Is Your Audubon Print an Original?
Illustrated Print Identification and Authentication
by Ron Flynn
There were five different original Audubon publications between 1826-1871. Most of these publications had only one edition, but one had four editions, and another up to eight editions. Each original Audubon publication was printed on a specific sized sheet of paper with the image either horizontally or vertically oriented. Virtually all original Audubon bird and animal images were trimmed slightly and bound into a book volume, as a bookplate. Original Audubons were sold by subscription, and the subscriber generally had them bound into book volumes. However, for each original Audubon publication, there exist a few examples that were never bound into book volumes, and will be slightly larger than the specific paper sizes listed later in this article. For all original Audubon publications, and all their editions, there are an estimated 3.4 million original Audubon plates/prints in existence. (They are called bookplates while still bound into book volumes, and referred to as prints when removed from their original book volumes). Very many of the original Audubons remain in their original bound book volume form, and are owned by libraries, museums, institutions, and private collectors.
There are fewer than ten limited edition publications of high quality Audubon facsimile reproduction prints that have been issued (and several are not yet sold out) of the original full sized D.E.F. (Double Elephant Folio 26-1/2" x 39-1/2" +/-) Birds of America prints, since the 1930s. These all have some monetary worth to collectors, and have market values of from less than $100 to several thousand dollars per print. Please read my article about Modern Audubon D.E.F. Editions on this website. The total number of these limited edition prints that have been produced is around 400,000.
Finally, there are an estimated 20-25 million cheap low quality Audubon reproduction prints that have been produced since the 1930s, and ALL have little or no market value. There is virtually no demand for these inexpensive reproductions, and no Audubon dealers sell them. More and more are produced each year, and asking prices are ridiculously high. You can usually find scores of these cheap reproductions listed on eBay, for various prices, to unknowing or unsuspecting buyers. Many are offered framed, and their value generally is what the used frame is worth. Beginning in the 1930s, several different editions of Birds of America were produced. These picture books had illustrations of the original Audubon prints, but were produced by modern color offset lithography. People take these books apart and attempt to sell the pictures from these books. Beginning in the 1940s, banks and insurance companies, particularly Northwestern Mutual Life, printed millions of cheap reproductions and gave them away to their customers. Other companies and even the Audubon Society itself produced calendars illustrated with cheap reproductions of the original Audubon prints.
It's Called Authentication -
So, you've just discovered a box of Audubon prints in the attic or basement, or you inherited or were given an Audubon print from Granny or Aunt Betsy that's been hanging on her wall for 40 or 50 years, or you went to an estate or garage sale and bought this beautiful Audubon print. Now you want to know if what you have is an original Audubon print, that is one of those rare finds you see on the Antique Roadshow, or is it a cheap reproduction with little or no value. And, of course, you also want to know how much your Audubon print is worth. I'll deal with how much your print is worth later in this article. First, you must determine if what you have is an original Audubon print.
The first thing you must do is to try as hard as you reasonably can to determine if your prints are truly original Audubon prints. This is called authentication, and this article will help you immensely. Self-education and self-help are your main tools. You do not want to be embarrassed by trying to sell a fistful of cheap Audubon reproductions to a veteran print dealer, and you don't want to pay $100 or more for a professional appraisal of reproduction prints that are barely worth a few dollars apiece. You want to be at least 90% certain that you have original Audubon prints before you pester a print dealer to authenticate, value and/or buy them. Yes, I said pester. Please read on to find out what I mean, and what you might encounter.
If there is one single thing that print dealers regularly complain about, it is the high numbers of people who contact them to have their "Audubon" prints identified, authenticated, evaluated or appraised for FREE! Many print dealers will say that over 75% of these requests will turn out to be cheap Audubon reproductions. It takes time for a dealer to examine prints, and even more time to write a report letter or formal appraisal. Dealers are not going to do this for FREE. In fact, Audubon print collecting has become extremely popular in the past few years, and now many print dealers will no longer authenticate or appraise prints, even for a fee. There are still a few dealers who will do print authentication and appraisals for a fee. There are numerous independent art appraisers who will do this for a fee of usually 10% of their appraised value. You would want to authenticate a print to determine if it is an original Audubon print, or one of the reproductions, with or without much value. In over 90% of all cases, you can do this yourself with the information in this article.
Self-authentication -
There are three simple things that will separate inexpensive reproductions from original Audubon prints: size of the paper, dots, and extra printed text. First, as stated previously, each of the original Audubon Editions was printed on a specific size of paper. These paper sizes are given below for each of the 5 original Audubon publications. However, if your "Audubon" print measures one of the modern familiar paper sizes (8" x 10", 8-1/2" x 11", 10" x 14", 10" x 16", etc.) you can be certain it is an inexpensive reproduction.
Next, with the exception of the very rare Bien Edition (chromolithographs), all original Audubon Editions were hand colored, using watercolor paints of the era. For detailed information on the Bien Edition chromolithographs read my article about this edition on this website. Tiny colored dots are a dead giveaway of a reproduction. You should closely examine any Audubon print using a 10x jeweler's loupe or hand magnifier. If you see that the print is made up of millions of tiny colored dots, you have a modern reproduction produced by color offset lithography or computer printing. If you have a hand colored original, the colors will be smooth and solid, and you might see brush strokes. Where two colors meet, in a hand colored original, the different colors may not touch perfectly and there might be minute gaps, or two hand painted colors might overlap ever so slightly.
Finally, virtually all reproductions will be printed with most or all of the text information and credits found on an original Audubon print. However, if a print has additional printed text such as: issued by xxx, printed by or for xxx, etc., it is an obvious reproduction. Quite a large number of reproductions will have the name of a bank or insurance company printed somewhere on the print.
If you have measured your "Audubon" print for standard modern sized sheets of paper, checked under magnification for tiny colored dots, and checked for additional identifying text information, you are well on your way to determining if your Audubon print is an original. Below, you will find detailed descriptions and illustrations of the original Audubon publications. After that, you will find information on how to determine the general market value of your original Audubon print.
The Original Audubon Publications
Birds of America Havell Edition (1826-38) The 1st original Audubon publication. Some of the first 10 prints in the series were produced in Scotland by Lizars, and the remainder were produced in London by R. Havell and/or his son (Jr.). There were 435 different prints in this publication, and an estimated 180 complete sets of 435 were produced. Today, about 110 of these sets remain intact as bound book volumes owned by museums, institutions, and private individuals. The last recorded sale for a complete 4 volume bound set was $8.8 million. Individual prints sell for from several thousand dollars each up to $200,000.00 or more. These are the most widely and frequently reproduced and copied of all the original Audubon prints.
The Audubon Havell Edition prints are hand colored aquatint copper-plate engravings. Each print will have a plate mark, a colorless rectangular depression in the paper created by the extreme pressure used in the printing process. The paper is somewhat heavy, yet supple enough to be rolled. The paper will have a watermark, visible when held up to a light source (see Fig. 1), either J. Whatman or J. Whatman Turkey Mills, plus a year. Full sized original prints would measure about 26-1/2" x 39-1/2" (this size is extremely important in distinguishing from reproductions) if originally bound into a volume (or slightly larger if never bound into a book), and might have tiny holes or slits along one edge, where the print was stitched into a book volume. A plate # was printed in the upper right corner in Roman numerals. Generally, plate #s ending in I or VI (1 or 6) had one large bird on each print, which took up most of the sheet of paper, as ALL birds were printed life sized. Prints ending with plate #s of II or VII (2 or 7) generally had images of one medium sized bird. The remaining prints, or about 60% of all Havell Edition prints, had relatively small images of songbirds on a large sheet of paper. It was not uncommon to trim or fold these prints so they would fit into a smaller less expensive frame. If more than 1” or 2” of the above dimensions have been trimmed from these very rare original prints, their value would be appreciably reduced. If an original Havell Edition print were trimmed so that there was no evidence of the plate mark or watermark, this is one rare case where you cannot positively self-authenticate the originality of the print, and the print should be professionally authenticated. Fig. 2 shows an original Audubon Havell print.
Fig. 1 Birds of America Havell Edition watermarks
Fig. 2 Birds of America Havell Edition plate #CCCVII (307) Blue Crane or Heron
Birds of America Octavo Editions (1840-71) There were up to eight different octavo editions, each containing 500 different hand colored stone lithographs. There is no plate mark or watermark. The paper is white and somewhat stiff like card stock. Each print should measure about 6-1/2" x 10-1/2" after being removed from its original book volume. Each print should have what is called a binding edge or strip along one edge of the paper, with tiny holes or slits as evidence of the print having been stitched into a book, and a narrow strip where a tissue guard was glued on to protect the image. It is common and routine for dealers and other sellers of original Audubon octavo prints, to sell them with the binding edge intact (see left edge in Fig. 6). If these prints have been trimmed, and the binding edge is missing, the value of these prints is somewhat reduced. All prints have a plate number printed in Arabic numerals in the upper right corner. Larger reproductions of these prints are seldom seen. However, several picture books were published after the 1930s in which some or all 500 of the prints were produced as inexpensive color offset lithographs on inexpensive paper. Individual original octavo prints retail from under $50 each up to around $3,000.00 each. 1st edition prints, of a particular bird, are more valuable than the 2nd or later edition prints of the same bird.
The 1st edition was published between 1840-44. All 1st edition prints were lithographed and colored by J.T. Bowen of Philadelphia and New York, EXCEPT plate #s 136-150, which were lithographed and colored by George Endicott. The vast majority of the 500 prints were of the bird(s) on a branch or bird(s) on the ground type image (see Fig. 3). A few of the 500 prints had a solid hand colored background with some sort of setting for the bird (see Fig. 4). Finally, some of the 500 prints had an elaborately hand colored landscape or habitat scene (see Fig. 5). 1st edition prints are distinguished and recognized by the ABSENCE of a printed color background (see below) At my other website, www.audubonprices.com , I sell a CD, Images of Audubon, which has images of all 500 octavo 1st edition prints.
All 2nd and later octavo edition prints have an aqua or beige printed colored background, either as a solid rectangle (see Fig. 6), or with white areas in most scenes, supposedly to resemble clouds and sky (see Fig. 7). However, while it is easy to identify 1st edition prints, it is virtually impossible to determine which of the up to 7 other octavo editions a print with a printed colored background is from, once it has been removed from its original bound volume.
Birds of America 1st Octavo Edition
Fig. 3 plate #136 Arctic Bluebird
Typical bird/branch image
Fig. 4 plate # 436 Arctic Tern
Hand colored rectangular background
Fig. 5 plate #344 Yellow Shanks Snipe
Hand colored habitat scene
Birds of America 2nd and Later Octavo Editions
Fig. 6 Plate #181 American Goldfinch Fig. 7 Plate # 398 Ring-necked Duck
Notice the printed colored background in later Edition Octavo Bird prints
The Viviparous Quadrupeds of North America (1845-48) This publication consisted of 150 different prints of quadruped (four footed) mammals, and is referred to as the Imperial Folio Edition. It was published in three volumes of 50 prints each in 1845, 1846 and 1848 respectively. The prints were hand colored stone lithographs printed on unwatermarked heavy supple off-white paper. Paper size, as removed from the original book volume, should measure about 22" x 28" with the binding edge intact, though it is more common to find individual prints with the narrow binding edge trimmed off. There is evidence of a 2nd edition that was published sometime after the Civil War, by Lockwood, in two volumes of 75 prints each. Of the few known 2nd edition volumes, it is said that the paper and hand coloring are inferior to the 1st edition prints.
