had been repaired quite
Fund. Photograph © 2005 Museum of Fine deceptively. It took considerable time to
Arts, Boston. determine the extent of the repair, but it
Provenance: Purchased from Richard H. now seems clear that approximately 1 to
Zinser, 1955. 1V2 inches of the top of the print have been
replaced with paper that is remarkably similar
to the original (fig. A . 6 . b ) . Presumably this
A P P E N D I X 243
| Figure A.6.a.
Albrecht Altdorfer, St. George
and the Dragon.
View of back.
work was done to repair some kind of
damage or loss in the uppermost part of Photograph © 2005 Museum of Fine
Arts, Boston.
the print.
The first clue to the existence of the
repair was the buckling (fig. A.6.c) across the
top part of the sheet. Careful scrutiny of this
buckling, both from the front and the back of
the print, revealed no signs of glue, paste, or
other adhesives that might otherwise have
explained the buckling. With transmitted
| Figure A . 6 . b .
Albrecht Altdorfer, St. George and
the Dragon.
Detail. The red line shows w h e r e
the added paper is j o i n e d t o the t o p
o f the original print.

Arts, Boston.
I Figure A.6.C.
the Dragon.
Detail o f t o p o f print, raking light.
Buckling of the paper extends in a
more or less horizontal line across
the w i d t h o f the sheet. This buckling
was the first indication t h a t a p o r t i o n
of the t o p of t h e print had been
replaced w i t h added paper.

Arts, Boston.
A P P E N D I X 245
| Figure A.6.6.
the Dragon.
Transmitted light.
Note that, starting above the points
indicated by the arrows, the chain
lines in the t o p part of the print
(which was replaced w i t h a paper
repair) lack the p r o m i n e n t shadows
on either side of the chain lines, as
are visible in the rest of the print.
Also note that the chain lines of the
repair are slightly more distinct than
those in the original.

Arts, Boston.
light (fig. A . 6 . d ) , however, one can see a

subtle difference between the two papers:
the shadows on either side of the chain lines
in the original are essentially absent in the
added paper, and the chain lines in the
added paper are slightly more distinct than
those in the original. Also, the paper that
was added across the top has very slightly
less texture than in the rest of the print.
Moreover, w h e n viewed under a microscope,
there are a number of roughened fibers in
the area of the buckling, but these are so
difficult to discern that it was not possible
to obtain an adequate photograph of them.
Note that the provenance of this print

includes Richard H. Zinser, from w h o m the
M F A purchased the Housebook Master print
(below) and from w h o m the Cleveland
Museum of Art purchased its Pollaiuolo
(discussed below).
MASTER OF THE HOUSEBOOK,

BEARDED MAN WITH BLANK
SHIELD
Figure A.7. Master of the Housebook, This remarkable print (figs. A.7, A.7a) —one of
Bearded Man with Blank Shield, ca. 1 4 7 5 - 8 0 . only five in existence —has long been enjoyed
Drypoint engraving, Lehrs 85. Plate mark: as a great and beautiful work by the artist
9.3 x 7.3 cm. Museum of Fine Arts, Boston, w h o is often credited with inventing the
66.376. Katherine E. Bullard Fund in memory technique of drypoint engraving, but also
of Francis Bullard. Photograph © 2005 (and much less significantly from the art his
Museum of Fine Arts, Boston. torical standpoint) for its place in the lore
Provenance: Purchased from Richard H. of the Department of Prints, Drawings, and
Zinser (1966); Count von Maltzan (Castle Photographs at the Museum of Fine Arts.
Militsch, Upper Silesia, 20th century).

APPENDIX 247
| Figure A.7a.
Master of the Housebook, Bearded
The print was acquired in 1966, and when I Man with Blank Shield.
View of back.
began my apprenticeship with F. W. Dolloff
in 1967, the story surrounding its acquisition Photograph © 2005 Museum of Fine
Arts, Boston.
was still fresh. Eleanor Sayre, assistant curator
at that time, said that w h e n this print was
first presented to Henry Rossiter, the curator,
to consider for possible purchase, the dealer
(Mr. Zinser) had said that this impression
was from the prestigious collection of Count
Andreas von Maltzan. During study of the
| Figure A.y.b. print, Sayre consulted a large number of fac

N i n e t e e n t h - c e n t u r y photographic similes of Old Master prints that the depart
facsimile of Master of the ment had in its storerooms. Among these
Housebook, Bearded Man with
facsimiles was an old photograph (fig. A.7b)
Blank Shield.
that was identified as being of this specific
The arrows indicate w o r m h o l e s .
impression, but immediately a discrepancy
Courtesy Museum of Fine Arts, Boston. was noticed. The photograph showed four
wormholes: two in the blank paper above
the back of the man, one on the plate mark,
and another (rather hard to see in this old
photograph) in the man's cloak. The problem
was that in the impression left by the dealer
there were only three wormholes, and none
was in the same location as those in the
A P P E N D I X 249
| Figure A.7.C.
Man with Blank Shield.
Specular i l l u m i n a t i o n . N o t e t h a t the
areas t h a t correspond to the filled
w o r m h o l e s are duller in appearance
than the s u r r o u n d i n g paper, w h i c h
is burnished by the pressure of the
metal p r i n t i n g plate.

Arts, Boston.
photograph. The dealer had not disclosed the

fact that any repairs had been made. No one
was able to resolve this apparent problem.
As research continued, one day, accord
ing to Sayre, she was sitting in Rossiter's
office w h e n she happened to glance toward
the print, which was lying face up on a work
surface near a w i n d o w in the office. W h a t
then happened is a good example of how the
simple technique of using effective lighting
can often yield useful results. Suddenly, in
the light of the w i n d o w that was reflecting
off the surface of the print (probably rather
like the specular lighting mentioned above
with regard to the Lucas van Leyden print),
she saw three or four small areas on the print
that were slightly less shiny than the sur
rounding paper (fig. A.y.c) and realized that
these duller areas corresponded to the loca
tion of the wormholes as shown in the fac
simile photograph. This confirmed that the
print was indeed the one from the Maltzan
collection but left unresolved the means by
which the holes had been repaired, and why.
Several years later, I became interested in
Schweidler's book, having been introduced
to it by Christa Gaehde, and learned of his
technique of chamfered repairs. I examined
the print with transmitted light (fig. A j . d ) ,
but the places where the four old wormholes | Figure A.7.6.
had been filled looked quite good—scarcely Master of the Housebook, Bearded

different from any of the surrounding paper.
View w i t h t r a n s m i t t e d light.
With Schweidler's directions in mind (see the
section "Actual Mending or True Restoration,"
Arts, Boston.
pp. 109-22 and pp. 1 5 7 - 5 9 ) , I examined the
back of the print under very good natural
light, with the aid of a magnifying glass, and and is an excellent impression, with no draw
was able to see that the perimeter of each of back but a few w o r m holes." The photo
the four repairs (as seen from the back) was graphic facsimile above (fig. A.7.0), which was
slightly larger than the hole it filled and just probably made around 1890-1910, shows
slightly—but subtly—darker than the sur four wormholes—those that have since been
rounding paper. It is likely that the extremely repaired—and it is likely that these are the
thin chamfered outer edge of the repair wormholes to which Lehrs refers. It seems
paper has a minute amount of paste embed improbable that after having the repairs
ded in the fibers and that this causes a faint done, the print would have been stored in
difference in the color of the paper around a place where it would have once again been
the circumference of the repair. On the front, attacked by book worms. Instead, the more
the only evidence of the fill is, as noted likely scenario is that the repairs were done
above, that the repair is slightly less shiny in the late 1950s in preparation for its sale;
than the rest of the print, which is reason and if by that time there were seven w o r m -
able given that the surrounding paper would holes, surely all of them might have been
have been burnished by the intaglio printing filled. On the other hand, to have filled all of
process. Much more recently, having learned them —especially having done the repairs so
of the work done by M o y n a Stanton and her that they were almost undetectable —could
colleagues in Cleveland on infrared imaging have been problematic for possible pur
(see the discussion of the Pollaiuolo, below), chasers w h o , on checking Lehrs's catalog,
w e examined the print again. Using infrared would probably have uncovered the discrep
imaging, w e obtained an image of the back ancy between his description of the Maltzan
of the print, which provided useful photo impression (with "several wormholes") and a
graphic documentation not only of the print that had none. Following this reasoning,
repairs of the wormholes (fig. fKj.e) but it is conceivable that three unfilled " w o r m -
also—to our great surprise—a previously holes" were created by the restorer—in a
undocumented repair in the right side of the position so as to be less disfiguring than the
print (seen on the left in the image of the original holes—to avoid the discrepancy that
back). Even now that w e know of the pres otherwise would have arisen with Lehrs's
ence of this repaired tear, it is remarkable description. However, having now learned
how difficult it is to see any indication of the of the previously unrecognized tear, I wonder
repair: only a slight disturbance of the fibers if it was not the wormholes and a desire for
can be detected under ordinary light. their "relocation" and repair that precipitated
One puzzling aspect of the condition of having the print taken to a restorer but rather
this print remains. It is not surprising that the that their repair was merely occasioned by
four wormholes were repaired, given their the more immediate need to repair the tear
prominent location, but it is curious that in the right edge.
there are now three additional wormholes,
none of which was visible in the nineteenth-
century facsimile, although because of the
close cropping of the facsimile it would have
been possible to see only the new wormhole
that slightly interrupts the plate mark at the
upper right. In his catalogue of the prints of
the Housebook Master, Lehrs (1893:7) states
that "the print at Militsch [i.e., in the collec
tion of Count Maltzan] has its full margins,
A P P E N D I X 251
| Figure A.j.e.
Infrared image of back. N o t e the
dark circular lines around the
perimeters of the four repaired
w o r m h o l e s (red box) and the long
repair at the left (red arrow). The
four circles in the margins (blue
arrows) may be additional repaired
wormholes.

Arts, Boston.
ALBRECHT DURER,
ADAM AND EVE
Figure A.8. Albrecht Durer, Adam and Eve. This fine impression (figs. A.8, A.8.a) of one
Engraving. Harvard University Art Museums, of Durer's masterpieces entered the collec
Harvard University, G1055. Courtesy of the tion of the Fogg Art Museum, Harvard
Fogg Art Museums, Gift of William Gray University, soon after the death of the great
from the collection of Francis Calley Gray. benefactor, Francis Calley Gray, in 1856. For
Photograph by Allan Mclntyre. © 2004 well over a century its condition, which is
President and F e l l o w s of Harvard good, albeit with a somewhat browner paper
University. tone than comparable impressions, raised no
Provenance: Francis Calley Gray questions. In 2002 Marjorie Cohn, curator of
(1790-1856) prints, requested a betaradiograph in order
A P P E N D I X 253
| Figure A.8.a.
Albrecht Durer, Adam and Eve.
to provide a clearer image of the watermark, View of back.
which is faintly visible on the back under Harvard University Art Museums, Harvard
University. Photograph by Allan Macintyre.
raking light (fig. A . 8 . b ) , which is quite similar
© 2004 President and Fellows of Harvard
to the bull's head watermark reproduced in College.
Meder's (1932, no. 6 2 ) catalog of the prints
of Durer (fig. A . 8 . c ) . The betaradiograph
(fig. A.8.d) revealed a surprising feature. The
watermark was clearly visible running hori
zontally across the sheet; but in addition to
the set of wire lines associated with this
watermark, there was a second set of wire
| Figure A.8.b.
Albrecht Durer, Adam and Eve.
View of back, w i t h raking light. Note
bull's head watermark oriented h o r i
zontally across the t o p of the sheet.
The red arrows p o i n t t o the straight
lines that extend f r o m the t o p and
b o t t o m of the bull's head; the blue
line indicates the triangular design.
Harvard University Art Museums,

Harvard University. Photograph by Allan
Macintyre. © 2004 President and Fellows
of Harvard College.
I Figure A.8.c.
Bull's head watermark, M e d e r 62.
This is quite similar t o the watermark
f o u n d in Durer's Adam and Eve.
Reproduced from J. Meder, Durer-Katalog

(Vienna: Verlag Gilhofer & Ranschburg,
1932).
A P P E N D I X 255
I Figure A.8.d.
Betaradiograph of Albrecht Durer,
Adam and Eve.
Courtesy of Paper Conservation Laboratory,

