Currier and Ives was a prominent American printmaking firm based in New York City, operating from 1834 to 1907. Founded by Nathaniel Currier and later joined by James Merritt Ives, the firm became renowned for its popular and affordable prints. They produced lithographs depicting various subjects, including landscapes, historical events, domestic scenes, and portraits. Their works were widely distributed, making art accessible to the American middle class and shaping the visual culture of the 19th century.
The Lincoln Family before treatment
Upon its arrival at The Conservation Center, the Currier and Ives lithograph titled The Lincoln Family presented several challenges typical of aged paper artworks. Measuring 13.5 by 17.5 inches, the lithograph exhibited general darkening and embrittlement of the paper, as well as creases, handling dents, and tears, particularly along the left edge. Surface skinning was evident around the areas of tearing, and the artwork also had severe foxing throughout. Foxing is small yellow-brown spots or blotches on paper but is not the same as mold stains. Foxing is caused by metal contaminants in paper that have been exposed to high humidity, causing the metal to oxidize and rust. Additionally, adhesive residue and gummed tapes were present at the top edge of the verso, and a moderate layer of surface grime marred the piece. Both the recto and verso are stamped, with an embossed stamp at the lower right corner.
The Lincoln Family before treatment, verso
Lauren Luciano, Associate Conservator of Works on Paper, oversaw the treatment of this lithograph. The treatment began with thorough photographic documentation to capture the lithograph's condition before any interventions. Surface grime was addressed first using dry cleaning techniques. Lauren shared, "The print was surface cleaned carefully using crumbled eraser to reduce surface grime. Vinyl eraser was used at the margins." Next, the sheet was water-cleaned. Given the solubility of the stamps on both sides of the piece, Lauren then prepared them for the subsequent aqueous treatments. "The stamps on the verso and recto were fixed to safely undergo water washing. The artwork was water-washed to reduce staining and to relax and strengthen the paper." The water-washing process reduced staining, relaxed the paper fibers, and strengthened the overall sheet.
The Lincoln Family before treatment, stamp detail
The Lincoln Family before treatment, stamp detail
This was followed by treatment to mitigate the severe foxing and further diminish the discoloration. "Then the artwork was light bleached to further reduce the heavy foxing and staining. After aqueous treatment, the artwork was dried and flattened overall between cotton blotters and placed under weight." Lauren paid particular attention to preserving the embossed stamps during this step of treatment.
The Lincoln Family before treatment, detail of tear
Once dry, Lauren then meticulously repaired the tears and creases. "The tears at the edges, most notably the large tear at the left as well as the small fold, were repaired using Japanese tissue and wheat starch paste. The areas of repair were toned using colored pencil to integrate with the surrounding areas." The toning integrates the tear repairs seamlessly with the surrounding areas, restoring both the structural integrity and visual continuity of the lithograph.
Through these careful and precise conservation efforts, The Lincoln Family lithograph has been stabilized, and the discoloration of the paper has been significantly improved. The prints of Currier and Ives captured the spirit of American life, and their artwork provided a valuable window into the cultural and social fabric of the United States during the 19th century. The Lincoln Family is a fine example of their work, reflecting the firm's commitment to quality and their ability to capture the essence of American history.