The plate # is printed in Roman numerals in the upper right corner. All prints were lithographed and colored by J.T.Bowen. In the lower left corner, about half of the 150 different prints are credited to J.J. Audubon, and the remainder are credited to his son, J.W. Audubon. A good number of the 150 different original Audubon Imperial Folio prints sell for between $500.00 and $1,000.00, but a few prints sell for over $30,000.00 each. Fig. 8 and Fig. 9 illustrate both horizontal and vertical prints from this original Audubon publication. There are few inexpensive off-sized reproductions of these prints. Princeton-Audubon Ltd. is selling high quality 22" x 28" facsimile reproductions of about 12 of these prints.
The Viviparous Quadrupeds of North America (1845-48) folio prints
Fig. 8 Plate # CI (101) The Jaguar Imperial Folio Edition
Fig. 9
Plate #XXV (25)
Downey Squirrel
Imperial Folio Edition
The Quadrupeds of North America Octavo Editions (1849-71) There were four different original Audubon octavo editions published between 1849-1871, each consisting of 155 different hand colored stone lithographs issued in three volumes. There is no plate mark or watermark on the print. The white paper is somewhat stiff, like a card stock. Each print should measure about 7" x 10-1/2" to 11" after removal from its original book volume, and should have what is called a binding edge along one side, with tiny holes or slits as evidence of the print having been stitched into a book, and evidence of a narrow glue strip where a tissue guard was glued on to protect the image. If the binding edge has been trimmed off, the value of the print is somewhat reduced. All prints in all editions have an aqua or beige printed color background (see Figs. 10 and 11) that is either a solid rectangle, or with white patches to resemble clouds and sky in landscape scenes. All are finished with hand applied watercolor paints of the era.
Plate numbers are printed in Roman numerals in the upper right corner of each print. A credit to the lithographer is printed in the lower right corner. Early prints of plate #s 1-26 and 29-31 will have a credit to Nagel & Weingaertner of New York. Later prints of the above plate #s, as well as all other prints will be lithographed and colored by J.T. Bowen. In the lower right hand corner a credit will be printed for the original artist of the drawing which was made into the print. About half of the 155 different prints will be credited to J.J. Audubon, and the remainder credited to J.W. Audubon, J.J.'s son.
Once separated from their original bound volume, it is virtually impossible to determine which edition a print is from. Dealers sell 1st edition octavo quadruped prints at a premium, but the printed color backgrounds and images are all identical for all editions. There are numerous variants or "states" in the text credits (or the lack thereof) on these prints. Please read my article Audubon Print States Versus Editions on this website. Other than implicitly trusting a dealer, the only certainty of a true 1st edition are found in plate #s 1-26 and 29-31 that have a credit to Nagel & Weingaertner.
At my other website, www.audubonprices.com , I sell a CD that includes all 155 images in the Quadrupeds of North America series. Original Audubon prints from this publication retail from $50.00 to over $1,000.00 each. Most of the inexpensive reproductions of this publication come from picture books published since the 1930s.
The Quadrupeds of North America Octavo Editions
Fig. 10 Plate # XXV (25) Downey Squirrel Fig. 11 Plate # II (2) American Marmot or Woodchuck
Notice the printed colored background in all Quadruped Octavo Editions
Birds of America Bien Edition (1858-60) The original Audubon Bien Edition consisted of 150 different printed images on 105 different sheets measuring about 26-1/2" x 39-1/2". Many of the original sheets contained 2 images, and they were frequently separated into two smaller sheets. Each print was a stone lithographed ink chromolithograph. That is, each image was printed with ink from 6 to as many as 15 different stones, one for each color. Sometimes the final prints were touched up or finished with some hand applied watercolor paints. It is estimated that only 75 sets of this publication were completed before the Civil War halted production. In terms of numbers, the Bien Edition is the rarest of all original Audubon publications. However, the market value of prints in the Havell Edition far exceed those of the Bien Edition. Full Bien Edition sheets retail from a couple thousand dollars each on up to $40,000.00 or more. There are extremely few reproductions of this very rare edition. For complete details on this edition, please read my article, The Audubon Bien Edition on this website.
Other information -
Remarkably, there are relatively few major variants or "states" among all of the above original Audubon editions, due to purposeful changes in the actual printed image. Except for the chromolithographed Bien Edition, the other original Audubon editions were hand colored. Because of the personal hand coloring by different artists or colorists, you may find subtle differences in coloring, when identical prints are compared. These differences would not constitute a new or different "state". However, you will find more true different "states", among all original Audubon editions, as a result of changes to the printed text credits. Some of the common text credit "states" that were created purposely or by omission include: either block or italics text fonts, credits for different lithographers, including or not including credits for engravers or colorists, initials of favored colorists, and the printing of plates with various missing credits. All else equal, original Audubon prints do have different variants or "states' within each edition. They are still original Audubon prints. These different "states" occur most often in the Quadrupeds of North America Octavo Editions, and the early Birds of America Havell Edition.
The Value of Original Audubon Prints
The value of original Audubon prints is based upon three factors: the relative rarity of the print edition, the popularity of the particular print within that edition, and the actual condition of the print. There are three common values for any Audubon print. First, there is the retail value, which is the price dealers sell the print for. This varies widely around the Country based on many factors, including dealer markup and overhead. Secondly, there is the wholesale value, or the amount a dealer would pay you for your print. Based upon the above three factors, this could be 30%-70% of retail value. Finally, there is the replacement value for insurance purposes. Depending on your insurance company, this value could be: the average dealer price from around the Country, the highest dealer price found for that print, or what you paid for that print times a percentage of perhaps 110%.
Although I am now retired and no longer a print dealer, I still receive about 5-6 email requests or images a week, wanting authentication or valuation of "Audubon" prints. Would you be surprised if I told you that almost all of these unsolicited requests, to me, seem quite insistent, indignant and border on being rude. It is as if it's my fault and I owe them something for FREE. Print dealers I know have similar experiences. My answer to you, and those unsolicited requests, is that authentication cannot be done via an email image. I do not do print identifications, authentications, valuations or appraisals. PLEASE DO NOT CALL OR EMAIL ME WITH THESE TYPE REQUESTS. Many print dealers will say the same to you. It is much more likely that the "Audubon" print you found in a dumpster, was given to you in an inexpensive frame, bought at a garage sale or flea market, etc., is an inexpensive reproduction.
In regards to providing a valuation for "Audubon" prints, I publish numerous FREE informative related articles about Audubon prints here on this website, and I sell various products dealing with the market value of all original Audubon print editions at www.audubonprices.com . My Price Guides for individual Audubon editions, are extremely well researched, and reasonably priced at $12.50 or less PPD, or sent via email for $10.00 or less. They will provide you with a researched basis for the market/replacement value of each and every original Audubon print. Rather than paying for a specific appraisal for your Audubon print, at relatively high fees, my individual Audubon Price Guides will provide you with information and prices, so that you can determine the market value of your Audubon print, and supply that information to your insurance company to get scheduled art insurance coverage.
Other resources -
If you cannot visit a local dealer, then a trip to a medium-large library should yield some good Audubon books. The books and links below may prove useful and interesting.
Audubon, John James. Birds of America. Several publishers and editions
Audubon, John James. Quadrupeds of North America. New Jersey. Wellfleet Press. 1989
Bannon, Lois Elmer and Clark, Taylor. Handbook of Audubon Prints. Gretna, LA. Pelican Publishing, 1998
Braun, Robert. Identifying Audubon Bird Prints. Originals, States, Editions, Restrikes, and Facsimiles and Reproductions. Published in Imprint, the Journal of the American Historical Print Collectors Society. [Volume 21, Number 2.] Fairfield, CT. 1996.
Flynn, Ron. An Introduction to Audubon and the Octavo Editions. Published on the Internet @ www.auduboninfo.net
Flynn, Ron. Audubon Octavo Print “States” Versus “Editions”. Published on the Internet @ www.auduboninfo.net
Flynn, Ron. Buying Audubon Prints and Print Condition. Published on the Internet @ www.auduboninfo.net
Flynn, Ron. The Audubon Bien Edition. Published on the Internet @ www.auduboninfo.net
Fries, Waldemar. The Double Elephant Folio. Chicago. American Library Association. 1973, A reprint edition is now available.
Low, Susanne M. A Guide to Audubon's Birds of America. New York. William Reese Co. 2002
Low, Susanne M. An Index and Guide to Audubon’s Birds of America. New York. Abbeville Press. 1988
Steiner, Bill. Audubon Art Prints. South Carolina. University of South Carolina Press. 2003
Tyler, Ron. Audubon’s Great National Work. Austin, TX. W. Thomas Taylor. 1993
Audubon Octavo Print “States” Versus “Editions”, Plus Valuations, Collecting, and the Marketplace.
by Ron Flynn
There seems to be some confusion about the differences between “States” and “Editions” of antique Audubon prints. In putting together this article, I have edited and compiled certain posts from the Yahoo Audubonprints email discussion Group covering these topics. I have supplemented this information, and expanded this article to include information that pertains to valuations, collecting, and the marketplace, as they affect print "state" and "editions".
EDITIONS –
The American Historical Print Collectors Society (AHPCS) definition of “edition” reads, “An edition of a print includes all the impressions published at the same time, or as part of the same publishing event. A first edition print is one, which was issued with the first published group of impressions. First edition prints are sometimes pre-dated by a proof edition. Editions of a print should be distinguished from “states” of a print.”
An edition is also defined as, “all prints pulled and issued as part of a discrete publishing event, as defined and determined by the publisher of that edition.” An edition can be produced in one day, or it can take many years to complete. An edition can consist of only one print, or many hundreds of different prints. Despite confusion and misunderstanding that may develop later, the publisher determines and defines which prints constitute his first, as well as his subsequent editions. Editions are usually identified as 1st, 2nd, etc., or identified by dates on the title page. The number of different prints to be included in an edition is usually predetermined. However, the number of pulled prints, for each print in the edition, can be a predetermined number done on speculation, or the number can be adjusted upward if the edition is being sold by subscription and the edition is being produced over a number of years.
STATES –
The AHPCS definition of state is, "a “state” of a print includes all the impressions pulled without any change being made to the matrix. A first state print is one of the first groups of impressions pulled. Different states of a print can reflect intentional or accidental changes to the matrix. States of a print should be distinguished from “editions” of a print."
Another way of saying this is that a different state occurs when there is a change in the image matrix, whether on purpose or by accident. The image matrix of a print consists of the printed image, all of the text and credits, and the hand coloring (if done). If a purposeful change is made to the printed image, a new state occurs. If a change is made to the text or credits, a new state occurs. If a stone accidentally breaks, or simply wears down, and a new stone has to be made, that is a new state. If there is a purposeful change to any of the colors applied by hand, this constitutes a new state.