Straus Conservation Center, Harvard
University. © 2004 President and Fellows
of Harvard College.
lines running perpendicular to the first. did not understand w h y these thicker places
Normally this suggests merely that there is a existed. W h e n viewing the front of the print
lining on the back of the engraving and that, with raking light, it appeared as though there
for some unknown reason, the lining was were four printer's creases near the bottom,
applied to the print with its wire lines at but when these "creases" were scrutinized
ninety degrees to those of the print. 9
with a binocular microscope it was clear that
However, as seen in the lower left quadrant they were not creases but fine cracks. The
of the betaradiograph, there is a prominent cracks did not continue all the way through
diffuse white line that starts at the left edge, to the back. Looking down into these cracks
runs about one-third of the way into the with very high magnification, a layer of paper
print, then vertically downward, and eventu fibers could be seen, and this layer seemed
ally slanting off to the right. Also, there are to be separate from the front of the print.
four narrower white lines at the lower right, Recalling that the cracks corresponded
not far from the more prominent line. to white lines in the betaradiograph, which
One should recall that the betaradiograph indicated greater thickness of paper, it then
is a negative and that thicker areas of the seemed clear that some additional paper
paper are recorded as lighter, whereas thin fibers had been put behind each of the four
places —such as the watermark and wire cracks, in effect to repair them. Microscopic
lines—are darker. This means that the white examination of the area on the front of the
lines just mentioned are thicker than the sur print that corresponded to the much longer
rounding paper. W h e n I first saw this print, I and more prominent white line revealed
subtle disturbance of the printed lines. As ing material, either paper or cloth, be affixed
with the cracks, the conclusion was that to both sides of the item to be split. Conse
some paper fibers must have been affixed to quently, one can expect that prints that have
the back of what was probably once a long, been split may show some evidence of a
irregular tear. Further, it was clear that the slight "fuzziness" of the printed surface, 11
lining had been applied to the back of the probably due to both disruption of the sur
print to conceal the added paper fibers and face of the print and the presence of rem
also that the print had once been torn. nants of fibers from the supporting material.
Viewed from the back, the paper appeared One might also find traces of residual adhe
perfectly intact. sive. In this instance, no adhesive residues
It occurred to me that while the paper are present, but the surface of the Durer
seemed somewhat stiffer and less supple does have a fuzzy appearance, although this
than that usually encountered for this engrav is scarcely visible without high magnification.
ing, it had not seemed as thick as one might It is tempting to speculate that the work
expect for the print and a lining paper. on this print might have been done by
Measurement of the paper showed it to be William A. Baldwin, who was employed in
only around five to six thousandths of an London by Colnaghi's since 1836, or perhaps
inch —no more than the normal thickness by his successor, Mr. C r i s b r o o k . 12
(There is no
of the print alone. Suddenly I realized that record of any treatment of the print after it
the only way to account for the thickness was accessioned by the Fogg Art Museum
would be to assume that the print had been in 1857.) In the mid-nineteenth century, split
split and furthermore that the lining might ting of prints must have been sufficiently
consist of another sheet of paper that had unusual that on learning that Baldwin had
also been split so that when the two sheets split a print for Michel Hennin, Bonnardot,
were glued or pasted together the net result w h o is sometimes regarded as the "first mod
would appear to be a normal thickness. ern paper conservator" (Stevenson 1995:117),
From all this, a likely scenario can be pro considered the feat remarkable (Hennin
posed. Somehow the engraving—a very fine, 1856:215-16). Walsh (2000:383) notes that
early impression —became torn. W h o e v e r information on the method of performing
repaired it did so by splitting or delaminating paper splitting was not published until 1883,
the print into two layers, discarding the back although as I have learned (see translation,
(or saving it for other projects). 10
Consider note 92), there is evidence that knowledge
ing that printers' creases are generally never of how to do this existed as early as the late
found in any impressions of this print, it is eighteenth century.
probable that the four cracks occurred as an It is unsettling to find this done for pur
unfortunate by-product of the splitting pro poses of repairing a print; it is equally unset
cess. Next, small quantities of paper fibers tling to know that splitting of prints was
(or very thin bits of paper) were pasted onto practiced as a means of adding new margins.
the back of the tear and the cracks. A second During the course of a recent exhibition of
sheet of paper was also split to yield a thin the work of Rembrandt, Annette Manick,
lining, which was then pasted onto the back paper conservator at the Museum of Fine
of the print. Arts, found at least one instance in which it
It is reasonable to suppose that the print was likely that margins had been added to a
and the lining paper were split using the print by splitting it and inlaying it into a
same technique described by Schweidler (see slightly larger sheet of paper, probably using
the section "Splitting Paper," pp. 1 0 4 - 6 ) . Orisbrook's method. As described by Tuer
Splitting of paper requires that some support (1882:1:92), to add new margins, Grisbrook
A P P E N D I X 257
would take a sheet of paper of the desired

size and quality and split it about two-thirds
of its length: "The print to be operated upon
is now split completely through, so as to
make it extremely thin, the edges having
been previously cut perfectly square and
close to the engraved work. A square piece,
corresponding exactly to the size of the print,
is then cut in its proper position (about the
center) from the face of the split portion of
the clean sheet of paper; the print is inserted
in its place, and the whole is carefully
mounted up, or pasted together, forming a
solid and homogeneous sheet. A print thus
treated naturally shows no marks of inlaying
at the back, which is a perfectly unbroken
sheet of paper, and the edges of the print
having been pared down to the substance
of tissue paper before mounting, the front
is equally unimpeachable." Considering that
Schweidler wrote about both paper splitting
and adding margins, it is surprising that he
did not at least indicate that the former could
be used as a means to carry out the latter.
URS GRAF, TWO LANDSQUENETS

WITH A MAID AND DEATH
Figure A.9. Urs Graf, Two Landsquenets with Although this print does not illustrate decep
a Maid and Death, 1524. Woodcut (deceptive tive repairs, it is an excellent example of a
replica), His 280; Luthy 49. Sheet: 20.7 x technique Schweidler mentions briefly: how
12.1 cm. Museum of Fine Arts, Boston, to make a fake watermark. Also, it is interest
61.1142. Katherine E. Bullard Fund in memory ing as a remarkable instance of a complete
of Francis Bullard. Photograph © 2005 forgery—one that illustrates how photo
Museum of Fine Arts, Boston. mechanical processes can be used to produce
Provenance: Purchased from William H. deceptive forgeries. Acquired in 1961 by the
Schab, 1961. Museum of Fine Arts, it was not until about
two decades later that it was determined to
A P P E N D I X 259
| Figure A.9.a.
Urs Graf, Two Landsquenets with
a Maid and Death.

Stamp applied t o lower left corner
of the back of the print.
Photograph 2005 Museum of Fine

Arts, Boston.
be a fake. A curator at the National Gallery in

Washing-ton, D.C., was considering purchase
of another impression of this image and
brought it to the M F A for comparison with
ours. Cliff Ackley, curator of prints, drawings,
and photographs at the M F A , told me that he
had concerns about our impression, largely
because it seemed to his eye a bit too heav
ily inked. He recalled seeing another impres
sion that seemed clearer and somewhat more | Figure A.9.b.
delicately inked and asked for an opinion Urs Graf, Two Landsquenets with
from the paper conservation laboratory. a Maid and Death.
W h e n I first examined this print, the View of back.
identity of the stamp at the lower left corner Photograph © 2005 Museum of Fine
Arts, Boston.
on the back (fig. A.9.a) was puzzling; it is
not in Lugt's comprehensive catalogs of col
lectors' marks (Lugt 1975, 1988). Years later, importance before they were e x p o r t e d . 13
while doing research as a Getty Scholar, I The back of the print (fig. A.9.b) looks
learned that the stamp may be bona fide completely normal at first glance, and in
(although I still have doubts, considering transmitted light the paper seems quite
what else has been learned about the print). consistent with what one would expect for
After World W a r II, this mark was applied by sixteenth-century paper. There is a watermark
authorities in Germany to objects of cultural that is difficult to see clearly with transmitted
| Figure A.9.C.
Urs Graf, Two Landsquenets with a
Maid and Death.
M i c r o p h o t o g r a p h of watermark,
v i e w e d f r o m the back of the print,
w i t h raking light.

Arts, Boston.
light but easily seen w h e n examining the (AAuller 2001). Most marks of this type often
back with raking light. It is also easy to see show at least the ears, eyes, and nostrils of
that the watermark is that of a bull's head. To the bull, but these are missing in ours.
make the design of the watermark clearer, it I recalled that Schweidler's book con
was photographed with raking light and sub tained directions for how one could artifi
sequently enhanced with color, as shown in cially create wire lines in paper, and hence
figure A.9.C. Piccard's (1966) album of trac a false watermark (see pp. 118-20). The tech
ings of bull's head watermarks contains none nique he described involves very carefully
that is similar to this one. In a recent catalog and methodically scraping away the paper
of Urs Graf drawings in Basel, Switzerland, with a sharp knife to create thin areas (just
there are a number of images of bull's head like a real watermark) in whatever pattern or
watermarks, but again, none is a good match design desired. Scrutiny of the watermark
A P P E N D I X 261
I Figure A.g.d.
Urs Graf, Two Landsquenets with a
Maid and Death.
AAicrophotograph of part of the false
bull's head watermark, showing
roughening and cutting of the paper
fibers.

Arts, Boston.
under high magnification (fig. A.9.d) showed um in Basel. The facsimile was made from
that paper fibers had indeed been roughened the photograph, in exactly the same size as
up and cut in order to create a semblance of the original, by first producing a metal relief
the bull's head printing plate. That is, the image on the
watermark. metal plate consists of raised lines (just as in
Considering that the watermark is fake the original woodblock used for Urs Graf's
and that the inking is atypical of the image, print). The raised lines are inked, and the
I wondered if the entire print were bogus. plate is printed on a sheet of paper. The fac
Among the facsimile reproductions at the simile was printed on modern, machine-
M F A there is one of this same image (fig. made paper, but it is obvious that if one were
A.9.e). It was made several decades ago by to have printed it on sixteenth-century paper
photographing an original print in the muse the image might be difficult to distinguish
262 R E S T O R A T I O N O F E N G R A V I N G S , B O O K S , D R A W I N G S , A N D O T H E R W O R K S ON PAP
| Figure A.9.e.
Photomechanically produced
(metal relief print) facsimile of
Urs Graf print.
Courtesy Museum of Fine Arts, Boston.

A P P E N D I X 263
from an original. 14
To make the print seem
more convincing, it would be even better if
it had a bull's head watermark. I suggested
to the curator that it seemed likely that our
print was a fake.
Some years later, I happened to be
discussing this curious print with a highly
respected dealer in Old Master prints. I was
startled when he said, "I know w h o did this,
but I promised that I would never reveal his
name." This dealer has since died. His chil
dren, w h o now carry on the business, con
firmed that their father did indeed know
w h o did this but that all that could be said
is that he helped " a young man w h o had
made a terrible mistake." I suppose the
author of this fake will never be known.
Considering all this, I still wonder if the
stamp on the back of the print is real or
whether that, too, was made by the forger.
After all, such stamps are very easy to make
or buy. On the other hand, if the forgery
were done prior to the end of World War II,
the stamp itself could be genuine.
ANTHONY VAN DYCK, PORTRAIT

OF LUCAS VORSTERAAAN
Figure A.10. Anthony van Dyck, Portrait of Surely there must have been considerable
Lucas Vorsterman, ca. 1630. Etching, engrav satisfaction and delight when this print was
ing, silhouetted and backed, with retouching acquired by the Museum of Fine Arts in 1925
in pen and black ink. Wibiral 14. Catalogue After all, the first states of this print are rare,
Raisonnee: NH 12. Probably second state and in this state all of the engraving was
(possibly third) falsified to appear as a first done by van Dyck himself. Only a few are
state. Sheet: 31.5 x 22.7 cm. Museum of Fine known to exist, and in 1925 the M F A did
Arts, Boston. 25.1143. Gift of Miss Ellen T. not own one. After completing his image of
Bullard. Photograph © 2005 Museum of Fine the sitter, van Dyck had his assistants add
Arts, Boston. the background shading and legend at the
Provenance: Gift of Miss Ellen T. Bullard, bottom, as seen in the fifth and final state
1925 (fig. A/io.a). The later states are less valuable
A P P E N D I X 265
I Figure A.io.a.
A n t h o n y van Dyck, Portrait of Lucas
Vorsterman, 1630s. Etching. Wibiral
14, fifth state. M u s e u m of Fine Arts,
Boston. Harvey D. Parker Collection,
P7564.

Arts, Boston.
than the first state, as they do not represent background of each there is the overall gray-
the work of van Dyck alone and are less rare. ness one associates with a film of ink left on
It is not known when someone first the plate —so-called plate tone. And because
began to suspect that something was amiss a copper printing plate is easily scratched, it
with this print, but it may have been some is not surprising to see a long scratch just
thirty or forty years after its acquisition. If above and to the right of the head. But
one compares this impression with a first notice that some others scratches or abra
state from the Art Institute (fig. A/io.b), there sions in the plate, present in the Art Institute
are persuasive similarities, even though the impression, are missing from the AAFA's print.
Art Institute's print has been trimmed across Other peculiarities can be found. For
the bottom, thereby removing the area instance, ordinarily the pressure of printing
where the title would have been. In the will cause the paper to become much
| Figure A.io.b.
Vorsterman, 1630s. Etching on paper.
241 x 156 m m (plate). Clarence
Buckingham Collection, 1944.607.
Wibiral 14, first state. The Art
Institute of Chicago.
Photography © The Art Institute of

Chicago.
A P P E N D I X 267
I Figure A.10.C.
Vorsterman. M u s e u m of Fine Arts,
Boston.
Detail of false platemark. Note that
the paper above the "plate mark"
has the same texture as t h a t below.

Arts, Boston.
| Figure A . i o . d .
Boston.
M i c r o p h o t o g r a p h , w i t h raking light.
Note the ridgelike disjuncture in the
paper.

