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The Cleaning and Restoration of Maps
- By The Map Collector
- Published 1 March 1980
- Maps
- Unrated
The Map Collector
The Map Collector, initiated by Peter Scott and Valerie G. Newby, was a journal on historical cartography published every quarter. The first issue appeared in 1997 and continued for nearly 20 years. After 74 issues the last copy appeared in Spring 1996. Mrs. Valerie G. Newby, is presently editor of the IMCoS Journal.
www.imcos.org
by Robert C. Akers
Principal Lecturer in charge of Bookbinding and Paper Conservation at the Camberwell School of Art and Craft in London, Bob Akers, gives a step by step guide to cleaning and restoring maps. But he asks readers not to attempt do-it-yourself restoration unless you are really sure you know what you are doing. Irreparable damage can be caused.
Many antique and rare maps have miraculously survived the ravages of time and other misfortunes and remain to this day in fine, almost mint condition. Unfortunately, many more have become dirty and damaged by neglect and ill-treatment and need to be restored in order to ensure that they can be passed on for future generations to enjoy.
Conservation is a comparatively new profession, having developed to meet the growing demands from curators, collectors and dealers keen to keep their collections in the best possible condition. During the last few decades there has been a remarkable increase in knowledge of the physical and chemical properties of materials and of conservation techniques and it is now possible for a knowledgeable and skilful conservator of works of art on paper to arrest most of the processes of paper deterioriation. However, there are a number of different approaches to the methods of both restoration and conservation.
To conserve a map, chart or print is to keep it from harm, decay or loss. Conservation involves the use of chemical and physical procedures both in treatment and storage to ensure the preservation of the item in its present condition, no attempt being made to disguise the repair by painting, printing or colouring-in. This code of ethics applies especially to archival materials where the historical evidence is of paramount importance. Restoration means bringing the map or chart back to its original appearance and this is often considered a natural corollary to the processes of conservation. Restorers generally believe that bare conservation is aesthetically disturbing especially when the item is to be mounted and displayed and use every possible means to make the repair as invisible as possible.
Unfortunately, the difference between conservation and restoration is not always so clear-cut. The two approaches often overlap and the finished result will depend upon the wishes of the owner or custodian and the personal integrity of the conservator or restorer. The most important consideration should be the long term well-being of the map but regrettably this is not always the case. Some owners and dealers only wish for any dirt or stains to be quickly and inexpensively removed in order to obtain the best possible price in the sale room. It is not unusual for an owner or dealer to ask for more than complete restoration and for the map to be deliberately improved beyond its original appearance often with the danger of losing the historical evidence and perhaps creating false ideas about the artist's original conception.
The cleaning and restoration of maps, charts, and other works of art should, ideally, be undertaken by a skilful and knowledgeable conservator or restorer but it is not unusual for collectors and dealers to undertake some of the less complicated 'first-aid type' basic processes of cleaning and flattening. This is an age of do-it-yourself and some enlightened amateurs have proved capable of undertaking some conservation work on their own behalf. The most important pre-requirement is to know your limitations and be willing to learn by testing and experiment. Conservators are frequently faced with the task of reversing unskilled and clumsy attempts at cleaning and repair and sometimes reluctantly become involved in almost impossible rescue operations. It is helpful to develop an analytical approach and learn about paper and various media and how they react to different treatments and it is sensible to experiment on blank pieces of antique paper and gradually advance to practice on small maps and prints of little or no value.
Examination
All maps must be subjected to a thorough examination before being removed from their mounts and before cleaning and restoration. This is to obtain as much information as possible about the condition of the mount and the method used to attach the map to it; the type and condition of the paper or support upon which the map is drawn, printed or painted; the condition of the ink and its binding agent; the composition of the colouring pigments and their degree of stability. This information is vital when deciding the choice and extent of treatment necessary to arrest most of the processes of deterioriation. This is the difficult stage, when professional conservators have a tremendous advantage over the beginner or amateur. Firstly, both sides of the map should be subjected to a searching visual inspection. This should be done under very good lighting augmented, if necessary, with an adjustable lamp to provide a raking light to show-up any surface inconsistencies. A low-powered magnifier or binocular microscope can also be used to assist in identification of the various graphic techniques used in the original production and any materials added later. Unmounted maps can be placed on a light table for additional scrutiny. The underneath light source helps in detecting weak areas in the support and quickly exposes previous attempts at restoration.
Most conservators and restorers keep a written technical record for each job - a description of the map, dimensions, materials, paper surface, watermarks, media, coatings and a full description of the condition when received. With more important and valuable maps the technical description is supported by photographs. These can prove helpful in recording the condition of the map when it arrived at the workshop. Photographs can also prove helpful in settling any arguments about missing fragments or the amount of work carried out. Also included in the examination are a few chemical tests. The pH of the paper support is ascertained using a pH meter fitted with a flat surface glass electrode. The information provided by this test will help the conservator decide if the map needs to be de-acidified. It is current practice among conservators to de-acidify paper which has a high acid content; however, the effect that this may have on the pigments has to be fully considered.
The solubility of the inks and pigments are also tested at this stage to ensure that any treatment prescribed will not damage them. A small, pointed, camel haired brush, is made wet but not dripping with water or solvent, and a suitably inconspicuous part of the map is lightly brushed in such a way as to avoid an excess of water or solvent. The moistened area is blotted dry and then examined through a low powered magnifier for signs of feathering, bleeding, discoloration or disintegration. The conservator will carefully consider all the information from the examination of the map before deciding a course of treatment. Examination should continue throughout the process of conservation especially after the map has been removed from its mount, support or backing.