WHAT DOES ALL THIS MEAN TODAY? –
A state relates to timing. The first prints pulled are 1st state prints. Whenever a change occurs to the image matrix, for whatever reason, the next prints pulled become the 2nd state, and so on for every different print in the entire edition.
An edition relates to when the prints were published or issued, and can be mostly a business decision by the publisher. He decides what goes into his edition, plus when it begins and when it ends. It can be based on time or date, numbers of prints, or any other reason. He can declare his first edition complete, and start a 2nd edition the next day using the same plates or stones.
There can be several states of a print from the same edition, and there can be several editions of a print all with the same state.
AUDUBON OCTAVO EDITIONS and STATES -
Audubon Octavo Editions - Birds
1st edition 1840-44
2nd edition 1856
3rd edition 1859
4th edition 1860 issued without plates
5th edition 1861
6th edition 1865
7th edition 1870-1
Audubon Octavo Editions - Quads
1st edition 1849-54
2nd edition 1852-55, often as mixed 1st and 2nd editions
3rd edition 1856
4th edition 1870
The discussion posts to the Group were concerned with the editions and states of the Audubon octavo series. The 1st octavo edition bird prints are easily distinguished from later editions because they lack the printed colored background that is present on all later editions. The octavo bird prints for the 2nd and later editions are virtually identical, and edition cannot be determined by simply looking at a print that has been removed from its bound volume. You can determine edition with some certainty with an intact volume and dated title page. If you are buying 2nd and later edition individual bird prints, you will have to trust and rely on the seller.
All octavo quad prints are virtually identical, except for different states. 1st state prints have been found in all editions. A dated title page may not be a true indication of edition. Edition dates overlapped and erroneous and undated title pages have been found in bound volumes. Many mixed edition sets were put together and distributed.
Different states of prints are theoretically easily identified. You place 2 prints of the same plate number side by side. If there are differences in the image or text, you have different states of the same print, but you still cannot determine edition among the quads. A number of states have been identified that affect more than a single print. Identical plate #s are found: with the credits in italics, with the credits in bold type, and with some credits missing. Also, there are different states, of the same print, with differing credits, mostly to the lithographer. There are different states of specific prints where the image has changed or the spelling of the animal’s name has been changed. Many more states are likely to be discovered in the future.
Please consider the following examples and possibilities as they might pertain to the Audubon octavo quad editions -
1. - Say the Audubons ended their 155 print 1st quad edition with some prints from certain stones being 2nd or 3rd state. Then, the very next day they start pulling prints for their 2nd edition, using the very same unchanged stones from the end of the 1st edition. What happens? All of the newly pulled prints from those stones become 2nd edition, 1st state prints, and there is no way to distinguish them once removed from their bound volumes. This can progress throughout all remaining editions.
2. - Another more confusing occurrence probably happened more often. When the Audubons ended their 1st quad edition, it was very likely that there were any number of leftover uncolored prints, and perhaps completed colored prints (all of various states). Certainly, these leftover prints would be used in the upcoming 2nd edition, rather than being discarded. The publisher would begin making up sets of prints for his 2nd edition, using up the leftover prints from the 1st edition, plus putting in freshly pulled prints where there were no leftovers. If the leftover 1st edition prints are initially used in making up sets for the 2nd edition, these sets of prints become a mixed 1st and 2nd edition. Eventually, the very last leftover 1st edition print is used up, and then the very next set sold becomes a true 2nd edition, rather than a mixed 1st and 2nd edition. But exactly when did this occur so we can distinguish between mixed editions and the true 2nd edition? I don’t think the date on the title page is definitive. This phenomenon could have easily occurred at any time between any of the various editions. Many more sets that are out there may be actually mixed edition, rather than true 2nd, 3rd, or 4th editions.
3. - It is known that Nagel and Weingaertner were hired first by the Audubons, and that they completed plates #1-#25 and plates #28-#31 of the octavo quads 1st edition. They would have been 1st edition, 1st state. However, no one knows how many prints they pulled for each plate. J.T. Bowen eventually took over for N&W, and redid the stones and added his name. In between that, a good number of prints appeared with no credit to either N&W or Bowen. That’s 3 different states. It seems likely that the Audubons used some sort of storage system, with hundreds of cubbyholes, to pull out prints to fill subscription orders and make up sets. It also seems likely that prints were regularly being produced to fill the need. New prints came in and went on top in each cubbyhole, and at the same time prints went out to fill orders. Nobody kept track of anything, as long as production and distribution rolled along smoothly. Perhaps semi-literate people did much of the work, or perhaps the Audubons had no concept of edition and order, or didn’t care. How many 1st edition 1st state volumes were there? There is much confusion as to what volumes are truly 1st edition, when N&W prints have been found in 3rd and 4th edition volumes with 1856 and 1870 dated title pages. The 1st and 2nd edition octavo quads overlap each other. Perhaps only volume I with title pages dated 1849 can be considered true 1st edition? Yet, 1949 Volume I books exist with few or no N&W prints bound into them. How does one prove that a Volume II or III is a 1st edition, rather than from a mixed edition set? If a N&W plate is found in a dated 3rd or 4th edition Volume I, then isn’t that a mixed edition volume? No one can be certain that an individual print is truly a 1st edition, unless it is one of the first 29 plates completed by N&W (even if found in an 1870 dated volume).
There are so many combinations and possibilities that answers may never be found. There could be one or more states for each of the 500 prints, in each of the many editions of the octavo birds. There could be one or more states for each of the 155 prints, in each of the 4 editions of the octavo quads. It would be a monumental task to examine and compare numerous volumes from each of the editions, to find all the states of all the octavo editions. I have personally seen eight different states of plate #11, Northern Hare, which are solely different combinations of the text credits. I suspect that dealers and collectors will discover many new states in coming years.
The research to clarify and define the editions, and identify the various states, has simply not been done. There are known records with information about the octavo bird editions, along with print run numbers for the 1st edition. I don’t know if any other records exist, or if records do exist that have yet to be researched that might shed more light on the Audubon’s business practices and the production of the octavo birds and quads.
COLLECTING PRINT STATES –
The concept of collecting octavo print states, as expressed by a couple members of the Yahoo Audubonprints Group, is an interesting idea. However, I can’t imagine anyone simply buying different print states at random, with the expectation of higher values. If you are interested or passionate about a particular species or two, I think assembling all Audubon examples of the species can make a nice collection, including different print states. It is estimated that between 20-60 individual unbound prints of each of the 435 Havell Birds of America prints survive today in private hands. Because of their rarity and cost, most of us would be happy just to own 1 or 2 Havells, and never think about trying to own different states of the same Havell print. The same could be said for the Bien and Imperial Folio editions. However, collecting print states of your favorite octavo bird or quad is financially doable, if the different print states can be identified and then searched out and purchased.
In preparing to write this article, I contacted a handful of dealers that I personally know, to inquire about print state collecting. First, no dealers had or could remember a customer who collected Audubon print states. This is not to say that other dealers do not have customers who are print state collectors, but I suspect there are very few. Secondly, and more important, no dealer I spoke with, or any other dealer I have contacted for price information, has ever listed or described an Audubon octavo print as being a particular print state (1st, 2nd, etc.). However, I have seen a number of dealers describe the print state for Havell prints they are selling.
It has been my experience, and this is confirmed by dealers I have discussed this with, that people most likely collect a diversified selection of Audubon bird and/or quad prints: that are common or well known, that are personal favorites, that represent species found or seen in their local area, or have a specific purpose such as fitting into a particular decorating scheme. Next, people will collect by genus. That is, collecting all or many of the species in a particular genus group (such as woodpeckers, hummingbirds, bears, etc.). Finally, more people seem to have started collecting octavos for investment purposes. I think the Havells have long been sought as wonderful works of art, as well as for potential price appreciation. The Bien and Imperial Folio editions have also reached that status. Now, the more affordable octavos are beginning to be thought of for their potential investment possibilities.
VALUES OF OCTAVO PRINT STATES or PRINT VARIANTS –
Today the term “print variant” is being used interchangeably with the term “print state.” I think this is a favorable improvement. When a collector encounters the term “print variant” in discussions or in reading, it is virtually self-explanatory and a basic understanding of the meaning is immediate. The idea that print states or print variants, by themselves, are more valuable is unfounded. The belief that a particular print variant of a specific plate # is more valuable than another print variant of the same plate #, is also unfounded. There are too many unknowns for these ideas to have merit. First, no one knows (with the exception of the 1st edition birds) how many prints were pulled from each different stone in each edition of the octavo birds and quads. Second, no one knows how many prints survive today for any print in any edition of the octavo birds and quads. Third, no one knows how many different print variants or print states exist for any print in any edition of octavo birds and quads. Finally, no one knows how many prints exist of any print variant compared to another print variant of the same plate # and edition. If none of this information is available or known, there is no possible way to determine scarcity or rarity, and no way that valuations can be determined or set in the marketplace. Dealers do not recognize and sell by print state. A few dealers may occasionally mention a print variant in a print description. However, dealers will not price a print because of the print variation. Instead, a print will be priced by its condition and relative popularity within its edition, as determined by supply and demand in the marketplace, and the dealer’s overhead and markup.
VALUATION OF OCTAVO BIRDS AND QUADS IN THE MARKETPLACE –
The Audubon octavo prints are not art as it was traditionally thought of. That is, they are not paintings, sculptures, etc., that were created by an individual artist. However, the individual hand painted plates, dis-bound from book volumes, is most certainly art. Any of these Audubon prints would look great, and be appropriate, framed and hung in your home or office. Inexpensive Audubon off-sized reproduction prints and glossy posters cannot compare with an original Audubon. I think many people buy the least popular Audubon originals and think of them as “collectibles” rather than art. Look at their prices. Maybe 200-250 out of the 500 1st edition octavo bird prints (the most popular of all octavo editions) can be purchased on eBay in the $100 or less price range. These same prints can be purchased from retail dealers for around $200 or less. I know of many people who own and/or are acquiring fairly large quantities of octavo bird and quad prints from several editions. Unless they own, or are going to open a store, this is far more than anyone would ever frame and hang on their walls. I can only assume they are storing them in hopes of future price appreciation. If someone purchases something as art, I think they should frame and hang it to be viewed and enjoyed.
I know a number of dealers with large inventories of octavos. They have told me that the hundreds of least popular octavos may stay in their inventory for 4-5 years or more before selling. Thus there is: a reason for print valuation and pricing based on supply and demand, a reason for some dealer’s high markups, and a reason for eBay in the marketplace. I think the chances for significant price appreciation over the next 5-10 years, for 400 or so, of the least popular octavo birds, and for 125 or so of the least popular octavo quads, are very low.
The marketplace does not recognize the octavos by print state or print variant. Dealers sell the octavos by editions. Besides the condition of a print, dealers set their prices based upon supply and demand plus their own business experience and instinct. The supply of individual prints from various editions is a bit uncertain. The number of surviving prints and unbroken volumes for each edition is unknown. Many are owned by museums and other institutions, and will never be sold. However, for many years private owners have been selling their volumes to dealers, who take them apart and sell the individual prints. Volumes of various octavo editions can most always be found for sale at http://www.abebooks.com .