Arts, Boston.
smoother where it was in contact with the plate but rather has been incised with some
metal plate, but in this case there is virtually thing like a metal stylus or other blunt tool.
no difference at all in the texture of the Another anomaly is that the paper is some
paper in the margin, outside the plate mark, what stiffer than normal, as is the case with
and the area that should have been in c o n the Durer discussed previously.
tact with the printing plate. In figure A.10.C, There is a minute white line—an anom
the "plate mark" runs horizontally across the alous juncture within the printed area—
center of the illustration. If this were a true across the bottom of the print just where the
plate mark, the paper above this line would printed image ends and the blank title area
have been made much smoother by the pres begins, but this is hard to see, and I was
sure from the metal printing plate, but in this unable to obtain a satisfactory photograph of
instance there is no difference in the texture it. Under the binocular microscope, with light
of the paper above and below the line (in directed at a very low angle across the paper
what is supposed to be the margin). W h e n to accentuate its texture, this line is resolved
one examines the plate mark itself, it seems as a very slight ridge, a peculiar disruption in
to have been made not with a metal printing the paper (fig. A.io.d). There is, however, no
| Figure A.io.e.
A n t h o n y van Dyck, Portrait of
Lucas Vorsterman. M u s e u m of Fine
Arts, Boston.
View of back.

Arts, Boston.
evidence of the ridge or discontinuity on the center of this image is due to having to make
back (fig. A.io.e), which appears quite normal the radiographs separately, and the white
(although more about this later). There are a patches at the top corners are due to old
few inscriptions in various hands and the paper hinges on the back of the print and are
M F A stamp but nothing that immediately not part of the print itself.) Notice the elabo
raised suspicions. rate watermark at the bottom of the sheet.
W e decided to make a betaradiograph, Also, in the top half of the radiograph (fig.
in part to get a clearer image of the elaborate A.io.g) there are some unusual white areas
watermark at the bottom of the sheet. Our that seem to coincide more or less with the
beta plate is not large enough to do the contours of the head and shoulders of the
entire print at once, so the top and bottom figure. It is as if there were a kind of ghostly
half were radiographed separately and com image of Lucas Vorsterman. And there are
bined electronically into one digital image; rather strange dark blotches here and there
see figure A.io.f. (The dark line across the within the figure. On the other hand, the
A P P E N D I X 269
I Figure A.io.f.
A n t h o n y van Dyck, Portrait of
Lucas Vorsterman. M u s e u m of Fine
Arts, Boston.
Betaradiograph of entire print,
viewed f r o m front.

Arts, Boston.
| Figure A.io.g.
Boston.
Betaradiograph of upper half of
print, viewed f r o m the front.

Arts, Boston.
I Figure A . i o . h .
Boston.
Detail, betaradiograph, digitally
enhanced, of watermark at the b o t
t o m of the print.

Arts, Boston.
A P P E N D I X 271
paper as a whole looks fairly normal. Clearly I Figure A.10.L
it is a laid paper, as it should be, and the Watermark of a Phoenix surrounded
chain lines running horizontally at regular by laurel leaves. This mark is fre
intervals throughout the paper look normal. quently f o u n d in impressions of
van Dyck's Lucas Vorsterman.

To aid identification of the watermark, it
Reproduced from Fr. Wibriral,
was enhanced using digital imaging software
L'lconographie d'Antoine Van Dyck (1877).
(Adobe PhotoShop®) as shown in figure
A.io.h (in this illustration, the watermark is | Figure A/io.j.
oriented vertically, whereas in the actual Watermark of the Arms of the
print it is horizontal, as seen in fig. A / i o . f ) . M e d i c i . Note the six disks (bezants),
Extensive study of numerous catalogs of w h i c h are c o m m o n l y associated w i t h
watermarks yielded nothing comparable, the M e d i c i coat of arms.
and the effort to identify the mark was aban Reproduced from E. Heawood,
Watermarks Mainly of the 17th and 18th
doned for a number of years. Eventually,
Centuries (Hilversum, Holland: The Paper
I realized that because there is a rather pecu Publications Society, 1950).
liar discontinuity running down the middle
of the watermark it might be useful to ana
lyze the right and left sides of the design
separately. The right side of the watermark (Mauquoy-Hendrickx 1991: pi. 180, no. 252),
is in that part of the sheet that is directly which is repeatedly consumed by flames and
behind the printed image. (The left side is reborn from its own ashes (fig. A.io.i). Sur
in the paper that is now blank, but in later rounding the Phoenix is a garland of laurel
states it is where the title would have been leaves. Notice how similar this is to the right
engraved.) side of the watermark in the MFA's van Dyck
A recent catalog containing tracings of print. It seems clear that the paper in this
watermarks found in the papers used in van portion of the van Dyck bears a fragment
Dyck's prints shows the mythical Phoenix of the Phoenix watermark, which is usually
272 RESTORATION OF ENGRAVINGS, BOOKS, DRAWINGS, AND OTHER WORKS ON PAPER
found in papers used for van Dyck's engrav

ing of Lucas Vorsterman.
As to the other part of our elaborate
watermark—present in the blank area at the
bottom of the sheet, outside the printed
image of Lucas Vorsterman —I found some
thing similar in Heawood's book on water
marks (fig. A.10.J). 15
The six circles or disks
("bezants" is the term usually applied in her
aldry) in the center of the design relate to
the coat of arms of the Medici family. Paper
bearing this mark was made in Italy but is
found in France as well and can be dated to
within only a few decades after the probable
date of van Dyck's engraving in the early
1630s. In this instance, the mark may relate
to the mill of Benoit Colombier of Ambert,
France. The reason for the reference to the
Medici coat of arms is that Marie de Medici,
w h o was regent of France from 1610 to 1617,
had family ties to the famous French paper-
making region of the A u v e r g n e . 16
Putting the information about the t w o

watermarks together, it is clear that the
watermark in our van Dyck consists of two
fragments. The Phoenix watermark, which
is in the paper beneath the printed image, is
an appropriate watermark for this print. The
other fragmentary watermark, with reference
to the coat of arms of the Medici, is in paper
| Figure A/io.k. of a slightly later date and is not ordinarily
A n t h o n y van Dyck, Portrait of Lucas found in prints by van Dyck. But w h e n these
Vorsterman. M u s e u m o f Fine Arts, two marks are married in this way, the result
Boston. can be quite convincing. The inescapable
Detail o f the collar, s h o w i n g the gray conclusion is that w e are dealing with two
line along the j u n c t i o n o f the original pieces of paper: one with the printed image,
print and the paper into w h i c h it was
the other somehow surrounding it.
inlaid. The lines above this j o i n were
Indeed, a closer look at the outer c o n
made w i t h pen and ink, t o simulate
tours of the printed image confirms these
etched lines.
suspicions. A grayish line cuts across the
Arts, Boston.
collar and continues up toward the chin
(fig. A.io.k). This grayish line coincides with
the junction of the original paper and the
added paper. With the aid of a binocular
microscope one can see that the lines to the
left and below this junction are real printed
lines, whereas the lines on the other side,
A P P E N D I X 273
| Figure A.10.I.
Boston.
M i c r o p h o t o g r a p h of the back of the
print, s h o w i n g where the t h i n lining
paper was scraped away to avoid
obscuring an inscription in pencil.

Arts, Boston.
toward the right and above, were drawn in even this thin layer of paper, the lining was
with pen and ink. carefully scraped through in order selectively
The join continues around the entire to remove just enough of the thin tissue to
head, and its presence explains the white line help overcome the effect of looking through
that follows the contour of not only the head a layer of paper (fig. A.10.I).
but also the entire image, as seen previously A print that was once regarded as a rare
in the betaradiograph (see fig. A/io.g). Given and important first state of van Dyck's print
that everything outside the image is not orig thus turns out to be a kind of pastiche mas
inal, the scratch at the upper right of the querading as a first state. I now believe that
head must be fake, and on microscopic someone took a late state, perhaps a second
examination it is evident that it was drawn or third state, cut out the image more or less
in with pen and ink. In 1925 the most author around its contours, and laid it into another
itative catalog then available on van Dyck's piece of paper. 17
But I have to admit that this
prints (Wibiral 1877) mentioned that in all was a feat of remarkable skill. The chain lines
impressions of the first state there is a scratch in both papers line up extremely well, and
at the upper right, just above the head, so whoever did this was extraordinarily fortu
the forger could hardly have left it out with nate to have had on hand a sheet of paper
out immediately casting suspicion on his dating to just one to three decades later than
handiwork. the original and which had in it a watermark
As to w h y the back of the print did not that could be married to a portion of a differ
show signs of any discontinuities from the ent watermark in the original.
joining of the two pieces of paper, it turns
out that the entire print was lined with an
exceptionally thin paper, something resem
bling lens tissue, to conceal the joins. This
lining paper was not initially detected. Where
the inscriptions were slightly obscured by
ANTONIO DEL POLLAIUOLO,

BATTLE OF THE NUDES
Figure A.11. Antonio Pollaiuolo, Battle of the one of the most extraordinary instances
Nudes, 1470-75. First-state impression, of the kinds of repairs described by
engraving, Hind 2. Florence, 15th century. Schweidler. 19
It is also appropriate to include
42.4 x 60.9 c m . J . H. Wade Fund, 67.127. here in that the restoration work may well
Overall view. Cleveland Museum of Art. have been done by Carl Schweidler, Max's
Courtesy of the Cleveland Museum of Art. brother.
Photo credit: Gary Kirchenbauer. As explained by Louise Richards in her
Provenance: Prince of Liechtenstein; article on this print, all known examples of
Colnaghi, London; purchased by Richard this print show signs of having been creased,
Zinser from Colnaghi in 1954; acquired by abraded, and soiled over time, as well as
Cleveland Museum of Art from Zinser, 1967. 18
losses of the printed image (Richards
1968:64), yet this impression is of great
importance in that it is the only known first
This final example is included primarily to state (Richards 1968:65). A careful examina
direct the reader to more extensive informa tion before it was acquired in 1967 revealed
tion on the recent discoveries that have been that "areas at the right and left margins and
made about what is simultaneously one of down the old center fold show pen restora
the most important prints in existence and tion" (Richards 1968:70 n. 8). Since this
A P P E N D I X 275
| Figure A.n.a.
A n t o n i o del Pollaiuolo (1431-98),
Battle of the Nudes, 1470-75.
First-state impression, engraving.

original examination, however, it has been
Florence, 15th century. 42.4 x
learned that some of the missing areas may
6 0 . 9 cm. J. H. W a d e Fund 1967.127.
have been restored by filling the losses with
M o d i f i e d raking light, overall view,
collotype reproductions.
verso.
The focus here, however, is on structural
Courtesy of the Cleveland Museum of Art.
repairs and how to detect them. In this Photo credit: Howard Agriesti, Gary
instance, the most immediate clue to the Kirchenbauer.
presence of repairs is the buckling that is

often caused by such repairs when they
extend for more than just a few millimeters. the print by this means, but even if this had
(See the discussion about buckling in the been done it is easily possible that no one
Altdorfer, above.) Once again, the simple would have grasped the implications of the
technique of using raking light to examine buckling, inasmuch as knowledge of the
the surface topography of a print yields technique of chamfered repairs was not then
important information, as shown in this widely known; even less, there was virtually
photograph of the back of the Pollaiuolo no understanding then of how this technique
(fig. A.n.a). There is no indication in of repair might manifest itself over time. The
Richards's article that anyone examined salient aspect of this buckling that points to
| Figure A . n . b .
A n t o n i o del Pollaiuolo (1431-98),
Battle of the Nudes, 1470-75.
First-state impression, engraving.
Florence, 15th century. 42.4 x
6 0 . 9 cm. J. H. Wade Fund 1967.127.
Thermogram, composite image f r o m
t w e n t y detail captures, overall view,
verso. The image shows the location
and shape of the repairs. (The light
area at the lower right is the back
of a facsimile repair. See discussion
in text.)
Courtesy of the Cleveland Museum of Art.

Photo credit: Larry Davis, Brendan Curtin,
Moyna Stanton.
APPENDIX 277
the presence of repairs is its pattern or shape. stroke at age seventy and that thereafter he
Often w h e n paper buckles from exposure did not undertake repairs of the kind for
to moisture or humidity changes, the result which he had been so well known. Given
may be somewhat more random. In this that he was born in 1884, he must have had
instance, the buckling suggests a more or his stroke around 1954, the same year that
less linear pattern, w h i c h , as should now be Zinser bought the print from C o l n a g h i . 20
apparent, corresponds to the perimeter of Hence, if it was Carl w h o did the restoration,
the long repairs. it seems likely that his client would have
The location and contours of the repairs been C o l n a g h i , 21
which had purchased the
are shown more clearly using infrared imag Liechtenstein collections, possibly in four
ing equipment with the capability to detect lots, between 1948 and 1952. 22
O f course,
wavelengths from 3.0 to 5.0 microns, as has it is also possible that he might have been
been demonstrated by Stanton and her col commissioned by Liechtenstein prior to the
leagues at the Cleveland Museum of Art sale to Colnaghi. No matter which lot c o n
(fig. A / n . b ) . Note that the configuration or tained the Pollaiuolo, this time frame would
shape of the repairs is quite similar to the probably have allowed Carl to do the restora
diagram in Schweidler's book relating to tion before the print was sold to Zinser in
how to make repairs of tears (see translation, 1954, and this would accord with the fact
fig. 27). For related images, as well as for fur that the stamp of the Colnaghi firm is found
ther details about the restoration of the lost on top of one of the restorations.
portions of the image, the reader should con The authorship of the restorations rests
sult the information presented on the inter on multiple suppositions, and other scenarios
esting and informative Internet web site of can be proposed. Kurt Schweidler, Carl's son,
the Cleveland Museum of Art mentioned in was born in 1910 and would have been in his
note 18 of this Appendix. late thirties or early forties by the time the
Given the remarkable craftsmanship of work on the Pollaiuolo was done. Was he
the repairs, as well as their number and sufficiently skilled by then to have carried out
extent, it is tempting to think that they were such a remarkable feat of restoration? Per
done by either Carl or Max Schweidler. haps father and son did the work together.
According to information obtained by Or was it Max? Given the difficulty of finding
Stanton, Christa Gaehde stated that the restorations that can be traced definitively to
Schweidlers carried out restorations for the hand of either Carl or Max, perhaps the
Richard Zinser w h e n he was in Germany. authorship of the Pollaiuolo restoration will
If Carl's comments about his brother are to never be k n o w n . 23
In any event, if the reader
be credited (see Editor's Introduction, note ever has an opportunity to see the print first
5), and if the obituary about Carl is accurate hand, it will be worth it—first and foremost
(see Editor's Introduction, note 1), it seems to because of its rarity and beauty, but also
me more likely that Carl, rather than Max, because it will surely stand for years as one
would have been the one w h o had the expe of the most remarkable examples of a kind
rience and skill to have done this work. Carl of restoration that is an important part of
Schweidler's obituary states that he had a its history.
NOTES o f paper that matched the original w i t h remark
able fidelity. Unfortunately, I never heard w h a t
the original o w n e r t h o u g h t of the result.