Principal Lecturer in charge of Bookbinding and Paper Conservation at the Camberwell School of Art and Craft in London, Bob Akers, gives a step by step guide to cleaning and restoring maps. But he asks readers not to attempt do-it-yourself restoration unless you are really sure you know what you are doing. Irreparable damage can be caused.
Many antique and rare maps have miraculously survived the ravages of time and other misfortunes and remain to this day in fine, almost mint condition. Unfortunately, many more have become dirty and damaged by neglect and ill-treatment and need to be restored in order to ensure that they can be passed on for future generations to enjoy.
Conservation is a comparatively new profession, having developed to meet the growing demands from curators, collectors and dealers keen to keep their collections in the best possible condition. During the last few decades there has been a remarkable increase in knowledge of the physical and chemical properties of materials and of conservation techniques and it is now possible for a knowledgeable and skilful conservator of works of art on paper to arrest most of the processes of paper deterioriation. However, there are a number of different approaches to the methods of both restoration and conservation.
To conserve a map, chart or print is to keep it from harm, decay or loss. Conservation involves the use of chemical and physical procedures both in treatment and storage to ensure the preservation of the item in its present condition, no attempt being made to disguise the repair by painting, printing or colouring-in. This code of ethics applies especially to archival materials where the historical evidence is of paramount importance. Restoration means bringing the map or chart back to its original appearance and this is often considered a natural corollary to the processes of conservation. Restorers generally believe that bare conservation is aesthetically disturbing especially when the item is to be mounted and displayed and use every possible means to make the repair as invisible as possible.
Unfortunately, the difference between conservation and restoration is not always so clear-cut. The two approaches often overlap and the finished result will depend upon the wishes of the owner or custodian and the personal integrity of the conservator or restorer. The most important consideration should be the long term well-being of the map but regrettably this is not always the case. Some owners and dealers only wish for any dirt or stains to be quickly and inexpensively removed in order to obtain the best possible price in the sale room. It is not unusual for an owner or dealer to ask for more than complete restoration and for the map to be deliberately improved beyond its original appearance often with the danger of losing the historical evidence and perhaps creating false ideas about the artist's original conception.
The cleaning and restoration of maps, charts, and other works of art should, ideally, be undertaken by a skilful and knowledgeable conservator or restorer but it is not unusual for collectors and dealers to undertake some of the less complicated 'first-aid type' basic processes of cleaning and flattening. This is an age of do-it-yourself and some enlightened amateurs have proved capable of undertaking some conservation work on their own behalf. The most important pre-requirement is to know your limitations and be willing to learn by testing and experiment. Conservators are frequently faced with the task of reversing unskilled and clumsy attempts at cleaning and repair and sometimes reluctantly become involved in almost impossible rescue operations. It is helpful to develop an analytical approach and learn about paper and various media and how they react to different treatments and it is sensible to experiment on blank pieces of antique paper and gradually advance to practice on small maps and prints of little or no value.
Examination
All maps must be subjected to a thorough examination before being removed from their mounts and before cleaning and restoration. This is to obtain as much information as possible about the condition of the mount and the method used to attach the map to it; the type and condition of the paper or support upon which the map is drawn, printed or painted; the condition of the ink and its binding agent; the composition of the colouring pigments and their degree of stability. This information is vital when deciding the choice and extent of treatment necessary to arrest most of the processes of deterioriation. This is the difficult stage, when professional conservators have a tremendous advantage over the beginner or amateur. Firstly, both sides of the map should be subjected to a searching visual inspection. This should be done under very good lighting augmented, if necessary, with an adjustable lamp to provide a raking light to show-up any surface inconsistencies. A low-powered magnifier or binocular microscope can also be used to assist in identification of the various graphic techniques used in the original production and any materials added later. Unmounted maps can be placed on a light table for additional scrutiny. The underneath light source helps in detecting weak areas in the support and quickly exposes previous attempts at restoration.
Most conservators and restorers keep a written technical record for each job - a description of the map, dimensions, materials, paper surface, watermarks, media, coatings and a full description of the condition when received. With more important and valuable maps the technical description is supported by photographs. These can prove helpful in recording the condition of the map when it arrived at the workshop. Photographs can also prove helpful in settling any arguments about missing fragments or the amount of work carried out. Also included in the examination are a few chemical tests. The pH of the paper support is ascertained using a pH meter fitted with a flat surface glass electrode. The information provided by this test will help the conservator decide if the map needs to be de-acidified. It is current practice among conservators to de-acidify paper which has a high acid content; however, the effect that this may have on the pigments has to be fully considered.
The solubility of the inks and pigments are also tested at this stage to ensure that any treatment prescribed will not damage them. A small, pointed, camel haired brush, is made wet but not dripping with water or solvent, and a suitably inconspicuous part of the map is lightly brushed in such a way as to avoid an excess of water or solvent. The moistened area is blotted dry and then examined through a low powered magnifier for signs of feathering, bleeding, discoloration or disintegration. The conservator will carefully consider all the information from the examination of the map before deciding a course of treatment. Examination should continue throughout the process of conservation especially after the map has been removed from its mount, support or backing.