Remember, for every complete set of any of the octavo editions, there is only one print of each of the octavo birds or quads. Over a period of time, dealers from all over the country have learned which individual octavo prints are more sought after or popular. This is the “demand” part of supply and demand. Dealers set their prices accordingly, and this establishes the market. Dealers’ retail asking prices for the same individual print, from the same edition, still vary widely across the country, especially for the most sought after prints. Dealers’ retail asking prices for the least popular prints are more uniform. The highest dealer asking price for an Audubon octavo print that I have seen is $3800.00 for the 1st octavo edition plate # 423 Brown Pelican adult (a very popular regional bird) from Audubon House in Florida.
I believe that virtually all dealers would agree that demand from collectors is mostly for 1st edition octavo prints. This can be seen in the market prices. Dealer asking prices for 1st edition octavo prints are generally much higher than their prices for later editions. In fact, many dealers will price specific individual later edition prints about the same, no matter which edition they are from. If you want a 1st edition octavo quad, be certain you get a 1st edition. Because of the confusion over which edition an individual octavo quad print might actually be from, it is often suggested that you ignore edition and purchase more for the print’s condition and appearance.
In conclusion, when buying Audubon octavo prints, buy them as art, and buy what you like. Buy each print in the best condition that you can afford. Buy print variants only as a very specialized area of collecting, and not for investment. If you can afford Audubon originals of any edition, don’t buy off-sized modern reproduction prints or shiny posters. Don’t buy large quantities as “collectibles”, because you’ll be lucky to break even when it’s time to sell. Finally, if you’re going to speculate on Audubon octavos and buy them as investments, the 50 or so most popular octavo birds, and the 15-25 most popular octavo quads, have the best chance for price appreciation. Prices can swing widely based upon the economy and what’s in or out in the art market. There can always be sleepers!
A Brief Introduction to Audubon and the Original Editions
by Ron Flynn
John James Audubon (1785-1851) was born in San Domingo, Haiti, the son of a French naval captain and a French servant girl. Audubon's real mother died shortly after his birth. Capt. Audubon and his legal wife sent young Audubon to France where he was raised.
In order to avoid conscription by Napoleon when Audubon was a young man, J.J. Audubon was dispatched to Philadelphia, Pennsylvania to oversee land owned by his father. There he met and married Lucy Bakewell, who’s lifelong support was critical to Audubon's success. In their early years, Audubon did not do well in business. After many years he finally attained fame as an artist and ornithologist with the publication of his first Birds of America double elephant folio edition in London (1826-1838).
Audubon and his wife traveled the U.S., as he studied and painted wonderful life sized images of hundreds of birds. Audubon went to Scotland and England and published his first work, The Birds of America. These prints were chiefly engraved and hand colored by Robert Havell Jr. They were printed on "double elephant" folio sized sheets of watermarked J. Whatman fine wove paper. From 1826-1838 these aquatint copper plate engraved sheets, measuring about 26" x 39", and beautifully hand colored, were issued in 87 parts of 5 prints each. The complete set totaled 435 prints. They were sold by subscription, and the owners/subscribers eventually bound them into 4 volumes. It is estimated that between 160-180 complete sets of the first Birds of America were issued. Today about 110 complete sets survive, mainly in museums and other institutions. An unknown number of partially bound sets and individual prints survive. They are quite rare. The last complete bound set sold at auction for $8.8 million. Individual prints sell for thousands of dollars, with a few fetching $100,000.00 or more.
The success of Audubon's first Birds of America brought Audubon Worldwide acclaim. Following that success, he returned to America and set out to issue a smaller version that would include more birds (most newly discovered in the Western U.S.). He decided on a 1/8 or octavo sized sheet measuring about 6-1/2" x 10". He called this set The Royal Octavo Edition of Birds of America. The 1st Edition of 500 plates was lithographed and hand colored by J.T. Bowen in Philadelphia and New York from 1840-44. They were again sold by subscription, and issued in order by species in 100 sets of 5 each. It is estimated that from 1000-1200 complete sets were issued. No one knows how many complete sets and individual prints survive today. They are very popular and highly collectable. Today, a complete set in good condition would sell for over $50,000.00 at auction. Individual 1st edition prints sell at dealer's galleries from $50-$100 each, on up to $2,000.00+, depending upon popularity.
The 1st Royal Octavo Edition of Birds of America was completed under the direct supervision of J.J. Audubon. Up to eight (8) editions, some text only without plates, were issued from 1856-1889. The most important of these editions were: the 2nd (1856), the 3rd (1859), the 5th (1861), and the 7th (1870 published by Lockwood). An 1860 letterpress or text edition was issued without plates to accompany the Bien Edition.
A beige or blue-green printed colored background generally identifies the 2nd and later editions on each plate, except those with landscapes scenes. The type on the credit lines at the bottom of the later edition prints is generally bold face, as opposed to the italics on most of the 1st edition prints. Today, dealer price lists often list prices for the 1st octavo edition, and then lump all the later editions into one price list category called "later editions", with no distinction among them. Dealers with a large inventory of a particular later edition will often sell them as later edition, but give the year they were published.
Following the octavo Birds of America, the Audubons ( J.J. and his two sons, John W. and Victor G.) published and issued an Imperial Folio Edition of The Viviparous Quadrupeds of North America. From 1845-48, the Audubons issued, by subscription, 150 hand colored stone lithographed images of mammals of North America, with each sheet measuring about 22” x 28”. Perhaps 300 sets of these prints were sold, and were generally bound into two volumes.
Following the success of the Imperial Folio edition of mammals, another octavo sized publication, by the Audubons, called the Quadrupeds of North America, and consisting of 155 different mammal prints, was first published from 1849-54, as the 1st edition. The Audubons, not thinking of modern-day classification, identification, and distinctions, started issuing a 2nd edition of The Quadrupeds of North America at the same time they were still issuing the 1st edition. To add to the confusion, the 1st and 2nd edition prints are indistinguishable from each other when examined side by side. As a result, the 1st edition (1849-54) and the 2nd edition (1852-55) were generally issued to subscribers without regard for which edition prints were being sent to individual subscribers. Therefore, most early sets, which were bound into three volumes, were comprised of mixed 1st and 2nd edition prints. There was a 3rd edition in 1856, and a 4th in 1870. It is estimated that about 3500 complete sets of all 155 plates were issued from 1849-55. The name of Audubon’s son, John W., appears on about half of the plates. J.T. Bowen was the main lithographer, but Nagel and Weingartner of New York were the lithographers of 29 plates, among the first 31 plates in true 1st edition prints before J.T. Bowen replaced them. Among the artists who drew the images on the lithographic stones were Trembly and Hitchcock, whose credit lines appear on very many prints. Rarely, you will find a credit line on a print for the colorist> The only one I have regularly seen is for Lawrence.
J.J. Audubon died in 1851, before the complete 1st Edition of the octavo Quadrupeds of North America was completed. In fact, because of his health, he took no part in the production of this publication. However, he was credited with about half of the drawings for this publication because his drawings for the Imperial Folio Edition were reduced and used in the octavo Quadrupeds of North America publications. The octavo Birds of America was issued as a seven-volume set, while the octavo Quadrupeds of North America was a three-volume set.
In 1858, the Audubon sons (mainly Victor) set out to produce a reissue of J.J. Audubon’s original Birds of America. It was to be a D.E.F. folio sized reissue, but many of the smaller songbird images were to be printed 2 to a sheet. This publication was to sell by subscription at a more affordable price. The newly developing process of chromolithography was chosen as the means for production. Julius Bien of New York, a renowned chromolithographer of the time, was selected to produce the reissue. For a number of reasons, including the breakout of the Civil War in 1860, production was halted, and the project abandoned. In all, 150 different images on 105 sheets were produced and issued. The publication was bound into one D.E.F. sized volume. It is estimated that 75-100 sets were sold. While the Bien Edition of Bird of America is rarer than the Havell Edition, according to numbers produced, retail prices for the Havell Edition prints are much higher for the same print.
This article is meant as a brief introduction only. Many of the topics mentioned in this article are discussed in detail in other articles on this website. Literally scores of books have been published on the life of John James Audubon, and many other Audubon reference books will go into greater detail about the life of Audubon and the details of the various editions of Birds of America and Quadrupeds of North America. They are available at libraries and bookstores throughout the Country. For further reading, you can search for John James Audubon books at Internet websites such as Amazon.com and BarnesandNoble.com. Also, if you have a reasonably sized library in your area, you will find many books on Audubon, or you will be able to order Audubon books using regional library lending programs.
Do You Really Own A 1st Edition Octavo Quad Print?
by Ron Flynn
Are you certain that your 1st edition Audubon octavo quadruped print is really 1st edition? For years dealers have been selling 1st edition octavo quad prints at a hefty premium over later edition prints. When it comes to collecting, most buyers prefer 1st edition items, and are willing to pay a premium for them. But, are ALL the Audubon octavo quad prints sold as 1st edition, really 1st edition?
What happens when the time comes to sell your 1st edition octavo quad print? A Certificate Of Authenticity (COA) or a title page from a Volume (original or copy) is worthless. COAs are fine as assurance that your print is an original Audubon. They are especially nice to have when you give a print as a gift. However, in the case of the octavo quads they are no guarantee of edition. Any buyer is going to want to personally examine any print before purchasing it. What if the buyer says that your print is 2nd, 3rd or 4th edition, and refuses to pay you for a 1st edition print? Virtually ALL 1st-4th edition Audubon octavo quad prints are identical, except for text differences. I talked to some dealers who believe they can detect 4th edition prints by differences in the paper and quality of hand coloring. However, the paper and images of individual 1st-3rd edition prints are identical, and editions of individual prints cannot be distinguished.
New discoveries in the past few years have begun to cast doubt as to the genuineness and authenticity of octavo quad prints sold as 1st edition. First, numerous prints “lithographed and colored by Nagel & Weingaertner (N&W) of New York” have been found in Volume I of 3rd and 4th edition octavo quad sets. Second, there exist seemingly inordinate numbers of octavo quad sets, with 1849 dated title pages for Volume I, that are called and sold as 1st edition. If the significance of these discoveries and observations is not immediately apparent to you, they will be explained below.
How Are Editions Determined? -
The American Historical Print Collectors Society (AHPCS) is probably the recognized authority on antique prints. Their definition of edition reads - “An edition of a print includes all the impressions published at the same time, or as part of the same publishing event. A first edition print is one, which was issued with the first published group of impressions. First edition prints are sometimes pre-dated by a proof edition. Editions of a print should be distinguished from “states” of a print.” I have always disagreed with this definition as it applies to what the Audubons did 150+ years ago.
As with all previous Audubon publications, the Quadrupeds of North America was sold by subscription. There were 155 different plates usually bound into three volumes. It is generally said that the 1st edition was published from 1849-1854. The second edition was published from 1852-1855, and the 3rd edition in 1856. Finally, the Lockwoods published the 4th edition in 1870. You can see that the 1st and 2nd editions overlapped, and this is where the AHPCS’s definition and today’s perceptions of the Audubon “editions” conflicts with what the Audubons did.