1 According t o the Infrared Processing and
6 "The problem of transferring a design engraved
Analysis Center at the California Institute of
on rigid copper-plate t o the curved surface of
Technology, the infrared region of electromag
a pot was solved by the use of a t h i n sheet of
netic radiation is usually divided into three
t i s s u e . . . . The inventor of transfer paper and
spectral regions, near-, m i d - , and far-infrared,
precise details of its early d e v e l o p m e n t remain
although there is no widespread agreement on
uncertain. W e do k n o w . . . John Brooks[,] . . .
the precise boundaries between these regions.
w h o came to England in the 1740s, played an
www.ipac.caltech.edu/Outreach/Edu/Regions/
i m p o r t a n t role in the i m p r o v e m e n t of t e c h
irregions.html.
niques" (Leary and W a l t o n 1976:13-14).
According t o Marcia Steele, conservator of
According t o Leary, John Brooks presented
paintings at the Cleveland M u s e u m of Art,
patents in the 1750s, and it seems that the
wavelengths of around 1.5 to 1.8 microns are
1750s were a period o f d e v e l o p m e n t o f this
c o m m o n l y used t o study underdrawing in
paper and technique of transferring designs.
paintings. In this instance, for capturing images
7 I am grateful t o John Krill for this i n f o r m a t i o n .
of the repairs in the Pollaiuolo, their Mitsubishi
IR imaging e q u i p m e n t was fitted w i t h a germa 8 A t the National Gallery, Washington, D.C., a

nium lens w h i c h transmits wavelengths of 3.0 notable example of such silhouetting is an
to 5.8 microns. impression of Schongauer's The Censer, repro
duced in the catalog o f fifteenth-century

2 www.clevelandart.org/exhrbcef/battle/html/
engravings at the National Gallery (see Shestack
3405295.html.
i 9 6 7 . i t e m 110). According t o the catalog entry
3 Catalogue des dessins et estampes composant la
about this print, about half o f the f o r t y k n o w n
collection de M. Ambroise Firmin-Didot, Sale
impressions have been silhouetted. According
April 1 6 - M a y 12, 1877, at the Hotel Druot.
to Richard Field, former curator at the Yale
4 Schweidler refers often t o the subject of buck University Art Gallery, an impression of this
l i n g — h o w t o avoid it and h o w t o eliminate it. same image at the Yale University Art Gallery
See the sections "Actual M e n d i n g or True may also be silhouetted. A n o t h e r example of
Restoration" (pp. 109-22) and "The Stretching a silhouetted Schongauer is at the Fitzwilliam
of Prints" (pp. 1 3 0 - 3 6 ) . M u s e u m (Clarke 2001:52, pis. 3, 4).
5 This reminds me of a story I was t o l d in the 9 Walsh cites a print by Master E. S., St. Mark,
1960s by a conservator w h o , in the early stages w h i c h as a result of its t r e a t m e n t n o w consists
of her career, w o r k e d for a dealer in fine prints. of four(!) split sheets in w h i c h at least t w o are
One day someone came into the store w i t h a laminated together w i t h the wire lines oriented
Rembrandt print that had a tear in the sky, and perpendicular t o each other. For more on this
he asked w h e t h e r the tear could be mended and on the subject of paper splitting, see Walsh
so that it w o u l d be invisible. After some dis 2000:383-90.
cussion, the dealer said that he expected that
10 In the late 1960s, soon after I obtained a copy
although the extent of the service his firm
of Schweidler's book, the photograph of Max
could provide w o u l d probably not yield the
tearing a sheet of paper in such as way as t o
result the o w n e r hoped for, it w o u l d be possi
create a very w i d e overlap (translation, fig. 31)
ble to send it t o someone he knew o f in
motivated me t o try this. I experimented w i t h
Switzerland (probably Kurt Schweidler) w h o
a sheet of m o d e r n laid paper. Soon I noticed
was well k n o w n for d o i n g "invisible repairs."
something that I had not expected. W h e n I
The o w n e r agreed that the print be sent t o the
inspected each side of the tear I had p r o d u c e d ,
individual suggested. Time passed, and e v e n t u
it was apparent that half of the tear still showed
ally the print was returned to the dealer. Eager
a laid pattern, whereas the other half seemed
t o see w h a t had been accomplished, the dealer
t o lack almost all of its laid pattern, as if it were
and the y o u n g conservator were impressed that
a w o v e paper. I then tried to split another piece
there was no evidence whatsoever of the tear.
of this same laid paper, using the technique
Then, after closer scrutiny, they were aston
suggested by Schweidler (by gluing t w o pieces
ished t o discern that the entire t o p half of the
of strong paper on either side o f the laid paper,
p r i n t — w h e r e once there had been sky—had
splitting the three-layer laminate so as t o split
been removed and replaced w i t h another piece
the laid paper—the middle layer—and then
A P P E N D I X 279
soaking off the strong papers t o free the t w o strong case that one of the Schweidlers was
halves o f the n o w split laid paper). This exercise responsible for these restorations, and intro
confirmed that one-half of the laid paper (the duces thermal infrared imaging (thermography)
wire side) retained its laid lines, whereas the as a valuable analytical technique for detecting
other half (the t o p or upper side of the paper) and d o c u m e n t i n g repairs in works of art on
had lost its laid pattern. A p p l y i n g this observa paper, www.clevelandart.org/exhibcef/
t i o n t o this Durer engraving, it seems clear that battle/html/3405295.html.
the image was printed on the wire side of the
19 Extensive information about the recent exami
sheet, since the original bull's head watermark
nation o f this print is t o be f o u n d on the w e b
is still present. I can imagine that the restorer
site of the Cleveland M u s e u m of Art,
w h o carried o u t this nerve-racking procedure
www.clevelandart.org/exhibcef/battle/html/340
must have been pleased t o see that the water
5295.html. I am especially grateful t o M o y n a
mark was still present after splitting the print.
Stanton, paper conservator at the Cleveland
After all, in this instance having this specific
M u s e u m of Art, for sharing this information
watermark may have translated into a higher
w i t h me, of w h i c h I only present a f e w high
market price for the print.
lights.
11 As Walsh (2000:385) observes, the interior

20 "Provenance," Cleveland M u s e u m of Art w e b
of the split sheet w o u l d inevitably exhibit dis
site.
rupted fibers—like the fuzzy side of suede
21 From a marginal note by Carl in his copy of
leather—but in this instance the interiors of
Max's 1938 edition (see translation, note 84), it
the split sheets are not visible, having been
is clear that Carl did w o r k for Colnaghi. In that
pasted together.
note Carl indicates that Colnaghi had asked him
12 Tuer (1882:1:92) indicated that while "Baldwin to try t o correct or improve a restoration that
had a great reputation amongst print collectors had been done by Max. Thus it is questionable
and d e a l e r s . . . for very many years he person w h e t h e r Max w o u l d have been doing any fur
ally seldom touched a print, leaving everything ther w o r k for Colnaghi after 1938.
t o his manager, Mr. Grisbrook."
22 "Provenance," Cleveland w e b site.
13 A similar stamp is reproduced in Bruckler 1999-
23 To my knowledge, the only d o c u m e n t e d
I am grateful t o Carol Togneri for bringing this
instance o f Carl Schweidler's w o r k dates f r o m
information t o my a t t e n t i o n .
1931 and relates t o carrying o u t retouching of a
14 As observed by Eduard Trautscholdt, "Photo small scratch on a Rembrandt print belonging
mechanical reproductions are in this way dan t o Lessing Rosenwald (Stevenson 1995:121).
gerous, especially reproductions of rare w o o d
cuts" (in Bloch and Zick 1970:182; translation
by Britta Bothe). Coincidentally, Trautscholdt is
m e n t i o n e d in an obituary for Carl Schweidler
as having been one of the latter's clients. See
Editor's I n t r o d u c t i o n , note 1.
15 Heawood I950:pl. 7 0 8 . The mark was f o u n d in

paper f r o m J. G. Tavernier, Serrail du Grand
Seigneur, ^75^ Paris.
16 Gaudriault (1995:92) says that the example

given above in H e a w o o d , no. 708, dates
f r o m 1675 and is sometimes accompanied by
"B *P C" w i t h i n a cartouche, and that this
refers t o Benoit Colombier of A m b e r t . Related
marks bearing the M e d i c i coat of arms can be
f o u n d in French papers f r o m the 1640s into
the early 1700s.
17 See also the discussion above about the print

by M a r t i n Schongauer.
18 Stanton 2002. Stanton's paper, "Finding the

Pieces t o the Puzzle," reveals and describes the
print's extensive and historic repairs, makes a
GLOSSARY
Alum; Alum paste. Aluminum sulfate. Old to 10 percent ammonia gas in water.
recipes for paste sometimes specified the www.epa.gov/grtlakes/seahome/house-
addition of alum, which enhanced the adhe waste/src/basics.htm.
sive properties of the paste and may have
helped to preserve it. From the point of view Biedermeier. "Of or relating to a type of fur
of someone trying later to dissolve or remove niture developed in Germany during the first
the dried paste, a serious disadvantage of half of the 19th century and modeled after
adding alum to paste is that it causes chemi French Empire styles" (The American Heritage
cal changes that chemists refer to as "cross- Dictionary of the English Language, 3d ed.
linking," with the result that the paste [Boston: Houghton Mifflin, 1992]).
becomes virtually insoluble in water. Another
serious drawback is that the addition of alum Bleaching soda; "soda solution." A mixture
to paste would cause the paste to become of sodium silicate ("water glass") and sodium
more acidic. (In the paper industry, the term carbonate. On September 26, 1876, Fritz
"alum" often refers to potassium aluminum Henkel (1848-1930) founded the company
sulfate — "papermaker's alum.") Henkel & Cie. in Aachen, Germany. In 1878
the company produced the first brand-name
Aluminum subacetate. Aluminum subacetate detergent for washing clothes, Henkel's
solution (Essigsaure Tonerde) contains about 8 Bleich-Soda (bleaching soda). Note that
1
percent aluminum diacetate and is a clear, bleaching soda does not contain any chorine
colorless liquid, acidic to litmus. It is used as compounds. (See the introduction regarding
a mordant in cotton dyeing, in printing fab the potential for confusing bleaching soda
rics, and in water- and fireproofing tissues. It with a chlorinated bleach, p. 11.) Schweidler
is used medicinally as an astringent and anti illustrates its effects as a cleaning agent in
septic (Stecher 1968:47). I know of no source figures 12, 13, and 15. Schweidler sometimes
for Schweidler's use of this material. From refers to a "soda solution," by which one
the chemical standpoint, given that alumi should understand that it is a solution of
num ions are trivalent, it is possible that "bleaching soda."
aluminum subacetate may harden gelatin
and hence make gelatin sizing more effective, Chlorinated lime. An old-fashioned name
but it may also make it more acidic. for calcium hypochlorite. This chemical is
used as a bleaching agent but should not be
Ammonia. A solution of ammonium hydrox confused with bleaching soda (see above),
ide gas in water. Schweidler does not specify which contains no chlorine. Schweidler occa
the concentration of the ammonia solution sionally refers to the use of either dry calcium
he suggests using. Presumably it is equivalent hypochlorite or a solution of "chlorinated
to the strength commonly used for house lime" (calcium hypochlorite) as "chlorine,"
hold cleaning, that is, a dilute solution of 5 but properly speaking, this should apply only
to the element chlorine, which is a gas.
Citric acid. Naturally present in many fruits Glazier's shop. The term refers to a store
such as oranges and lemons, its molecular that specializes in the sale of glass for frames,
structure is such that it can act as a chelat w i n d o w s , and so on, but it is clear that
ing agent, readily combining with metallic prints, frames, glass, and mirrors were also
ions, which explains w h y both citric acid available for sale, rather like frame shops
and lemon juice have long been found in today. On page 33, Schweidler says, "A glazier
books of recipes regarding how to remove does not only put in w i n d o w s ; he likes to
ink (iron gall ink) and rust stains. (See oxalic find other sources of income. Often in a
acid, below.) small glass shop, run by a glazier, you see
pictures and frames. If you go into such a
Collotype. "Based on a French discovery shop, you often find portfolios filled with
patented in 1855, and in full commercial use engravings, even individual pictures specially
by the 1870s, collotypes remained an impor displayed."
tant element in fine printing until recent
y e a r s . . . . The process is based on the fact Guard. Ordinarily a bookbinding term that
that sensitized gelatin exposed to light will refers to a narrow strip of paper sewn into
harden and become non-absorbent, whereas the binding and used as a means to attach a
unexposed portions will remain soft and loose sheet into the book, but Schweidler
receptive to water" (Gascoigne i 9 8 6 : d e f i n i - uses the term to refer to a narrow strip of
tion 40 [unpaginated]). paper used to attach a print to a mount. He
elaborates on the mounting of prints and the
Copying-ink pencil. An indelible writing tool use of guards in the section "Stretching of
containing a mixture of clay, earth color, and Prints," on pages 1 3 0 - 3 6 .
aniline dye. These pencils were used princi
pally by clerical staff for making copies of Ivory-board. Ivory-board (Elfenbeinkarton)
permanent records or accounts (by dampen is a type of moderately stiff cardboard that
ing the original and transferring the writing to consists of one or more thicknesses of high-
a sheet of copy paper), but the purplish black quality paper and has an ivory tint. It is
marks of these pencils are occasionally found sometimes finished with beeswax and has a
on the back of prints. (Both Max Beckmann high degree of uniform transparency (Labarre
and Lovis Corinth sometimes signed their [1952] 1969:138).
prints with a pencil of this sort.) The author's
warning is well founded since the dyes used Jalousie. "A blind or shutter having
in these pencils are readily soluble and adjustable horizontal slats for regulating the
intensely colored. For further information, passage of air and light" (American Heritage
see Dube 1998; also see Rhodes 1999. Dictionary of the English Language, 3d ed.).
Crible. A relief process of printmaking, in AAarienglas. The common name in German

