Everyone would prefer to keep their treasures in their original state, but time and handling take their toll. Although some things can be restored to "like new," many can not. We have all heard of major restorations-the Sistine Chapel ceiling, the USS Constitution, antique cars being completely rebuilt from the wheels up-but restoration is often lengthy, expensive, and sometimes impossible, even given the cutting-edge technology of modern science. That is why the focus in the art and antiques world has shifted to prevention and conservation.

An excellent example of the restoration process is that of an old oil painting. The painting is first examined to determine its condition and course of treatment. It is then cleaned and "stabilized" to reestablish its structural integrity and to impede further deterioration. If the painting exhibits any surface damage, such as an area of missing paint, restoration can then proceed, with the conservator painting in the missing area, making sure that the "inpainting" can be easily removed in the future to reveal only what was original. The restored work may closely appear as it did when first created.

But what of items made of other materials, such as paper? Can they also be made to look "like new"?

I recently had the pleasure of meeting with Leslie H. Paisley, conservator of paper at the Williamstown Art Conservation Center (WACC) in Williamstown, Massachusetts, where she has been department head since 1989. Leslie was awarded in 1983 a Samuel H. Kress Foundation Fellowship for an Advanced Internship in Paper Conservation at Harvard University's Center for Conservation and Technical Studies, and was Senior Paper Conservator for five years at the Pacific Regional Conservation Center in Honolulu, Hawaii.

The Williamstown Conservation Center is divided into several labs, each fully equipped to deal with almost any problem that might arise in the treatment of paintings, furniture, sculpture, and the decorative and utilitarian arts. Leslie took me on a tour of the paper lab, where she discussed the various concerns of dealing with works on paper, and offered some valuable advice for anyone interested in preserving their treasures.

Anything on paper is of particular concern, Leslie explained, because most papers contain lignin, one of the organic substances in wood fibers. Over time, lignin creates acids that break down the fibers, causing paper to yellow and become brittle. The paper self-destructs. When someone brings a work to the lab for repair, "It's like trying to treat a patient with a problem," said Leslie, "but it's a patient that started out with bad health."

Proper storage and limited exposure to light can greatly prolong the life of a work on paper. Not only does light accelerate the breakdown of paper fibers, but the ultraviolet in light can cause many inks to fade, creating a "bleached" look. A protective box or sleeve can keep an item from being subjected to extremes of temperature and humidity and from dust, dirt, mold, and fingerprints. Leslie suggested buying the best archival products one can afford and limiting the handling of any item. "It's better to spend the money on preventive maintenance than to have to spend it later to have a work treated," she said.

This means looking for fibrous storage products that are not just acid-free, but also lignin-free. There are a number of companies specializing in such items as archival-quality albums, boxes, and folders for photographs, stamps, prints, textiles, etc. Leslie, herself, deals with one called University Products, of Holyoke, Massachusetts ("...they're local and somewhat more reasonable than some others.")

For items that require clear protective sleeves, Leslie warned against the use of any plastic made of polyvinyl chloride (PVC). PVC can cause the very degradation that it is supposed to prevent. Non-PVC items like food baggies are fine for short term storage, but better-quality polypropylene, polyethylene, and polyester (Mylar) are the preferred archival plastics. So, what if you're not sure which plastic you've got? "Smell it. If it has an odor," Leslie said, "don't use it-it's probably PVC."

Next issue: restoring autographs and repairing paper tears

RESOURCES:
University Products, 517 Main Street, Holyoke, MA 01041, 1.800.628.1912
http://www.universityproducts.com

Williamstown Art Conservation Center
225 South Street
Williamstown, Massachusetts 01267.

Note that the center offers conservation services to members, non-members and individuals. Conservation treatment and consultation in the laboratory costs $88/hour for individuals (plus photography and supplies). On-site treatment is available.

RECOMMENDED READING:
Caring for Your Family Treasures: Heritage Preservation, by Richard W. Long, et al. Harry Abrams, 2000.
http://www.amazon.com/exec/obidos/ASIN/0810929090/auctionbytescom

Care and Identification of 19th Century Photographic Prints, by James M. Reilly. Sterling Publications, 1998.
http://www.amazon.com/exec/obidos/ASIN/0879853654/auctionbytescom