The Audubon Operation -
The Audubons were businessmen, and their main goal was to sell prints and make money. Author Bill Steiner, in the Yahoo Audubonprints Group, wrote in effect that the Audubons didn't give a fig about state or edition, but just wanted to sell 'em and get 'em out. I agree. I think that the Audubons either didn’t know or didn’t care about editions of their publications, and defining them for the AHPCS and today’s market. Bill also wrote about how the Audubons must have used some sort of storage system for their prints. I can’t remember if he used the word cubbyhole, but I will. The Audubons probably had something like a cubbyhole storage system where new plates, text pages and title pages were put when they came in from printers and lithographers. These same cubbyholes were used to fill orders as they came in. I don’t believe that anyone today thinks that the Audubons personally participated in the day-to-day stocking of the cubbyholes and filling subscription orders. It is more likely that an unskilled or semi-skilled employee did this work.
Remember, the octavo quads were being sold by subscription. They did not sell thousands of subscriptions all at once in 1849, or even in the first few years of production. In a subscription sales type of operation the Audubons could not foresee how many plates would be sold. Subscriptions came in over many years, and the Audubons sold octavo quad prints from 1849 until probably the outbreak of the Civil War. The Audubons would have initially ordered plates and pages in smaller quantities. New plates and pages would be reordered as needed. We don’t know who printed the letterpress. The letterpress consisted of the text pages for each animal, plus title pages, subscriber lists, etc. The letterpress was printed on inexpensive paper for a relatively low cost, and could have been ordered initially in larger quantities than the plates. The hand colored plates were the most expensive item for the Audubons, and undoubtedly were ordered in smaller quantities from the lithographers.
We do know that the Audubons first hired the firm of Nagel & Weingaertner (N&W) of New York as lithographers to print and hand color the octavo quad plates. From observations of octavo quad volumes over many years, we know that N&W produced an unknown number of plates #1-#26 and #29-#31, for Volume I, out of the 155 different plates ultimately produced. The N&W credit appears at the lower right corner of each plate they printed. At some point, the Audubons replaced the N&W firm with J.T.Bowen of Philadelphia. The Bowen firm lithographed and hand colored all subsequent octavo quad plates, including plates #1-#26 and #29-#31, through the Lockwood 4th edition in 1870.
I have seen no research that indicates that the Audubons designated a specific end to the 1st edition in 1851-52, and declared the beginning of the 2nd edition, which would meet the AHPCS definition. In 1851-52, the Audubons had finished the first 50 plates that would become Volume I of the publication, and were shipping them out to subscribers. They would have just started working on, and sending out, the next 50 plates for Volume II. Also, I’m certain that the Audubons wouldn’t have built a separate cubbyhole storage system to separate 1st and 2nd edition plates and pages, when they were all virtually identical. Instead, the Audubon operation was a continuous printmaking production. As new plates and pages from the printers and lithographers came in, they were placed in their appropriate cubbyhole. When subscription orders came in, the plates and pages were plucked from the cubbyholes and shipped out to fill the subscription orders. This operation churned on, without regard for editions, until all 155 plates had been completed. Apparently common sense or reason came to the Audubons in 1856, when they ended the confusion and issued title pages, for all three Volumes, with the 1856 date, although the plates and letterpress pages remained the same. They continued publishing octavo prints probably until the health of J.J. Audubon’s sons, John W. and Victor G,. began declining and the Civil War broke out.
During all these years, the plates and text pages basically never changed. The only thing that changed was the dates on the title pages. I’m sure the Audubons ordered an ample number of title pages dated 1849 for their first 50 plates. When 1851-52 came along, the Audubons ordered dated title pages for their next 50 plates, plus new dated title pages for the first 50 plates. From 1851-1856, there were dated title pages for virtually each year for Volumes I and II. All Volume III title pages were dated 1854, 1855 or 1856. From 1856 on, all title pages for all three Audubon octavo quad Volumes had the 1856 date. It was not the Audubons who thought of 1st, 2nd and 3rd editions, while they used the same lithographic stones to produce the 155 different plates for all those years. The idea of 1st, 2nd and 3rd editions of the Audubon octavo quad publications came later, to either the subscribers who received them or the “dealers of the day” who resold them.
Today, three-volume sets of the octavo quads exist with various combinations of title page dates. It is these title page dates that dealers use to determine which edition the prints are from, even though ALL the prints produced from 1849-1870 were printed using the same lithographic stones (with exceptions for retooling or replacing broken stones), and were ALL hand colored by the J.T. Bowen firm (with the exception of the early N&W prints). It is generally accepted that a three-volume set with title page dates of 1849-1851-1854 is a 1st edition set. However, there are relatively few of these, and many many more three-volume sets with other title page date combinations up to 1855-1855-1855. Beyond those dates, we generally say that three-volume sets dated 1856-1856-1856 are 3rd edition, and those dated 1870-1870-1870 are the 4th edition published by the Lockwoods.
What combination of title page dates is a true 2nd edition? Perhaps it is 1852-1855-1855, though I have never seen or heard of a set with that combination. Virtually everyone in the business acknowledges that the vast majority of early octavo quad sets are mixed 1st and 2nd edition. Is a Volume I title page dated 1849 the key? Is a three-volume set dated 1849-1852-1854 or 1849-1854-1854 a 1st edition set? What about 1849-1852-1855 or 1849-1854-1855? The fact is that if these sets were offered at auction, they would be listed as mixed edition. The problem arises for collectors when a dealer buys one of these mixed sets and starts selling the individual prints. Does the dealer sell ALL the prints as 1st edition, and earn a hefty premium? I think the answer in virtually all cases is YES! I have never seen a dealer selling Volume I prints as 1st edition, and selling the Volume II and III prints as later edition. The vast majority of upper tier octavo quad prints are in Volumes II and III. I’m sure there are dealers around who have original octavo quad title pages with 1849-1851-1854 dates. They could show these to customers and say that whatever prints are being sold are 1st edition. Perhaps my proposal at the end of this article might solve this problem?
First In, Last Out?
So far, all of the above is based on known facts and some common sense suppositions. I believe few, if any, would disagree with what has been put forth so far. I have another theory, which will explain the N&W print occurrences mentioned in the 3rd paragraph of this article, and will cast further doubt on which octavo quad prints are truly 1st edition.
Anyone familiar with the stocking and rotating of merchandise, especially fresh produce and food, knows that the older items go in the front or on top, and the newer/fresher items go in the back or on the bottom. It is my belief that when hand colored plates and printed letterpress came into the Audubon’s shop, an employee would have been charged with the job of restocking the cubbyholes. Since the plates for each cubbyhole looked the same as the remaining plates in a particular cubbyhole, I believe the employee simply put the new plates on top of the old. As long as they matched, he didn’t care. Maybe the Audubons knew about it and didn’t care either. The same was true for the letterpress pages. The new ones could just as easily been put on top of the old pages in the right cubbyhole. “First in and last out.”
A “first in and last out” method of restocking the Audubon cubbyholes would have worked fine. There was no problem with freshness or spoilage of the sheets. All the text pages and all the plate images were the same, except… The printed credit line on the lower right corner changed from N&W to Bowen at some point for 29 of the first 50 plates. I believe that the newer Bowen plates were put on top of the older N&W plates in the cubbyholes. This would account for the numerous reports of finding one or more N&W plates in bound Volumes I, that are dated 1856 and 1870. I have personally seen three different 1870 Volume I books. Two of the books each had 2 N&W plates bound into them. The third 1870 set had four N&W plates bound into Volume I. One dealer reported that he found 12 N&W prints in an 1870 Volume I book. I believe these reports and personal observations prove the “first in and last out” theory.
Though the letterpress text pages never changed for each animal, the dated title pages did change from time to time. The Volume number (I-III) and other information remained the same, but the actual date on the title page would change. During the period from 1851-1855, I believe that to some degree the title pages for Volumes I-III were subject to the “first in and last out” theory. I also believe that initially the Audubons ordered an inordinately large number of Volume I title pages with the 1849 date. To further confuse and cast doubt on which octavo quad prints were actually 1st edition, I believe that the 1849 dated title pages were also "first in and last out" beginning in 1851-52 and continuing until 1855. One dealer reported having a Volume I dated 1851 with all 29 N&W plates, while another dealer had a Volume I dated 1849 and all 50 plates were from Bowen. If there was any indication that the Audubons cared or knew about editions, it would have been in the 1851-52 period when a supposed 2nd edition began to be published simultaneously with the publication of the1st edition.
A few months ago I did an online survey looking for 1st-2nd edition Audubon octavo quad sets for sale at antiquarian bookstores, and owned by museums, institutions, etc. I continued searching until I had found 50 sets. For the first 50 1st-2nd edition sets I found, I recorded the title page date for each of the three Volumes in each set. Of the 50 sets found only 8 had title page dates of 1849-1851-1854, which many would consider true 1st edition. However, of the 50 sets surveyed, 28 sets had a Volume I title page dated 1849. Eleven of the 50 sets had title page dates of 1849-1854-1854. The remaining sets had various other combinations of title page dates. It is significant to note that only 8 of 50 sets had a Volume II title page date of 1851.
Conclusions –
Looking back at what the Audubons produced 150 years or so- ago, perhaps we can say that the production of the Quadrupeds of North America was slipshod and confusing. The plates were wonderful and the text pages about the animals (Bachman) were superb, but the execution, delivery and labeling of the editions/volumes was confusing at best. Perhaps this was due to the fact that John James Audubon did not take part at all in this publication? Maybe his sons, John W. and Victor G., were not the businessmen that J.J.A. was?
With the documented appearance of early N&W plates in later volumes, it seems certain that a “first in and last out” policy applied to the various octavo quad plates. This would have been true for all 155 plates. With ALL plates in ALL “editions” (except for N&W plates), from 1849-1870 being basically identical, I don’t believe that anyone today can distinguish and state with certainty that any octavo quad plate, whether in a bound volume or dis-bound, belongs to a specific edition (especially 1st).
Dealers who break octavo quad sets and sell off the individual plates tend to sell the entire octavo quad set, as “1st edition” if the Volume I title page is dated 1849. The advantage to a dealer doing this is that most of the best upper tier plates are in Volumes II and III, and the dealer can earn up to a 20% premium on all prints sold as 1st edition. There were seemingly an inordinately large number of 1849 dated Volume I title pages. Considering the above, plus the high probability that Audubon octavo quad title pages were also “first in and last out” items, I don’t believe that title page dates can be used to claim that an entire three-volume set, or even a single volume, is 1st edition.
Therefore, in all fairness to collectors, I propose that ALL Audubon Quadrupeds of North America prints NO LONGER be sold by edition. I propose that ALL premiums charged for 1st edition prints be eliminated. Since ALL octavo quad prints (except different states) are virtually identical and indistinguishable, they should be priced equally, print-by-print, with allowances for condition.
We know for sure that the Nagel and Weingaertner (N&W) firm was hired first by the Audubons. Therefore, the plates produced by N&W were produced first (prior to Bowen) and are the ONLY octavo quad prints that can be truly recognized and identified as 1st edition prints. I propose that ALL octavo quad prints with the N&W credit be treated as 1st edition, and that a 10%-20% premium be charged for prints with this credit, no matter what the date of the Volume title page it is found in.