which punches are used to stipple a plate for either mica or selenite, naturally occurring
with numerous indentations to create minerals that can be separated into transpar
decorative patterns. Sometimes called ent or translucent layers.
"dotted prints."
Methylated spirits. A denatured alcohol
Eau de Javelle. A solution of potassium consisting of a mixture of ethyl alcohol and
hypochlorite. W h e n freshly prepared, the methyl alcohol. (American Heritage Dictionary
solution contains about 2.5 percent active of the English Language, 3d ed.).
chlorine (Stecher 1968:595).
Oiled paper; oilpaper. Sometimes translated
Estompe. The French word for a slender as "grease-proof paper," the original word
cylinder of paper that tapers to a blunt point in the text is Olpapier, which is paper made
at one end; it is used by artists to blend somewhat transparent by treating it with oil,
tones in charcoal drawings.
G L O S S A R Y 28 3
usually boiled linseed oil, poppy seed oil, Hollander type, has a roll fitted with wooden
olive oil, or a mixture of oil and turpentine. paddles, a drum washer but no bed-plate.
Schweidler probably suggests it in this Hence such combinations as Washing
instance because it would resist wetting and Potcher, Mixing Potcher, Bleaching Potcher"
therefore retain its strength w h e n immersed (Labarre [1952] 1969:204).
in water (Labarre [1952] 1969:175).
Water glass. "An aqueous solution of sodium
Soda; soda solution. W h e n Schweidler refers silicate that dries to a hard glasslike mass.
to either "soda" or "soda solution," he is Sodium silicate is prepared by fusing silicon
referring to bleaching soda (see above) or a dioxide ( S i 0 ) and sodium oxide ( N a 0 ) in a
2 2
solution of bleaching soda. Note that this is ratio that varies from 2 to 3.5. A water glass
different from English popular usage, in solution is viscous and has little tack, so
which the word soda often refers to carbon w h e n it is used as an adhesive, pressure must
ated water, although in a chemical context it be applied to hold materials together while
refers to sodium carbonate. bonding. The dried product is brittle and
water sensitive. Aluminum salts can be added
Sorrel salt. Potassium binoxalate. It is poi to the formulation to improve water resis
sonous and occurs as white, odorless crystals. tance. Water glass has been used to make
It is soluble in forty parts of cold water and artificial stone. Most commonly, it is used
slightly soluble in alcohol. The pH of a 0,1 as an air-setting cement for bonding paper,
molar aqueous solution is 2.7. It is used for corrugated boxes and cartons, w o o d , glass,
removing ink stains, scouring metals, cleaning porcelain, leather, and textiles. Water glass
w o o d , and as a mordant in dyeing (Stecher is also used to fireproof textiles and w o o d .
1968:852). For the latter purposes, it is simi It was tried unsuccessfully as a binder in the
lar in its effect to oxalic acid and citric acid. 19th century for fresco p a i n t i n g s . . . . Potash
Its use is also mentioned in Buck's earlier water glass is composed of potassium silicate.
treatise on book repair as a reagent for Double water glass is a mixture of equal parts
removing ink stains (Buck 1918:33). potassium silicate and sodium s i l i c a t e . . . .
Soluble in water forming strongly alkaline
Spirit of wine. An old-fashioned phrase for solutions (pH = 11-12.5). Partially miscible
distilled ethyl alcohol. with primary alcohols and ketones." In
powder form, sodium silicate is one of the
Stone board. Stone board (Steinpappe) is a constituents of bleaching soda (see above).
kind of papier-mache made from paper pulp, (Definition source: C A M E O [Conservation
whiting, and glue. It is made to imitate stone and Art Materials Encyclopedia Online], the
or bronze and has also been used as a roofing online dictionary and database sponsored
material (Labarre [1952] 1969:41). by the Museum of Fine Arts, Boston,
www.mfa.org/_cameo/frontend/ [accessed
Vinegar. As stated on page 6 6 , by "vinegar," December 7, 2004].)
Schweidler means wine vinegar (presumably
white wine vinegar, since it is essentially
colorless). In his book, he employs vinegar
both as a cleaning agent and as an "antidote,"
following treatment with either bleaching
soda or chlorinated bleach. Chemically, vine
gar is a dilute form of acetic acid. Generally,
the strength of the wine vinegar sold for
home use is approximately 6 percent.
Washing potcher. "The potcher is a mixing,

bleaching, and washing 'engine' of the
NOTES
This material w o u l d have been a c o m m o n
household item. To my knowledge, no one has
explored w h a t the long-term effects o f bleach
ing soda are on the properties of paper, but
perhaps this is not surprising given that this
material is, t o my knowledge, no longer in use
for t r e a t m e n t of works of art on paper. Indeed,
aside f r o m Schweidler's use of this chemical
mixture, I have f o u n d no other references t o
its use in paper conservation. W h i l e initially
soluble, after sodium silicate dries it becomes
extremely resistant to water (a m e t h o d for pre
serving eggs is to apply a solution of sodium
silicate w h i c h , w h e n dry, forms a moisture-
impenetrable coating around t h e m ) , so I w o n
der w h e t h e r any residue of sodium silicate in
paper might change its absorbency or other
properties. Schweidler illustrates the effect of
using a solution of bleaching soda in figs. 12,
13, and 15.
According to Thomas W o l k , Archivist of Henkel
Corporation, Henkel's Bleich-Soda was proba
bly packaged in paper bags, such as the one
shown here, until July 1911, at w h i c h t i m e the
manner of packaging changed f r o m bags to
cartons. In 1921 this product appeared under
another name, Henko, w h i c h continued in
p r o d u c t i o n until 1998. W o l k stated that the
composition of the product was changed and
improved regularly over the decades.
Henkel's Bleich-Soda, introduced
in about 1878. This is one of the
original packages.
Photo courtesy of Henkel Corporation

Archives.
REFERENCES
Baynes-Cope, A. D. 1977. The effect of Engravers of the Italian School. London:

residues of manganese compounds in W. Nichol.
paper on the bleaching of prints, etc.
Dawson, W. R., and E. P. Uphill. 1972. Who
Paper Conservator 2:3.
Was Who in Egyptology. 2d rev. ed.
Beaufort, T. R. 1926. Pictures and How to London: Egypt Exploration Society.
Clean Them. New York: Stokes.
Depauw, C , and G. Luijten, et al. 1999-
Bidwell, J . 1990. Early American Papermaking: Anthony van Dyck as a Printmaker.
Two Treatises on Manufacturing Tech Amsterdam: Antwerpen Open;
niques, Reprinted from James Cutbush's Rijksmuseum.
American Artist's Manual (1814). New
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INDEX
Note: Italicized page numbers indicate for large paper, 151

illustrations. in mending process, 103
for stamps, 203
A in stretching of drawings, 137
acid solution uses for, 11, 83, 21m.68, 281
in aquatint, 189, 192 aluminum sulfate. See alum paste
in crayon manner, 187 amateur restoration
in etching, 181, 182, 183 communication curtailing, 4 - 5
in lithography, 192 warnings against, 4, 33
Ackley, Cliff, 259 ammonia
Adam and Eve (Durer), 252-55, 252-57 cleaning drawings with, 82
adhesives. See also specific types definition of, 281
buckling caused by, 12 for extermination of bookworms, 168
preparation of, 170 Schweidler (Carl) on, 2 0 9 ^ 3 7
removal of, in baths, 58 for water stains, 55
and removing prints from backings, animal products. See also gelatin solution
58-60 sizing with, 169-70
stains caused by, 12 skins as paper, 39
in stretching of prints, 130, 134 aquatint (printing technique), 189, 189-92
used in old restorations, 156 aquatint prints, 790
aging of paper, mending and, 10, 116 cleaning of, 78, 79
airbrush Art Institute of Chicago, 265
assembly of, 142 auction catalogs, disclosure of repairs in, 8
in spraying method of retouching, 139-42 audience, and deception through repair, 8
Albani, Francesco, 2i2n.92
Altdorfer, Albrecht, St. George and the B
Dragon, 242-45, 242-45 backings
alum paste in framing prints, 166-67
bookbinders' misuse of, 35 mounting engravings on, for storage,
definition of, 281 160-61
glaziers' misuse of, 34 removing Chinese rice paper from, 149
problems with, 35, 281 removing prints from, 58-63, 93
removal of, 5 8 - 5 9 wooden boards as, treatment with, 154,
Schweidler (Carl) on, 2 0 9 ^ 4 2 2i6n.i35
in starch paste, 35, 96 Baldwin, William A., 256, 279n.i2
alum rosin sizing, in papermaking, 44, baths
208n.29 as antidotes to chlorine, 66, 70-71
aluminum subacetate in chlorine treatment, 66, 6 7 - 6 8 , 70-71
definition of, 281 cleaning books with, 84, 87
cleaning color prints with, 78 in storage of engravings, 161

cleaning colored prints with, 75-77 Bohm, Hans, 64, 20911.47
cleaning drawings with, 81-82 bone folder, 777, 21m.74
cleaning parchment with, 147 in addition of plate marks, 128
cleaning prints with, 51-55, 52 breaks removed with, 154
cleaning stamps with, 197, 201 in mending of books, 88
copying-ink pencil markings in, 51 Bonnardot, Alfred
duration of, 52 Essai sur la restauration des anciennes
in mending process, 102 estampes et des livres rares, 3-4, i6n.io
removing backings with, 58-62 expertise of, 27
removing spirit varnish with, 93 on splitting of paper, 256
removing strainers with, 60-61 translation of, 14, vn.22
sieves for draining in, 53-54 book covers, removing prints from, 62-63
in splitting of paper, 104 book pages
transferring damp paper from, 4 8 - 5 0 , 49 chlorine treatment for, 84, 85
wine vinegar in (See wine vinegar baths) cleaning of, 8 4 - 8 8 , 170
wooden boards in, prints on, 154, corners missing from, 115-16
2i6n.i35 hydrogen peroxide for, 90
Battle of the Nudes (Pollaiuolo), 21511.125, 223, margins of, addition of, 126
274-76, 274-77 mending of, 115-16, 157-59
Baynes-Cope, A. D., 2ion.59 quality of paper used for, 100
Bearded Man with Blank Shield (Master of the removal from binding, 84, 8 5 - 8 6
Housebook), 8, 246-49, 246-50, 257 severely damaged, 8 6 - 8 8
benzine, cleaning stamps with, 202, 203 shaving paper of, 8 7 - 8 8 , 126, 159
betaradiography, 222, 223, 252-55 bookbinders
Bewick, Thomas, 173, 175 mistakes made by, 35
Biedermeier style pages removed from binding by, 84,
definition of, 281 85-86
drawings in, 81 books
binocular microscope, 222 cleaning of, 170
black-and-white prints old paper from, 46
brightening and cleaning of, 51 old restorations of, 156-59
chlorine treatment for, 67-71 preservation of, 168-70
bleaching storage of, 168-70
by glaziers, 34 bookworms
in papermaking, 44 extermination of, 168-69
bleaching power. See calcium hypochlorite storage conditions and, 168
bleaching soda borders. See also margins
vs. calcium hypochlorite, 11 on colored prints, 76
cleaning with, 55-57, 56, 151 removal of, 74
composition of, 11, 281 restoring after treatment, 75
dangers of, 55-56 brightening, of prints, 51-57, 155. See also
definition of, 11, 281 lightening
with large paper, 151 Brooks, John, 278n.6
long-term effects of, 284n.i brown stains. See also foxing
in mending paper, preparation for, 102 from chlorine treatment, 71, 2ion.59
for oil stains, 91-92, 2nnn.76-78 brushes, 57
Schweidler (Carl) on, 209nn.40-4i recommendations on, 38
Bleich-Soda, 281, 284, 284n.i retouching with, 138, 142
blisters, on China paper, 143 writing with, 123
blotting paper brushing
in mending of stamps, 200-201 in chlorine treatment, 69
I N D E X 291
in cleaning dirt, 55-57, 57 chemicals

in cleaning water stains, 55 cleaning color prints with, 7 8 - 8 0 , 90
buckling of paper cleaning colored prints with, 72, 74, 75
in books, 116 cleaning drawings with, 81-83
detecting repairs with, 12, 2i2n.89, 226, cleaning rice paper with, 149-50
229, 243-45, 275-77 dangers to prints posed by, 11-12
in mending process, 102, 115, 2i2n.89 before mending process, 115
during stretching, 133 China prints, on copperplate papers,
bull's head watermark, 253, 254, 260-62 treatment of, 143-45, 144
burin Chinese rice paper, painted, 149-50, 21511.131
in engraving, 776, 176-77 chemical treatment for, 149
in woodcut, 175 mending of, 149
burns, treatment of, 91 stretching of, 149-50
burrs, in etching, 182, 183 Chinese watercolors, retouching with,

