After the inks on the surface were tested for stability, the staining was reversed by cleaning and bathing the artwork and giving the artwork a thorough surface cleaning. The artwork was then strengthened with sizing and dried under weight for a period of days, gradually wicking out all the remaining moisture in the paper.

Josey Steel Plate Engraving Before Conservation

Josey Steel Plate Engraving After Conservation

To treat the artwork, first all pigments were tested for stability. Once the pigments were found to be stable, the paper tapes were removed with methyl cellulose and the pressure sensitive tapes and resultant staining were removed with a gentle solvent on a cold-suction vacuum table. The artwork was then gently cleaned and rinsed to remove any remaining staining. To complete the process, the paper was strengthened with sizing and then flattened under weight for a number of days.

Max Beckman Ink Drawing Before Conservation

Max Beckman Ink Drawing After Conservation

Pabst Brewing Co. Chromolithograph before restoration.

Before treatment, all pigments were tested for solubility to ensure a safe restoration. All tears were backed locally using a thin Japanese tissue and a pH neutral, starch-based adhesive. The staining was removed by rinsing the artwork with water on a cold-suction vacuum table, pulling the staining directly out of the fibers of the paper. All staining was treated locally on the vacuum table with a fine airbursh to avoid the sensitive pigments. The paper was then backed with mulberry tissue and sized with gelatin to lend stability to the weakened sheet. All tears and voids were replaced with paper fiber and all pigment losses were replaced with archival pigments.

Pabst Brewing Co. chromolithograph after restoration.

Jacques Beurdeley etching before Restoration. Etching exhibits severe mat burn about the image area and severe scattered foxing throughout. Also, not visible in this photograph, the margins of the paper were folded behind the sheet.

The etching was cleaned and flattened utilizing aqueous treatments. The severe creases at the margin were removed by humidifying the sheet, reinforcing the areas with methylcellulose, and flattening the artwork under weight for a period of days.

Jacques Beurdeley etching before Restoration. Image appears smaller because the restored margins are now visible that had been originally folded behind the sheet.

Oil on Millboard before restoration.

This painting’s darkened varnish was removed. The surface was gently surface cleaned, and a new ultraviolet filtering, archival varnish was applied to protect the delicate pigments on the canvas.

Oil Painting on Millboard after restoration work.

This client purchased two of our Audubon Watercolors from the New-York Historical Society Edition and framed them in beautiful gold leaf frames.

“We love our Great Egret! It’s beautiful and ‘makes’ the dining room! I think the Egret and the Pelican really complement each other! Thank you so much for all of your help!”

If you are interested in having your Audubons or natural history art on our website, please submit photographs and a brief description to doppen@audubonart.com.

John James Audubon Plate 251 – Brown Pelican Framed in a Handsome American Colonial-Style Moulding

A touch of wildlife and antiqued gold frames can add charm to an already elegant dining setting.

John James Audubon Plate 29A – Great Egret. This rare rendering by Audubon was never published in his final double elephant folio. Framed in a traditional American Whistler frame..

Woodbury Miniature Before Conservation

The miniature was treated with a gentle surface cleaning, all pigment losses were replaced around the margin of the ivory element, the ivory was reattached to the interior of the locket with heat-activated, archival adhesives, and the decayed silk batting and liner was completely replaced to protect the miniature from further deterioration and lend a finished look to the antique.

Woodbury Miniature After Conservation