I would reject anyone’s claims that the N&W prints are inferior to prints done by Bowen. In early 2004, I owned over 70 Audubon octavo quad prints. Of the 70+ prints, 15 of them were N&W prints. Of the 15 N&W prints that I owned, I had 10 N&W and Bowen prints for the same animal/mammal. I carefully compared the quality of the N&W and Bowen prints, and could find NO evidence that the N&W prints were inferior in quality. In fact, comparing the N&W and Bowen plate #22, grey rabbit, I found that the N&W plate #22 was superior to the Bowen plate; in particular the detail of the objects in the soil in the foreground was better in the N&W print.
If dealers continue to charge a premium for 1st edition octavo quad prints, I suggest that collectors ignore edition and buy the best print from any "edition" that they can afford. Already, octavo quad print prices have declined noticeably over the past year or so, especially prints in Volumes II and III listed as 1st edition.
A Bien Edition Reissue?
By Ron Flynn
For many years, the question of whether there was a reissue of the Audubon Bien Edition has gone unanswered. No record or documentation of such has been found, and nothing definitive has been written on the subject. Yet, based solely on the appearance and quality of prints found in the marketplace today, dealers and authors have freely debated the subject from time to time. Perhaps as many say there was, as say there was not a reissue.
We know that production of the Bien Edition ceased in 1860, with only 105 sheets, containing 150 images, being issued. The failure of the Bien Edition resulted in a bankruptcy and near financial ruin for the Audubon family during the Civil War. Roe Lockwood & Co. of New York was the Audubon’s major business partner in the Bien project, and became the Audubon’s main creditor in the bankruptcy. They ultimately gained publishing rights to all the Bird and Quad Editions that the Audubons published in the United States, as well as possession of the original lithographic stones, and probably all remaining inventory of plates and letterpress. As a result, the Lockwoods published editions of the Octavo Birds and Quads and Imperial Folio Quads between 1865 and 1871. Isn’t it likely they also published a reissue of the Bien Edition during that period?
Alice Ford, in her 1964 book John James Audubon, claims that the Bien Edition lithographic stones were shipped to a New Orleans warehouse and subsequently destroyed by Union shelling during the Civil War. Ford cites no source or reference for this claim, and no other author or researcher has uncovered proof of Ford’s theory. However, known historical facts make Ford’s claim less believable. Well before the first shots were fired at Fort Sumter on April 12, 1861, it was well known in the North that a Civil War was inevitable, and preparations were already being made. It wouldn’t have made sense to ship the Bien stones into the Deep South for storage, when they could have been shipped further North if their safety was ever a concern. Secondly, all other Audubon lithographic stones, as well as the original Havell copperplates, were stored in the Philadelphia and New York areas, and no one has ever suggested that they were moved for safety during the Civil War. Finally, the Bien stones were Audubon assets and an integral part of the Audubon bankruptcy. A bankruptcy court simply would not have allowed the stones to be removed to New Orleans.
It seems much more plausible that the Bien stones remained in New York, and as a result of the bankruptcy, became the property of the Lockwood family. George Lockwood, in a c1877 letter, reported that all the Audubon stones were destroyed in the collapse of a Philadelphia storage warehouse. Though an inventory of destroyed stones was not provided, no further account of the fate of Audubon lithographic stones has been discovered or published. If you discount Ford, it is certainly possible that the Lockwood family, or another printer, attempted a Bien reissue using the original stones.
It has been well documented that the Boston firm of Estes and Lauriat received a large quantity of remaining Bien prints, after the collapse of the project, and sold them until all were gone c1889. Whether E. & L. acquired the prints directly from the bankruptcy court, or from the Lockwoods, and whether the Lockwoods also sold some prints for a period of time, doesn’t seem important. The loose prints were sold individually or as complete sets, and eventually were distributed around the Country to be bought and resold. I have documentation of the purchase of a complete (unbound) Bien Edition set by the Stockton County Public Library, Stockton, CA, from the San Francisco firm of H.H. Moore, in 1891, for the sum of $125.00. This set, which the Library still owns, could easily have been one of the remaining sets sold after the Audubon bankruptcy. Yet, it is in very good condition today, with excellent coloring, minimal color registration problems, and only a few sheets showing slight marginal tears.
The speculation about a Bien reissue centers on a fairly significant number of Bien prints, of noticeably inferior quality, in the marketplace. These prints are described as having very poor or off coloring, and poor color registration. I have heard nothing of any differences in printed nomenclature or credits, or differences in paper, that would distinguish the suspected reissues from original Bien prints. Numerous dealers have encountered Bien prints with missing credits, but the general quality of coloring and color registration was no different than prints found in the market with full credits. I suspect that the prints found without full credits were either early full color proofs or initial black ink proofs that were later chromolithographed. I have recently had the opportunity to thoroughly examine an original bound Bien volume. I have also examined a half sheet Bien print that I assume would, from its condition, qualify as a suspected reissue print. A fellow collector bought a Bien Part 6-7, Plate 48, Barn Swallow for $100 from a Chicago area dealer, with the idea of having it re-colored. The print would be described as poor condition, and really looked dreadful.
The quality of Bien prints does vary from print to print in the areas of color registration, and accuracy or quality of coloring. Generally, most Bien prints are of very good quality, but do not equal the printing and hand coloring quality of a Havell print. However, as to color registration problems on the above Barn Swallow print, I found that it was no worse than what I noted on a few prints in the original Bien volume that I examined. Also in the original Bien volume I examined, I noted some prints where the colors seemed off or not just right. They appeared either too dull or too garish or simply uncomplimentary to the print as a whole.
I’ve recently talked to several dealers who specialize more in 19th Century chromolithographs, rather than Audubon prints, and they believe that exposure to light over time can not only fade the colors of a chromolithograph, but actually change the colors of the original inks used to produce the antique chromolithographs.
While it is still possible that there was an attempt at, or an actual small Bien Edition reissue, based on the above information, I believe that there was no Bien reissue. I suspect, without any definitive proof, that as the Bien Edition prints were distributed, the best quality prints were issued to favored or special customers. My only reason or suspicion for this is that the original Bien Edition volume owned by the Stark Museum of Art in Orange, Texas, is described as being flawless and in excellent condition, without color registration or color quality problems. The Bien Edition volume owned by the Stark Museum is the original volume owned by John Bachman. If anyone were to receive a “perfect” Bien Edition, it would have been John Bachman. I, therefore, believe that the supposed Bien reissue prints are either/or original Bien Edition prints that did not measure up in quality and were never issued, but were not destroyed and became part of the bankruptcy proceeds, or were original Bien Edition prints, that have been loose and not been in bound volumes for many years, and were exposed to light so that the color quality has changed or degraded to their present condition as they are available in the marketplace.
Buying Audubon Prints and Print Condition
by Ron Flynn
As with any other art object or collectible, condition is the most important factor when purchasing an original antique Audubon print. The one word terminology, like “excellent”, generally used to describe print condition is highly subjective. Perhaps, a listing of the individual flaws and damage existing on a particular print is the best way to evaluate print condition before you buy. I will offer a detailed discussion of print condition towards the end of this article. First, I will discuss the various sources where you can buy original antique Audubon prints.
AUCTION HOUSES –
There are scores of auction houses all over the Country that sell, from time to time, original antique Audubon prints. Christie’s and Sotheby’s are probably the best known. Other popular auction houses include: Treadway, Rago, Skinner, Doyle and Butterfield’s. There are, of course, local and regional auction houses that will be found in newspapers and yellow page listings, but not necessarily on the Internet. There are also auction-reporting services that individuals can subscribe to for tracking auction sales results.
The original bound volumes of Audubon’s prints, when up for sale, would be classified as rare or antiquarian books. When dis-bound prints, either singly or in multiple lots, are auctioned, they would be classified as art. The biggest auction houses will conduct auctions confined to specialized areas such as art. The medium and small auction houses will have regular sales of mixed items. This might include anything imaginable, but quite often you will find one or more original Audubon prints among the items up for bid.
The best way to buy at auction is to actually attend, and personally examine the items at the pre-auction showings. People will travel long distances to attend and bid at an auction if there is something there they really want. If you know a print dealer well, and he/she will be attending a particular auction, you can often make an arrangement for that dealer to examine an item and bid for you. That dealer will probably ask a commission/fee of an additional 10% above what the item sells for. If you trust that dealer and cannot attend, this is an excellent way to purchase an item you really want.
Finally, you can always place an auction bid over the phone, either in advance or at the time of the auction. Sometimes, auction houses will have provisions so you can place your bid on auction items over the Internet. One antique print dealer, Haley & Steele, regularly conducts their own antique print auctions from their website. REMEMBER, unless you attend and examine an auction item, you are bidding sight unseen, and buying “as is”. Unless you can prove fraud, you are stuck with what you bought, and cannot return it. There will be some description, and usually a picture, in the auction catalogue. If you cannot attend, auction houses will do their best to answer your questions about an item, and give you a description of condition. If there is enough time, many houses will send you photos of an item, or send you images via email. The amount of additional information/help you might expect, aside from the catalogue listing, would be in proportion to the perceived value of the item.
Before bidding and buying Audubon prints at auction, one should have a good understanding of print condition and the relative market value of what you are bidding on. The Price Guides in this book will give you that information. Many wonderful bargains can be found at the medium-smaller mixed auctions, with maybe only one Audubon in the entire auction. Prices for art objects at auction are affected by the economy and the whims of what’s in and what’s not, in the art world. However, it is always buyer beware!
ANTIQUE PRINT DEALERS OR GALLERIES –
Of the hundreds of large and small antique print dealers around the Country, most will operate their own gallery or store. A growing number of antique print dealers, with their own store, will also sell through their own Internet websites. Finally, there are a small but growing number of antique print dealers who do business solely on the Internet, and own no retail store. Owners of retail shops and galleries will have overhead expenses and this will be reflected in their prices.
The prices at most antique print dealers are somewhat negotiable. Prices for the same print vary widely around the Country. Not all of these price variations can be attributed to overhead. Some are due to regional demand; some to print condition, and some price variations come from the dealer’s knowledge, or lack thereof, of the market for his merchandise. You should be knowledgeable about market prices for the print you are considering buying. Don’t be afraid to ask for a 10%-15% discount, especially if you are buying more than one print. The dealer can only say no, and you can always walk out the door and buy elsewhere, especially if you know the market and have checked around for availability. As you look through a dealer’s inventory, notice the differences in condition of prints and try and determine if the dealer has taken condition into account when he priced his prints. Some dealers use their own price list, and price all plate #s of the same edition at the same price, regardless of condition. If the condition of a print does not match up to the asking price, ask for a price reduction based on condition, provided you like and can use the print as it is.
The main advantage to going to an antique print dealer’s gallery is that you can see and examine the items you are considering buying. If you have an antique print dealer near you, that carries a good selection at reasonable retail prices, there is something to be said for doing business there. Over time you can develop a rapport and business relationship with this dealer. The dealer will earn your trust and you will appreciate his experience and advice. This dealer would go to extra efforts to locate a particular print you wanted, that he did not have in inventory. A similar business relationship with a dealer can be established through a dealer’s Internet website. If you have good credit, most dealers will send you Audubon prints on approval, or with some type of no questions asked money back return policy. If this is not the way you prefer to collect, you can simply shop around for the best particular print at the best price, either in person, by phone or over the Internet.