12211.215, 138
C chlorinated lime. See also chlorine
calcium hypochlorite. See also chlorinated antidotes for, 66, 20911.52
lime books treated with, 87
vs. bleaching soda, 11 as chlorine, 20911.46
as chlorine, 20911.46 dangers of using, 64
for stains, 11 definition of, 281
camphor, 168 dissolved vs. dry, 64
The Canon (Diirer), 180 drawings treated with, 82-83
carbon dioxide, in spraying method of preparation of solution, 64-65
retouching, 139, 142 stamps treated with, 197
carbon tetrachloride storage of, 65
cleaning colored prints with, 72 chlorine, 64-65
for grease stains, 91 antidotes for, 66, 70-71, 202, 20911.52
harmlessness of, 207n.i6 black-and-white prints treated with,
cardboard 67-71
Chinese rice paper glued to, 149-50, book pages treated with, 84, 85
2i5n.i32 brown stains from, 71, 2ion.59
engravings mounted on, for storage, •Chinese rice paper treated with, 149
160-61, 2i6nn.138-41 color prints treated with, 79
in framing of prints, 166-67 colored prints treated with, 72-76
needed for studio, 37-38 dangers of using, 64
in use of starch paste, 9 6 - 9 7 drawings treated with, 81-83
carpenters, woodcutting by, 72 glaziers' use of, 34
carpenter's glue hydrogen peroxide and, 8 9 - 9 0
definition of, 21311.93 in papermaking, 44
in splitting of paper, 104 parchment treated with, 147
case studies, 219-77 preparation of, 64-65
catalogs spots left after treatment of, 154
auction, disclosure of repairs in, 8 stamps treated with, 197, 202
stamp, 196, 197, 2vn.i52 use of term, 20911.46
The Censer (Schongauer), 278n.8 citric acid
chain lines, 2o8n.27, 245 definition of, 282
chalk, paper prepared with, 81, 2ion.63 for oxidized white lead, 82
chalk drawings, cleaning of, 82 for water stains, 55, 84
chalk manner. See crayon manner clay, in pencils, 81
chamfered repair, 9. See also mending cleaning, 51-57. See also baths
process of black-and-white prints, 51
of books, 8 4 - 8 8 , 170 copperplate

of Chinese rice paper, 149 aquatint on, 189
of color prints, 7 8 - 8 0 engraving on, 176-78
of colored prints, 72-77 etching on, 181-83
decision-making process for, 33 gray tone on paper from, 122
of drawings, 81-83 mezzotint on, 183-85
equipment needed for, 37-38 copperplate papers, China prints on, treat
by glaziers, 34, 79 ment of, 143-45
of Japanese paper, engravings on, 152 copying-ink pencils
of Japanese woodcuts, 152 definition of, 282
of large prints, 151 removal of markings from, 51, 202
before mending, 111-12, 155 on stamps, 202
of parchment, prints on, 147 corners, missing, mending of, 115
of prints, 51-57 cotton
of silk, prints on, 152 and mold stains, 162
of stamps, 196-97 202-3 in papermaking, 44, 45
cleaning agents, 38. See also specific agents couching, in papermaking, 42
Cleveland Museum of Art, 21511.125, 223 Cranach, Lucas, woodcut by, 772
Coat of Arms with Skull (Durer), 68, 69 crayon manner, 185-87, 186, 187
Cohn, Marjorie, 252-53 , crayon manner prints, 186, 191
Collecting and Picking (Schweidler), 1 crayons, lithographic, 192, 192-94
excerpt from, 171-95 creases, in stretching of prints, 130, 132, 133
collector's marks, 227, 259 crible, 178-79, 179, 180, 282
collotypes, 282 cylinder machine-made papers, 233
Colnaghi, 277 279n.2i
color of paper D
and aging after repair, 10 damp paper
lighting and, 9 cleaning of, 55-57
tinting and, 99 handling of, 48, 4 8 - 5 0 , 49, 52-53, 62
color prints stretching of, 130-32
chemical treatment for, 7 8 - 8 0 , 90 tinting of, 99
chlorine treatment for, 79 daylight. See sunlight
cleaning of, 7 8 - 8 0 deception, in restoration, 7-8, 221
hydrogen peroxide treatment for, 90 decorative objects, prints used as, 10, 1711.16
lightening of, 78 diseased paper
removing varnish on, 94 mold stains on, 162-63
colored prints storage of, 46
chemical treatment for, 72, 74, 75 documentation
chlorine treatment for, 72-76 of books, condition and treatment of, 170
cleaning of, 72-77 of colors, before treatment of colored
documenting colors before treatment, 74 prints, 74
removing backings from, 62 of repairs, 7, 8
removing strainers from, 60-61 Dolloff, F. W., 247
restoring colors after treatment, 75 Donnithorne, A., 1711.15
Comjean, Marlies, 21411.113 dot punchers, 187
conservation double water glass, 283
definition of, 6 drawing boards, in stretching of prints, 130
preservation in, 6 drawings
restoration in, 6 chemical treatment of, 81-83
use of term, 6, 13 cleaning of, 81-83
The Conservation of Prints, Drawings, and detecting repairs in, 224-25
Manuscripts (Plenderleith), 4 materials used for, 81
I N D E X 293
stretching of, 137 definition of, 282

drying etching (printing technique), 181, 181-83, 752,
after baths, 54 183
in layers, 154 vs. crayon manner, 185
in papermaking, 42-43, 44 iron, 180
drypoint needles etchings, vs. engravings, lines of, 181
in engraving, 777, 178 ethyl alcohol, distilled. See spirit of wine
in etching, 181-83, 183, 21711.151 expansivity of paper
Durer, Albrecht in mending process, 101, 102, 106-8
Adam and Eve, 252-55, 252-57 stretching prints and, 108, 131, 134
The Canon, 180 wire lines and, 107, 107-8
Coat of Arms with Skull, 68, 69
engraving of Pirckheimer by, 120 F
iron etchings by, 180 Field, Richard, 278n.8
woodcutting by, 72 Firmin-Didot, Ambroise, 227, 229
dusters, 2o8n.22 Fitzwilliam Museum, 278n.8
Dyck, Anthony van, Portrait of Lucas fixing process, in cleaning drawings, 82
Vorsterman, 234, 264-73, 264-73 flax, in papermaking, 41
dyeing of paper, in mending process, 156-57, flour paste
202 in old restorations, 163
removal of, 59, 2 0 9 ^ 4 3
E flyspecks, treatment of, 91
eau de Javelle, 202, 21711.155, 282 Fogg Art Museum, 4, 252
Egypt, papermaking in, 39-40 forgery, 7
English color prints, cleaning of, 78 case study of, 261-63
engraving (printing technique), 776, 176-78, of stamps, 199, 21711.152
177 foxing
steel, 195 caused by chlorine vapor treatment, 83
stipple, 185, 186, 187-89 on Chinese rice paper, cleaning of, 149
training in, 33-34 on colored prints, cleaning of, 72-73
engravings on drawings, cleaning of, 82, 83
vs. etchings, lines of, 181 hydrogen peroxide for, 8 9 - 9 0
framing of, 164-66 sizing and, 73, 21m.81
on Japanese paper, cleaning of, 152 on stamps, 202
mistreatment of, 33, 34 framers, mistakes made by, 74
preservation of, 160-67 framing
storage of, 160-61 cleaning glass after, 167, 21711.146
understanding value of, 33 of engravings, 164-66
varnished, 94 of prints, 166-67
equipment, recommendations on, 37-38 French color prints, cleaning of, 78, 79
erasers fungus, removal of, 163
cleaning colored prints with, 75

cleaning prints with, 51, 51, 2o8n.33 C
hardness of, 51 Gaehde, Christa, xi, 1, 249, 277
in mending process, m , 112 Galichon, Louis, 227
in retouching, 142 Gaudriault, R., 279n.i6
Schweidler (Carl) on, 2o8n.33 gelatin solution
Essai sur la restauration des anciennes cleaning books with, 85
estampes et des livres rares (Bonnardot), in mending process, 102-3
3-4, i6n.io removing sizing with, 98
estompe in sizing, 170
in chlorine treatment, 67 in tinting, 99

Gill ray, J . , etching by, 52, 53 cleaning books with, 84

glaziers cleaning stamps with, 202
cleaning by, 34, 79 for oxidized white lead, 82
ignorance of, 33, 34 and w o o d pulp, 203
mistakes made by, 34-35 hydrogen peroxide, 8 9 - 9 0
services offered by, 282 Chinese rice paper treated with, 149
gloss, on sporting prints, 76 dangers of using, 89
glossary, 281-83 for oxidized white lead, 2 n n n . 6 6 - 6 7
glue. See also adhesives for stains, 11
removal of, in baths, 58 stamps treated with, 196, 202
in stretching of prints, 130, 134 storage of, 89
Goepel, Erhard, 1511.1 strength of solution, 8 9 - 9 0 , 202
Goethe, Johann Wolfgang von, 2ion.55
goldbeater's paper, 157 I
golden section, 160, 2i6n.i37 Ibscher, Hugo, 207n.i
Graf, Urs, Two Landsquenets with a Maid and forward by, 25-26
Death, 258-62, 258-63 on papermaking, 39
graphite, in pencils, 81 illumination, specular, 239-40
Gray, Francis Calley, 231, 252 impurities, in paper, shaving with, 106
grease-proof paper infrared imaging, detecting repairs with, 223,
in framing prints, 167 250, 277, 278n.1
in mending process, 112, 112 ink
grease stains on manuscripts, treatment of, 146
on stamps, 202 on stamps, treatment of, 202
treatment of, 91, 202 ink stains, treatment of, 91
Grisbrook, Mr., 256-57, 279n.i2 inlay repair, 9. See also mending process
ground, in aquatint, 189 insects, extermination of, 168-69
guards intaglio printing, 171, 773
definition of, 130, 282 iron, flattening creases with, 133
in stretching of prints, 130, 134, 135, iron etching, 180, 180
147-48 iron particles, in paper, shaving with, 106
ivory board
gum, on stamps, removal of, 201-2 in addition of plate marks, 128
definition of, 282
H
hangers, 37, 37 J
hanging jalousie, 37, 282
of damp paper, equipment needed for, Jan Cornells Sylvius (Rembrandt), 70, 71
37, 37-38, 38 Japanese paper, engravings on, treatment of,
of framed engravings, 166 152
Heawood, E., 272 Japanese picture scroll, brightening of, 54
Hecquet, Robert, 2ion.55 Japanese woodcuts, treatment of, 152
hemp, in papermaking, 41
Henkel & Cie., 281, 284, 28411.1 l<
Hennin, Michel, 256 kerosene, 169
Hettler, Max, 1, 28 Kilian, Wolfgang, engraving by, 178
hinges, attaching engravings to cardboard knife
with, 160-61, 2i6nn.138-39 implanting wire lines with, 119
holes, repair of. See mending process second shaving (thinning) with, 117-18
Holland, papermaking in, 43