Antique print dealers who are selling from Internet websites, whether they have a store or not, MUST be extremely accommodating to Internet buyers, in order to earn their business. You can deal with an Internet print dealer via email, the phone or both. Internet antique print dealers should provide you with no nonsense print condition reports, and not just the word EXCELLENT. They should list all flaws and damage that is on a print you are considering. They should be willing to email you additional or close-up scans of the print you are considering. They MUST have a full refund return policy if you are not satisfied with what you receive (excluding shipping charges). Use your credit card when you purchase, and don’t accept a return policy that only gives you a store credit.
AUDUBON PRINTS ON EBAY –
There are other Internet auction sites besides eBay. However, when I have visited them and searched for Audubon, I mostly got no hits or maybe some cheap posters. I think that eBay is the only reliable Internet auction source for original Audubon prints.
eBay should be thought of as sort of a “wholesale” auction outlet. eBay is an open auction marketplace. However, you do not get to see, first hand, the merchandise you are bidding on and buying. Therefore, you must heavily rely on the low-resolution pictures and the description of condition by the seller.
I URGE EXTREME CAUTION IN BIDDING ON AND BUYING AUDUBON PRINTS ON EBAY !!!
There are perhaps 10-12 regular sellers on eBay who list Audubon Amsterdam and 1st and 2nd octavo edition bird and quad prints for sale. Some regularly list 5-10 or more prints each week. Others list prints less often, or in smaller numbers. Some sellers are well known large antique print dealers, using their own names or an eBay ID. Others are smaller well-established professional rare book or print dealers, and have their own businesses. Finally, there are individuals, who are undoubtedly collectors, who list their Audubon prints at auction. In their auction listings, sellers may make it known who they are, and what experience they have. However, none of this information, by itself, is any guarantee that the auction pictures you see, and the descriptions of condition they give, are accurate. If you are the winning bidder, there is no guarantee that the print you receive is the same one pictured and described in the auction listing.
The feedback ratings for eBay sellers are helpful. However, I believe that a large percentage of Audubon print buyers on eBay are not knowledgeable about market value and the importance of condition in buying antique prints. The more detailed the seller’s description of condition, the better. Don’t rely on the auction pictures except to note missing corners and other paper loss, and to check the position of the image on the sheet (to determine if the sheet has been trimmed and to make sure there is enough margin for matting). Only the most obvious flaws and damage show up on those low-resolution Internet pictures. Some sellers give very detailed and accurate descriptions of the prints they are selling, and I have a high confidence in bidding on their auctions. However, other sellers list every one of their prints as being in “excellent” condition, without any regard or mention of a fox mark or finger smudge or other flaw.
I’d be very cautious of sellers who describe their prints as “excellent”, “super shape”, “fine condition” or similar terms, but do not include a real condition report. If you are interested in an item that is described this way, use eBay’s “ask seller a question” feature to get a condition report from the seller. If you don’t get a satisfactory answer, don’t bid on auctions by that seller. Similarly, I don’t like descriptions that say a print is in EXCELLENT condition, except for this flaw, that flaw, and another flaw. While this may be an accurate description of the print’s condition, the print is obviously NOT in EXCELLENT condition if it has all those flaws. There is one regular eBay seller who lists all of his Audubon octavo bird and quad print auctions as being “2nd State”. He never reveals the edition or year the prints were published. If you read my article Print States Versus Editions, at www.ronflynn.com , you will learn how meaningless “2nd State” is. This seller is a professional and knows better. I believe the only reason for using the “2nd State” description is to confuse and mislead buyers. Another seller admitted to me over the phone that he uses stock pictures (rather than an actual scan of the print you are bidding on). He said that he doesn’t have time to photograph or scan the prints he is selling. So, in his case, what you see is not what you get.
Some sellers have a strong following on eBay. It seems that their auctions bring higher prices than an auction for the same print by another seller. I believe the major reason for this is confidence in the seller, more than differences in the actual condition of the same print. These few professional antique print dealers (who sell more than just Audubon prints), work very hard to provide an accurately described product, and super communications and service to their buyers. Their efforts pay off in higher prices and an excellent reputation and following.
Some eBay sellers guarantee the originality of the Audubon prints they list. This guarantee is meaningless unless backed up with a money back refund policy. The amount of money you have to bid to win an original Audubon print on eBay is large enough that you don’t want to risk losing that money to fraudulent sellers. Unless you know a seller or are confident with the seller’s reputation, I would avoid sending money orders or personal checks. Use a credit card or PayPal to purchase your auction winnings. If something goes wrong, you at least have the protection provided by Federal laws governing credit card use.
I would avoid buying matted or framed prints on eBay. Unless you can be certain that the work was done very recently, using the highest quality archival materials, you will probably wind up discarding the matting materials and having the work redone. Also, there is the potential that the matting is covering unseen flaws and damage, either pre-existing or actually caused by the use of older non-archival materials. When bidding on antique Audubon prints on eBay, be mindful of the print’s condition and general market value. Avoid getting into a bidding war with another buyer and running up the price above actual retail.
PRINT CONDITION –
I don’t believe that one-word descriptions like “excellent” are all that useful, either in describing print condition, or in relying on a word or term in buying a print. Descriptive terms for print condition are always highly subjective, and are ALWAYS in the eyes of the seller. Sellers can describe a print as being in excellent condition no matter how many flaws it has. There are no standards for print condition terms. I believe a detailed condition report, listing all flaws and damage, plus an evaluation of strike and coloring, is the most useful and helpful information that a potential buyer of an antique print can have. Nevertheless, I recognize that people would like definitions that describe various print condition terminology, at least as a guide or beginning basis. Therefore, I offer here my totally subjective definitions for print condition terminology.
Whether antique Audubon prints have been carefully stored in their original bound volumes, or have been framed and hung for a period of time, virtually all will have flaws and damage from: viewing and handling, heat and light, humidity, pollutants in the atmosphere, and the very properties in the paper itself. The vast majority of prints sold today come from recently dis-bound original volumes. Yet, it seems all have at least a minor flaw or two.
Mint condition –
MINT condition means as close to the original condition of the print, when it was first issued, as is possible. The print would appear clean crisp and spectacular, and virtually free of flaws and damage. The colors would be bright and fresh looking. A print that has been cleaned and restored by a professional conservationist can certainly be described as being in MINT condition. Still, a tiny mark or flaw might remain. Call it a character mark, but it would be inconspicuous and not detract from the overall beauty of the print. WHEN YOU PAY FOR MINT CONDITION, BE CERTAIN YOU GET IT.
Excellent condition -
For a print to be described as EXCELLENT, the paper must be crisp and fresh, and the colors bright and vibrant. A print in EXCELLENT condition might have 1 or 2 very minor flaws outside the matted image area.
Very Good condition -
A print in VERY GOOD condition might show the slightest fading of colors, and the paper might have 1 or 2 minor handling creases along the margins, but still be a light off-white or creamy color. A print in VERY GOOD condition might have a few minor flaws outside the matted image area, but no damage.
Average or Good condition –
A print of AVERAGE/GOOD condition will definitely show a lightening or fading of colors and/or the text attributions will be lighter or faded. The paper will be well handled with a number of handling creases and/or the color of the paper will have started to darken from age or toning. The print might have 3-4 minor flaws, some of which could be in the matted image area, and/or the print might have minor damage like a missing corner, margin chip, or ¼” or less marginal tear. Overall, a print that has been well viewed and handled over the years, and was not stored under ideal conditions over that period.
Poor condition -
A print in POOR condition would be well used, with numerous handling creases to the point where the sheet is more limp than crisp, and/or there would undoubtedly be finger smudges along the margin. The colors and text attributions would definitely be light or faded, and/or the paper would be overall darker in color. The print would have numerous flaws, both outside and within the matted image area, and/or the print would have damage in the form of stains or paper losses. Paper losses would be multiple, and consist of missing corners or marginal chips and tears. I believe that any print that has been trimmed, or that is so positioned on the sheet that there is no room to properly mat it, must be classified as being in POOR condition.
Handling Creases –
A handling crease is not a sharp fold or crease in the paper. Rather, it is the softening or pliability in a sheet as a result of repeated handling and page turning while in a book. As long as they are not visible as finger smudges or stains, they are normal wear and tear. However, numerous handling creases can make a print somewhat limp and affect its condition. Handling creases would appear as very slight waviness or rippling in the margins, where pages would normally be handled for page turning. They can easily be seen by holding the print vertically, and viewing the reverse (verso) side. A lamp shown down the reverse side will reveal very slight bumps or waves in the paper. You can easily feel if a sheet is crisp and fresh, or more soft and pliable from excessive handling.
eBay ® is a registered trademark of eBay Inc.
Print Storage
Care and Protection for Your Antique Prints
By Ron Flynn
Whether you are a serious collector with many prints, or a casual collector who buys only a few Audubon prints to eventually frame and hang on a wall, there are some basic steps to take in order to protect and preserve your prints while they are being stored.
All original Audubon prints, from the Havells through the later edition octavos, are roughly 130-175 years old now. All editions, except the Bien, were printed on very high quality cotton based wove paper. These papers should last for many hundreds of years with proper care and storage. However, many original Audubon prints are beginning to look old today. Besides the usual flaws that show up on prints of this age, the papers they are printed on are showing signs of being acidic. This is due, in part, to impurities in the paper itself. However, the main causes are: improper storage and framing, excessive heat and humidity, exposure to light, and pollutants in the environment. The signs of acidic paper are foxing, molding, discoloration, and either limp or brittle paper. In time, the acids in the paper will begin to breakdown the fibers of the paper, and then the paper itself will deteriorate.
Before storing away your antique Audubon prints, examine them closely. Determine their condition and flaws, and look for signs of aging and acidity. Before putting your antique Audubon prints into short or long term storage, you might consider having print conservation or restoration work done on them, to preserve them for another 150 years or more. You should particularly consider repairing tears, cleaning, and de-acidifying them. You might also read my article on Print Conservation and Restoration.
The first step in storing your Audubon prints, whether they are original antiques or modern high quality restrikes and facsimiles, is that THEY MUST BE STORED FLAT ! If prints are rolled up and stored in a tube for even a few days, the connecting fibers that make up and hold the paper together will be bent, stretched and weakened. This is true for the Havells, Biens and Imperial Folios. There would never be a reason to roll the smaller octavos. I believe each print should be individually stored in a protective envelope or other appropriate packaging. This will be discussed in detail later in this article.
HOME STORAGE –
It is quite logical to store your Audubon prints in your home. First, be sure to purchase a rider on your homeowner’s or renter’s insurance policy to cover the artwork you own. After a couple of insurance claims over 30+ years, I am glad that I have always paid the few extra dollars for replacement value insurance coverage. With actual cash value insurance coverage, the insurance company is going to try and depreciate your artwork if you have a loss for whatever reason. You should always have photos or a video of your artwork kept in your safety deposit box, plus an itemized list of all prints. With replacement value insurance coverage, in the event of a loss, you may not even need your original purchase receipts. You should keep one or two up to date price lists, from reputable dealers, as your evidence of replacement cost. No matter where you acquired your Audubon prints and how much you paid, artwork does appreciate in value.