Housebook Master. See Master of the L
Housebook laid lines, 2o8n.27
hydrochloric acid
I N D E X 295
Lancret, Nicolas, The Skater, 224, 224-25, 225 Master E. S., St. Mark, 278ns
Landscape with a Cottage and a Large Tree Master of the Housebook, Bearded Man with
(Rembrandt), 230-33, 230-33 Blank Shield, 8, 246-49, 246-50, 251
large paper, restoration work on, 151 mats, mistakes made with, 35-36
lavis technique. See aquatint mattoirs, 186-87, 187
layering of paper, for drying, 154 Medici family, watermark of, 277, 272
Lehrs, M., 250 mending process, 109-22
letters, treatment of, 146 for books, 8 7 - 8 8 , 157-59
Liechtenstein, prince of, 277 buckling caused by, 102, 115, 2i2n.89
lightening. See also cleaning challenges involved in, 10
of color prints, 78 chemical treatment before, 115
before mending, 155 for Chinese rice paper, 149
of stamps, 196-97 cleaning paper before, 111-12, 155
with sunlight, 67, 2ion.55 cost of, 109, 110
lighting. See also sunlight difficulty of, 9
and color of paper, 9 examination of tear in, 110-11

detecting repairs with, 12, 221-23 importance of, 9
in specular illumination, 239-40 for manuscripts, 146
for stains, 11 measurement in, 153
transmitted, 230, 240 mistakes in, repeating process after,
lines. See wire lines 117-18
lining sheets, 163-64 names for method of, 9
lithography, 173, 192, 192-94, 193, 194 paste in
Lucanus, Friederich, 2 0 9 ^ 4 7 application of, 773, 114
Lucas van Leyden, Susanna and the Elders, preparation of, 88
238-40,238-41 pencil marks in, 707, 101-2, 113, 773
Lunning, Elizabeth, 242 preparation for, 101, 101-3, 110-12
properties of paper and, 9
AA replacement paper used in
magnesium oxide, for grease stains, 202 cleaning of, 112
Maltzan, Andreas von, 247, 249, 250 dyeing of, 156-57, 202
AAanick, Annette, 256 expansivity of, 101, 102, 106-8
manuscripts, treatment of, 146 selection of, 100-101, 112
maps, large, restoration work on, 151 shaving of, 113
margins for stamps, 199-201
addition of false, 10, 123-26, 124, 126, tearing or separating, 120-22, 727
213n.no, 214n.n1 retouching after, 138
of book pages, 126 Schweidler (Carl) on, 2i2nn.85-86,
cleaning with bleaching soda, 56-57 2i2nn.90-91
detection of false, 220-21, 256-57 shaving in (See shaving of paper)
in mending process, 103 sizing and, 100
and plate marks, 127-29 for stamps, 196-203, 198, 199
Schweidler (Carl) on, 2i3n.io8 surface texture after, 12, 153
in stretching of prints, 134, 135 tools used in, 777
use of term, 2i4n.H3 water resistance and, 100, 101
Marie de Medici, 272 without wire lines, 152-53
AAarienglas wire lines in
in addition of plate marks, 129 alignment of, 113, 115
definition of, 282 expansion of, 707, 107-8
Mariette, Pierre-Jean, 2i2n.92 implantation of, 118-19
Massacre of the Innocents (with the Pine Tree) posttreatment of, 153
(Raimondi), 226-29, 226-29 yellowing treated before, 155
AAenzel, Adolf treatment of, 91-92, 202

lithograph by, 193 oilcloth, 38, 67
wood engraving by, 776 oilpaper
metal piece, used in drawings, 81, 2ion.63 in cleaning books, 85
metal plates, artificial plate marks made with, definition of, 282-83
127 old paper
metalpoint drawings, 2ion.63 need for, 46
methylated spirits storage of, 46
cleaning glass of frames with, 167 water resistance of, 100
cleaning stamps with, 202 ways of obtaining, 46-47
definition of, 282 old prints
vs. spirit of wine, 93 removing backings from, 61-62
mezzotint (printing technique), 753, 183-85, ways of obtaining, 46-47
189 old restorations
mezzotint prints of books, 156-59
cleaning of, 78 rye flour paste in, 163
lightening of, 78 opaque colors, cleaning with, 75-76
margins added to, 123 outline drawing, 171-73
removing backings from, 94 ox gall, 75
retouching of, 139-40, 2i5n.i26 oxalic acid, for cleaning stamps, 196-97, 203,
AAFA. See Museum of Fine Arts 217^153
mica. See AAarienglas
Michel catalogs, 196, 217^152 oxidation, of white lead, 82, 2ion.65, 21m.66
microscope, binocular, 222

mold stains P
chlorine treatment for, 67-71 paintbrushes. See brushes

framing methods and, 167 paper
removal of, techniques for, 161-63 absorbency of, 98
sizing and, 162, 163, 21m.81 composition of, 39, 41, 45, 106
spread of, 162, 163 history of use, 39-40
on stamps, 197 impurities in, 106
molds, papermaking, 42-43, 43 properties of, 9, 106
mounting. See backings surfaces of, 106, 213^97
mounting artists, mistakes made by, 35-36 paper mills, 47, 43, 45
museum air, 168 papermaking, 22, 39-45
museum board, 161, 2i6n.i4i in Egypt, 39-40
Museum of Fine Arts ( M F A ) history of, 39-45
case studies from, 8, 222, 227, 246, 258-59, sizing in, 169
techniques of, 41-45
264
false margins in, 256 papyrus, paper made from, 39, 40
false watermarks in, 12, 258-59 parchment

cleaning of, 147
N history of, 39
National Gallery (Washington, D.C.), 259, removing prints from, 62
278n.8 stretching of prints on, 147-48

treatment of prints on, 147-48
newspapers, composition of paper used for,
Parker, Harvey David, 227
45
paste. See also alum paste; flour paste; starch
O paste
oil paints, bleaching soda for removing, 55 preparation of, 88, 21m.73
oil stains problems with, 88
on stamps, 202 removing remnants of, 93-94. 154.

216 n.134
I N D E X 297
pastel drawings, cleaning of, 82 specific types

pen-and-ink drawings, chemical treatment of, prints. See also specific types
83 brightening and cleaning of, 51-57
pen-and-ink lithographs, 193-94, 794 framing of, 166-67
pencil drawings, cleaning of, 81 removing from backings, 58-63
pencils strengthening severely damaged, 98
composition of filling in, 81 understanding value of, 33
copying-ink, 51, 202, 282 pulp

retouching with, 142 and mold stains, 162, 167
pens paper repaired with, 111, 2i3n.ioi
retouching with, 138, 142 in papermaking, 41-43
writing with, 123 in stamps, 203
phloroglucinol, 203 stamps repaired with, 201
Phoenix watermark, 277, 271-72
photography, of repairs, 222 R
physicians, restorers as, 5, 204 rabbets, 165, 166
Piccard, C , 260 rags, in papermaking, 41, 42, 44, 2o8n.22
planographic printing, 171, 773 Raimondi, Marcantonio, Massacre of the
plate marks Innocents, 226-29, 226-29
addition of false, 10, 127-29 raking light, detecting repairs with, 12, 224,
on China paper, 145 226-27, 230
detection of false, 267 razors, cleaning colored prints with, 72, 75
expansion of, 108 red, in colored prints, cleaning of, 74
in framing, 165 relief printing, 171, 777. See also specific types
lining sheets and, 164 Rembrandt van Rijn
stretching of prints and, 130, 132, 133 etchings by, 182, 183
Plenderleith, H. J . , The Conservation of Prints, false margins on works of, 256
Drawings, and Manuscripts, 4 Jan Cornells Sylvius, 70, 71
poles, 37-38 Landscape with a Cottage and a Large Tree,
placing damp paper over, 4 8 - 5 0 , 52-53, 230-33, 230-33
62 repainting, after cleaning colored prints, 75
Pollaiuolo, Antonio del, Battle of the Nudes, repair(s). See also mending process
2i5n.i25, 223, 274-76, 274-77 buckling as sign of, 12, 2i2n.89, 226, 229,
Portrait of Lucas Vorsterman (Dyck), 234, 243-45, 275-77
264-73. 264-73 case studies on, 219-77
postage stamps. See stamps deception in, 7-8, 221
potash water glass, 283 disclosure of, 8
potassium binoxalate. See sorrel salt documentation of, 7, 8
potassium hypochlorite solution. See eau de invisibility of, 7-8, 220
Javelle tools and techniques for examining,
potassium metabisulfate, for cleaning stamps, 221-23
197, 203 restoration
potassium permanganate, 2ion.59 compromises in, 6
for cleaning stamps, 196-97, 202 in conservation, 6
for dyeing mending papers, 156-57 deception through, 7-8, 221
pottery transfer tissue, 231-33, 278n.6 decision-making process for, 8 - 9
preservation goals of, 5-6
of books, 168-70 imperceptibility of, 5-7
in conservation, 6 old techniques of, for books, 156-59
of engravings, 160-67 vs. preservation, 161
vs. restoration, 161 self-revealing, 7-8
printmaking techniques, 171-95. See also sharing knowledge of, 4-5

of stamps, 196-203 life of, 2

true (See mending process) on margins, addition of, 2i3n.io8
The Restoration of Engravings, Drawings, on mending process, 2i2nn.85-86,
Books, and Other Works on Paper 2i2nn.90-91
(Schweidler) notes in copy of first edition by, 2-3,
Carl Schweidler's notes in copy of, 2-3, i 6 n n . 4 - 5 , i6n.7
i 6 n n . 4 - 5 , i6n.7 obituary of, 1511.1, 277
first edition of, 1 on oxidized white lead, 2 i i n n . 6 6 - 6 7
second edition of, 1, 14, 21 relationship with Max, 2-3
restorers on removing paste, 2i6n.i34
amateur, 4-5, 33 restoration work by, 9, 274, 277, 27911.21,
as physicians, 5, 204 27911.23
retouching, 138-42 on sunlight lightening, 2ionn.56-57
on back of prints, 139, 21511.125 on wine vinegar treatment, 2ion.54
deception through, 7 Schweidler, Gerd, 2
with pencils, 142 Schweidler, Kurt, 2, 277
self-revealing, 7-8 Schweidler, Max
spraying method of, 139-42 family of, 2
of stamps, 199 life of, 1-2, i6n.5
rice paper. See Chinese rice paper mystery surrounding, ix, 1
Richards, Louise, 274, 275 relationship with brother Carl, 2-3
rinsing. See also baths years of experience in restoration, 3,
equipment needed for, 37 1611.5
vs. washing, 207n.i2 Schweidler, Regula, 2
rockers, in mezzotint, 183, 183, 184 Schweidlerized prints, meaning of term, ix, xi
rosin, granular, in aquatint, 189 screw press, for woodcuts, 174-75
rosin sizing, in papermaking, 44-45, 169, selenite. See Marienglas
208n.29 Senf Brothers, 196, 21711.152
Ross iter, Henry, 247, 249 severely damaged books, cleaning of, 8 6 - 8 8
roulettes, 185-87 186, 187 severely damaged prints, strengthening of, 98
rye flour paste, in old restorations, 163 Sewall, Henry F., 227
shaving of paper, 9-10, 112-13
S of book pages, 8 7 - 8 8 , 126, 159
Sackett, Mary, 2o8n.35 box for, 117, 118
St. George and the Dragon (Altdorfer), 242-45, of manuscripts, 146
242-45 for margins, addition of, 125-26, 213n.no
St. John the Baptist (Schongauer), 234-37, of mended tear (thinning), 117-18,
2i3n.i05
234-37
after mistakes in mending, 117
St. Mark (Master E. S.), 278n.9
properties of paper and, 106
salt, in aquatint, 189. See also sorrel salt
of stamps, 197-99, 2i7n.i54
sandpaper, 152-53
sieves, for draining baths, 53-54
Say re, Eleanor, 247-49
Schongauer, Martin silhouetting, 234-35, 278n.8
The Censer, 278n.8 silk, prints on, treatment of, 152
St. John the Baptist, 234-37, 234-37 sizing
Schweidler, Carl and absorbency, 98
on alum paste, 20911.42 with animal products, 169-70
on ammonia, 20911.37 in cleaning of books, 87
on bleaching soda, 209nn.40-4i and foxing, 73, 21m.81
on cleaning glass of frames, 21711.146 and mending process, 100
on erasers, 2o8n.33 and mold stains, 162, 163, 21m.81
on errors by Max, 2i2n.84 in papermaking, 42, 44-45, 45, 169,

I N D E X 299
20811.29 starch paste, 9 6 - 9 7

removal of, 93 alum paste in, 35, 96
of stamps, 201 in lining sheets, 164
strengthening severely damaged prints in mending process, 113, 114
with, 98 in old restorations, 156
water resistance of, 98 preparation of, 35, 96, 170, 21m.80
The Skater (Lancret), 224, 224-25, 225 proper use of, 9 6 - 9 7
skies in prints, repairs to, 230-31, 27811.5 in removing prints from backings, 59,
Smith, John Raphael, 140, 141, 21511.127 61-62
soda. See bleaching soda for stamps, 203
soda solution. See bleaching soda storage of, 96
sodium carbonate, in bleaching soda, 11 in stretching of prints, 130
sodium hyposulfate, as antidote for chlorine, steel engraving, 195, 195
66 Steele, Marcia, 278n.i
sodium silicate. See water glass stipple engraving, 187 187-89, 188
sorrel salt crayon manner compared to, 185, 186,
for cleaning books, 84 187
definition of, 283 stone board
for ink stains, 91 definition of, 283
specular illumination, 239-40 in stretching of prints, 130
spirit of wine stones
definition of, 283 in lithography, 192-94
removing varnish with, 93 in planographic printing, 171
spirit varnish, removal of, 93-95 storage
splitting paper, 104-5, 105 of books, 168-70
detection of, 256-57 of chlorinated lime, 65
reasons for, 105 of diseased paper, 46
technique for, 104-5, 256-57, 278n.io of engravings, 160-61
splitting prints of hydrogen peroxide, 89
historical examples of, 2i2n.92 of old paper, 46
problems with, 10 of starch paste, 96
sponges strainers, wooden
in chlorine treatment, 67, 85 definition of, 21511.121
preparation for use, 207n.20 removing prints from, 60-61, 20911.44
stocking studio with, 38 stretching of drawings on, 137
in stretching prints, 131 stretchers
sporting prints, gloss on, cleaning with, 76 definition of, 21511.121
spraying method, of retouching, 139-42 stretching of drawings on, 137
St. George and the Dragon (Altdorfer), 242-45, stretching of drawings, 137
242-45 stretching of prints, 130-36
St. John the Baptist (Schongauer), 234-37, buckling during, 133
234-37 on Chinese rice paper, 149-50
St. Mark (Master E. S.), 27811.9 dampness needed for, 130-32
stains, techniques for removing, 11-12, 91-92. expansivity of paper and, 108, 131, 134
See also specific types of stains in framing, 164-66
stamps, postage, 196-203 materials for, 130
cleaning of, 196-97, 202-3 on parchment, 147-48
forgery of, 199, 21711.152 reasons for, 13, 21411.116
mending of, 196-203, 198, 199 technique for, 13, 130-32, 134-36
removing gum on, 201-2 studio room, recommendations on, 37-38
retouching of, 199 sugar, 75
Stanton, Moyna, 223, 250, 277, 279n.i8 sulfur gases, 169

sunlight V
detecting repairs w i t h , 221-22 vacuum cleaner, cleaning books w i t h , 170
lightening prints w i t h , 67, 2ion.55 vandalism, mistreatment of engravings as, 33,
for mold stains, 163 34
Schweidler (Carl) on, 2ionn.56-57 varnish
storage of engravings away f r o m , 160 in lithography, 194
uses for, 11 and mold stains, 162
supports removal of, 9 3 - 9 5
removing large prints f r o m , 151 vinegar. See wine vinegar
removing old prints f r o m , 61-62
in stretching of prints, 130, 135-36, 136 W
Susanna and the Elders (Lucas), 238-40, Walsh, J., 256, 279n.11
238-41 warnings
Swiss color prints, 2ion.6i against amateur restoration, 4, 33
cleaning of, 73-74, 78 Schweidler's use of, 4
washing. See also baths
T vs. rinsing, 207n.i2
T-gas, 169 washing potcher
tearing paper, for use in mending, 120-22, 121, definition of, 283
202 in papermaking, 43
tears water baths. See baths
in damp paper, handling, 4 8 - 4 9 , 62 water glass
examination of, 110-11 definition of, 283
restoration of (See mending process) preparation of, 283
temperature, ideal, 168 uses for, 203, 283
texture of paper water resistance
after mending, 12 and mending, 100, 101
restoration of, 153 of old paper, 100
thin spots, mending of, 120 of sizing, 98
t i n t i n g of prints, 99 water stains
materials for, 99 on books, cleaning of, 84, 85
technique for, 99 cleaning in baths, 54-55
tips, 152-55 on colored prints, cleaning of, 72-73, 75,
tissue paper, misuse of, 161 76
titles, addition of, 123 framing and, 167
transmitted light, 230, 240 on prints, cleaning of, 54~55
transparent watercolors, cleaning of, 75 sizing as protection f r o m , 45
trateggio technique, 7-8 watercolor technique. See aquatint
Trautscholdt, Eduard, 279n.i4 watercolors
trays, 37 around tears, removal of, 111
for tinting, 99 in Japanese woodcuts, 152
tube poles, 37-38, 38 retouching w i t h , 12211.215, 138
placing damp paper over, 4 8 - 5 0 , 52-53 transparent, cleaning of, 75
Tuer, A. W., 256-57, 279n.i2 watermarks
turpentine, in lining sheets, 164 addition of false, 12, 2i3n.i07
Two Landsquenets with a Maid and Death bull's head, 253, 254, 260-62
(Graf), 258-62, 258-63 detection of false, 235-37, 258-63, 268-73
examples of, 200
U identification of, 46
ultraviolet light, detecting repairs w i t h , on old paper, 46
222-23, 227 in papermaking process, 44
used-book shops, old paper f r o m , 46 Phoenix, 277, 271-72
I N D E X 301
on stamps, 199, 21711.154 on manuscripts, treatment of, 146
wax stains, removal of, 72

w e t paper. See damp paper X
Whatman papers, removing prints from
x-radiography, 222, 223
strainers with, 60
white lead, darkening of, 82, 2ion.65,
Y
2tinn. 66-67
white paper, mending of, 121-22 Yale University Art Gallery, 278n.8
white wax, in lining sheets, 164 yellowing
wine, spirit of, 93, 283 causes of, 155
wine vinegar chlorine treatment for, 67-71
cleaning glass of frames with, 167 cleaning before mending, 155
stocking studio with, 38, 207n.i4 of handmade paper, 44
wine vinegar baths removal with bath, 52, 54
as antidote for chlorine, 66, 202, 2 0 9 ^ 5 3 under surface of paper, 155
cleaning with, 11, 52, 55, 2o8n.35 Z
definition of, 283 zinc plates, in addition of plate marks, 127-28
for mold stains, 163 Zinser, Richard H., 245, 277
Schweidler (Carl) on, 2ion.54

in sunlight lightening, 67
wire lines
addition of false, 12, 118-19
definition of, 44, 2o8n.27
in mending process
alignment of, 113, 115
expansion of, 107, 107-8
implantation of, 118-19
posttreatment of, 153
paper without, repairs on, 152-53
in papermaking process, 44
visibility on upper surface, 106, 213^97
wire screens, in papermaking, 43-44. 2o8n.26
Wolk, Thomas, 284n.i
wood fiber, in papermaking, 45
wood pulp
and mold stains, 162, 167
in stamps, 203
woodcut (printing technique), 72, 171, 173,
173-75,174, 175
woodcuts
colored, cleaning of, 72-77
errors in, 72
Japanese, treatment of, 152
wooden boards, prints on, treatment of, 154,
2i6n.i35
wooden strainers. See strainers
wormholes
detecting repairs of, 248-50
mending of, 111, 157-59, 75S, 2i6n.i36
wrinkles, in framing, 165
writing
addition of, 123
ABOUT THE EDITOR
Roy Perkinson holds a B.S. in physics and philosophy f r o m the Massachusetts
Institute of Technology and an M.A. in art history f r o m Boston University. He
received his conservation training at the M u s e u m of Fine Arts, Boston, w h e r e
he held an apprenticeship under the direction o f F. W . D o l l o f f f r o m 1967 t o
1970. A m e m b e r o f t h e Print Council o f America and a f e l l o w o f t h e American
Institute for Conservation, Perkinson has published w i d e l y in the fields o f paper
conservation and fine art. Since 1976 he has been Head of Paper Conservation
at t h e Virginia Herrick Deknatel Paper Conservation Laboratory, M u s e u m o f
Fine Arts, Boston.

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THE

ENGRAVINGS, DRAWINGS, BOOKS,

ENGRAVINGS, DRAWINGS, BOOKS,

TRANSLATED, E D I T E D , AND WITH AN APPENDIX BY

THE GETTY CONSERVATION INSTITUTE | LOS ANGELES

© 2 0 0 6 The J. Paul G e t t y Trust

Library o f Congress C a t a l o g i n g - i n - P u b l i c a t i o n Data

w i t h great appreciation and gratitude

w h o patiently and generously led me into paper conservation,

w h o i n t r o d u c e d me t o Schweidler and much more

19 The Restoration of Engravings, Drawings,

207 Editor's Notes on the Text

219 A p p e n d i x | Eleven Case Studies

302 A b o u t the Editor

Die Instandsetzung von Kupferstichen, Zeichnungen, Buchern usw. (The

Restoration o f Engravings, Drawings, Books, etc.), originally published in

Germany in 1938 and long o u t o f print, has generally been k n o w n t o only a

few, even in Germany. To those w h o have heard o f h i m , t h e w o r k ' s author,

M a x Schweidler, has often seemed a shadowy figure. He perhaps gained

n o t o r i e t y because his surname is sometimes used as a verb—as in "this p r i n t

has been ' S c h w e i d l e r i z e d ' " — t o describe extraordinarily skillful, virtually u n d e ­

tectable repairs of Old Master prints. Roy Perkinson, Head of t h e Virginia

Herrick Deknatel Paper Conservation Laboratory at the M u s e u m o f Fine Arts,

Boston, first b r o u g h t Schweidler t o our a t t e n t i o n in 2003 w h e n he was a scholar

at t h e J. Paul Getty M u s e u m . Roy's i n v o l v e m e n t w i t h Schweidler's manual has

extended over more than three decades. The result is this v o l u m e , a w o n d e r ­

fully readable translation o f Schweidler's text, accompanied by a t h o r o u g h

i n t r o d u c t i o n , copious notes, and an extensive appendix, w h i c h includes eleven

remarkable examples of deceptive, "Schweidlerized" repairs and alterations.

Given t h e t r a d i t i o n o f secrecy s u r r o u n d i n g the practice o f art restoration

d u r i n g Schweidler's era, it is remarkable t o have a d o c u m e n t so full o f revela­

tions of repair techniques, most of w h i c h had never been described in earlier

manuals, and t o discover h o w extraordinarily effective these repairs can be.

Roy compares Schweidler's book t o a magician's h a n d b o o k "in w h i c h t h e

A n d as w i t h magic, k n o w i n g h o w the trick is d o n e helps t h e v i e w e r t o see

t h r o u g h t h e "magic" t o the reality. W i t h this k n o w l e d g e comes awareness.

This b o o k is unique in several ways —as a detailed c o m p e n d i u m o f res­

t o r a t i o n procedures, as a remarkably substantive d o c u m e n t o f restoration

k n o w l e d g e and practices in t h e early t o m i d - t w e n t i e t h century, and as a

t h o u g h t - p r o v o k i n g resource t h a t w i l l likely change h o w one assesses t h e c o n ­

d i t i o n o f w o r k s o f art on paper. The Getty Conservation Institute has long been

c o m m i t t e d t o publishing seminal texts in t h e field o f conservation t o broaden

and deepen understanding of the discipline's history, m e t h o d o l o g i e s , and

philosophies. This v o l u m e w i l l acquaint a much larger audience w i t h t h e

extraordinary techniques advocated by Schweidler; a n d , perhaps even more

i m p o r t a n t , it w i l l enhance our ability t o discern w h a t may have been d o n e t o a

p r i n t or d r a w i n g after its original creation. Schweidler's discussions o f chemical

processes, in particular, w i l l give us more i n f o r m e d k n o w l e d g e o f w h a t a w o r k

o f art on paper has been subjected t o t h r o u g h o u t its history. W e are pleased

t h a t M a x Schweidler's b o o k is n o w available in English, and w e are grateful t o

Roy Perkinson for bringing this i m p o r t a n t w o r k t o our a t t e n t i o n and for creating

such a rich v o l u m e . W e appreciate his efforts, w h i c h w i l l be o f significant bene­

fit t o those w h o care for and admire w o r k s of art on paper.

The Getty Conservation Institute

O n e day in a b o u t 1967, after carefully scrutinizing an i m p o r t a n t p r i n t in t h e

M u s e u m o f Fine Arts, Boston, the curator o f prints m u t t e r e d , "I t h i n k it's been

'Schweidlerized'!" Overhearing this, I w o n d e r e d w h a t she meant. A n d w h o was

Schweidler? I had only recently begun my training in paper conservation, and

w h e n I learned t h a t it was a repair t o w h i c h she had reacted, I was fascinated

t h a t someone had attained such skilJ in t h e t r e a t m e n t o f prints t h a t his repairs

w e r e extraordinarily difficult t o detect. Clearly it could be disagreeable t o dis­

cover repairs in a print w h e r e one had t h o u g h t none existed. But if t h e curator

f o u n d in her collections a print marred by an accidental hole, w o u l d she n o t be

has been ' S c h w e i d l e r i z e d ' " — t o describe extraordinarily skillful, virtually u n d e

extended over more than three decades. The result is this v o l u m e , a w o n d e r

d u r i n g Schweidler's era, it is remarkable t o have a d o c u m e n t so full o f revela

This b o o k is unique in several ways —as a detailed c o m p e n d i u m o f res

t h o u g h t - p r o v o k i n g resource t h a t w i l l likely change h o w one assesses t h e c o n

such a rich v o l u m e . W e appreciate his efforts, w h i c h w i l l be o f significant bene

w e r e extraordinarily difficult t o detect. Clearly it could be disagreeable t o dis

or extent o f t h e repair t o w h i c h she t o o k exception? This was a fine i n t r o d u c

m e t h o d s o f repair. In t h e 1960s books and manuals on conservation or restora

repair techniques practiced by Schweidler. Since t h a t t i m e t h e field o f conserva

grateful t o Rugela Schweidler, w h o generously made available materials, m e m o

for him t o provide me w i t h digital images, p h o t o c o p i e s , and invaluable infor

many aspects o f t h e translation. Her patience and skill in ferreting o u t t h e pre

indispensable f u n d i n g t h a t made release t i m e f r o m regular e m p l o y m e n t f i n a n

M u s e u m Scholar. Deborah La Camera, w i t h her usual cheerfulness and e b u l