Generally, store your prints flat, in a cool dry dark location. This is ideal, but perhaps not entirely achievable. If your home has central air conditioning, with an automatic humidifier for added moisture in the winter heating season, this is probably the best setup you could have short of a climate controlled room or paper vault. Avoid storing your prints in areas of extreme heat, such as: in an attic, near a heat register, or in a stuffy closet. Avoid storing your prints in areas with excessive moisture or high humidity, such as: in a damp basement, in a crawl space, and in any bathroom areas. Do not store your prints in any location where they will be exposed to any light source. You also want to insure that your Audubon prints are stored so that rodents and insects and curious little fingers cannot come in contact with your artwork.
Obviously, with collectible and valuable artwork in your home, you must consider the possibility of theft and fire (including smoke and water damage). There are other considerations when your Audubon prints are on display in your home, and they are covered in detail in my Matting and Framing article.
If you do not rent a safety deposit box at a bank, you can purchase high quality fireproof storage boxes that can be kept in your home. Unfortunately, these boxes do not come in sizes large enough to store Imperial Folios and larger editions. They would certainly be stolen if found in your home by a thief. However, they do provide effective protection from fire, smoke and other airborne pollutants, as well as being waterproof. They can be used to store valuable and important papers, evidence of your Audubon prints, and will even hold octavo sized Audubon originals.
SAFETY DEPOSIT BOXES -
I don’t know how many people might rent a safety deposit box at a bank. Security, of course, is excellent, but size is limited. I have never seen a bank safety deposit box that will hold any Audubon prints larger than the octavos. However, private vaults do have larger storage facilities. Storage conditions in a bank safety deposit box or private vault are usually ideal. If your Audubon print collection is fairly valuable, the annual rental fee for secure storage is well worth the price. Homeowner’s or renter’s insurance policy riders on artwork usually extend your coverage to a secure storage facility. Most bank and storage vaults have sprinkler systems in case of fire. The actual vault sections, as well as the storage boxes inside, are not usually waterproof or smoke proof. Take this into account when storing your artwork. Also, some secure storage facilities might have some type of gas release security measures in case of break-in and theft.
STORING AND PROTECTING INDIVIDUAL PRINTS -
I stated earlier in this article that I believe that Audubon prints should be individually stored in some sort of protective envelope, sleeve or package. Besides the location and environmental considerations mentioned above, an individually packaged and sealed print is protected from airborne pollutants in the storage area. A number of archival products designed specifically for protective packaging are available. I will provide a list of archival supply stores at the end of this article. There are several archival paper sheet products (some like a tissue paper and others more like a glassine or waxed paper) that come in various sizes. These would be used for long term protective packaging and storage, as the sheets would be folded and neatly creased around your print (like wrapping a present) and then sealed with archival tape. This would make a type of package that you would not be going into on a regular basis, and your prints could not be clearly viewed through these products.
The clear plastic sleeves or pockets made from polyethylene, polystyrene or other archival plastics are much more versatile. They are available in various sizes, but I have not found one large enough to hold a double elephant sized print. They are sold as individual print holders in various quantity packages, but also often come as pages in a protective folio or presentation portfolio. The protective folios or presentation portfolios, with either hard or soft covers, will come with a fixed number of sleeves or pockets, or they will be like 2 or 3 ring binders enabling you to add more sleeves or pockets. These products offer added protection and are great for home storage, as well as carrying your prints around. I have a zippered soft cover presentation portfolio that I use to store and transport my antique folio sized prints. It is a bit flexible. For added support, I placed a sheet of acid-free foamcore in one of the clear plastic pockets.
I prefer to store most of my prints in a flat crystal clear poly envelope/bag that is made from 1.6 mil BOPP film. They are museum and archival quality and have a reseal-able adhesive flap. They come in over 70 different sizes, including the 30-7/16” x 40-1/4”, and a few other large sizes that will hold a double elephant print. They are available online. For small, non commercial, orders go to http://www.clearbags.com/ . Anyone can order from this site. You do not have to be a dealer.
For my octavo sized prints, I use the size for 8-1/2” x 11” (the bag is slightly larger to allow for expansion). I insert a piece of 8-1/2” x 11” acid and lignin free art paper for extra support and protection. I center the octavo print on the paper, and slip each corner of the print into clear archival Mylar mounting corners. The corners hold the print on the backing paper and prevent the print from shifting around and getting damaged. I also use these same clear flat poly envelopes for retail packaging of the Giclée Fine Art Prints, of my wife's watercolor paintings, that I produce. Prints and original watercolor paintings can be seen at - http://www.patriciaflynn.com . I prefer to package my Audubon prints individually, because they can also be viewed individually. If you are not going to be viewing your prints often, you can obviously put more than one print in each storage package. However, I would recommend inserting an archival slip-sheet between each print. Any of the archival papers mentioned above can be used as a slip-sheet.
PROTECTIVE STORAGE BOXES –
There is a vast selection of different types and sizes of archival storage boxes that will provide additional protection and organization for your packaged prints. These boxes are often called museum or library storage boxes. Some types of archival storage boxes will be labeled photo storage, but can be used for prints if the size is right. They are quite sturdy and most are made from what is known as archival boxboard. Several manufacturers will have matching sized plastic sleeves or envelopes to fit their storage boxes. Newer archival storage boxes are made from rigid poly, and are very strong. These poly boxes are also dustproof, smoke proof and waterproof.
Simple boxes will merely have a lift off lid (like a gift box). Others will have drop down sides, clamshell construction or flip open corners along one edge. A few clamshell boxes will open to reveal a 2 or 3 ring binder apparatus to hold specific clear plastic sleeves or pockets. I suggest you browse the online catalogues of the SOURCES listed below, or call them for their printed catalogue. If you need a lot of storage for large prints, you can buy large deep metal or wood cabinets or files with many shallow drawers. They will cost in the range of several hundred dollars and up, but will hold large prints very securely.
SOURCES – (in no particular order)
ClearBags.com (800) 233-2630
http://www.clearbags.com/
Light Impressions (800) 828-6216
http://www.lightimpressionsdirect.com/servlet/OnlineShopping?dsp=2&R=524
My Labs (212) 929 3036
http://www.mvlabs.com/index.html
Adorama Camera (800) 223-2500
http://www.adoramacamera.com
Gaylord’s (800) 448-6160
http://www.gaylord.com
University Products (800) 628- 1912
http://www.universityproducts.com/main2.html
Archival Methods (866) 877-7050
http://www.archivalmethods.com
Definitions of Print Flaws and Damage
By Ron Flynn
ACIDIC – The chemical base of a print has become highly acid mainly from: airborne pollutants, contact with improper matting and framing materials, and excessive handling without gloves. Acids will seep into the paper, discoloring it and weakening and deteriorating the paper fibers
CREASE – A sharp fold or crease in the paper. Could become a tear, or if in a corner, could result in paper loss.
CREASING or COCKLING – A wrinkled or puckered condition in a sheet of paper caused by non-uniform drying and shrinkage, or from excessive heat and humidity over time.
EMBRITTLED – a print that has become fragile or brittle due to excessive heat, dryness, acidity, or radiation from sunlight. This condition can so deteriorate the fibers of the paper that it would crack or crumble when handled.
FLACCID – A condition in which a print becomes limp or too flexible. It can be caused by excessive humidity, acidity or handling. The paper fibers can become so weakened or deteriorated that the print may simply fall apart upon handling.
FOXING – Foxing or fox marks are small round brownish spots that appear randomly on sheets of paper. They are most common on late 18th and 19th century papers. They look like the color of fox fur, thus the name. It is thought foxing originates with a fungus that reacts to the paper, or possible impurities incorporated in the paper during its manufacture. It is more prevalent in high humidity situations.
MAT BURN – Improper use of acidic wood based matting materials will cause a “burn” or discoloration of the print where the acidic mat material contacts it. The acids will leech into the print causing the paper to turn brown or gray and to deteriorate.
MATTING – A condition that develops when a matted print is exposed to the sun or other direct light for a period of time. The paper of the central matted image will yellow or darken, and the colors fade, while the portion of the print under the mat remains the same. See SUNNING.
MOLD and MILDEW - The same molds and mildews found around the home can attack prints when hung or stored in places with high moisture or humidity. They can appear in a variety of colors, but usually black, and sometimes off-white. They will appear somewhat furry or fuzzy and more blotchy than the hard brownish spots of foxing. They will root and feed on the fibers of the paper.
OFFSETTING – The inadvertent transfer of (printing) ink from one printed sheet or illustration to another sheet. Offsetting of this nature may occur during printing, in the printing warehouse storage area, during folding of the sheets, or during binding (pressing) before the ink is completely dry. Text transfer offsetting can also occur in a bound volume stored in a location with excessive heat and humidity.
OXIDATION - Oxidation occurs, in high humidity conditions, when the oxygen in the atmosphere reacts with minute traces of iron in the paper. These iron deposits can appear naturally in the organic matter of the paper, or be imparted into the paper by the machinery used to make it. It appears as very tiny reddish or rust colored flecks.
PAPER LOSS – The loss of portions of paper from a print. Most common is the loss of a corner after it has been creased. Paper loss along an edge is also common. Careless handling is the usual cause. A hole in the image is a major flaw.
SMUDGES or SOILING – Finger smudges and soiling usually appear on the margins of sheets. Page turning with unclean hands is the main cause. General soiling of a print can come from dirt and dust in the air landing on an unprotected print. This is probably the most common flaw in prints.
STAINS – An irregular stain mark will be very noticeable when a print has dried, after water or any other liquid has dampened or wetted the paper.
SUNNING – A condition that develops when a print, or part of it, is exposed to direct sunlight for a period of time. Exposed unpainted paper will generally darken, while painted colors will fade or lighten.
TEARS – A rip or tear of the paper. They usually occur along the edges due to careless page turning, and mostly are confined to the margin. The tear is stopped by tape repair on the reverse. The image side of a tear can now be repaired with paper fiberfill and weaving methods.
TONING – Toning is the darkening or aging of paper over time, and exposure to humidity and the pollutants in the atmosphere. The toned area is surely acidic, and an indication that the rest of the sheet is probably becoming acidic. Toning appears even on pages or plates in bound books. It starts usually along the 3 unbound edges of a sheet, and slowly creeps inward.
Portions excerpted from –
Bookbinding and the Conservation of Books, A Dictionary of Descriptive & Terminology by Matt T. Roberts and Don Etherington
Curatorial Care of Works of Art on Paper by Anne E. Clapp
Virtually all of the above print damage and flaws can be satisfactorily repaired or corrected by a professional paper restorer or conservationist. However, each of the processes to correct or repair a flaw or damage, are very time consuming and expensive. If you are thinking of buying a print with some damage or flaw that would need repairing, perhaps you should consider buying the same print in better condition. Most damage or flaws are hidden when a print is matted and framed, and collectors seem content with that. However, covering damage or flaws does not make them go away, or stop their progression.
]]>Matting and Framing |
A Modern Guide to Archival Museum Quality Matting and Framing For Your Audubon Prints
When hiring a frame shop to mat and frame your Audubon prints, the words "museum quality", "conservation" and "archival" will be terms you will hear often in connection with materials and techniques. You might naturally think that the term “museum quality” means better or a higher standard, and that “conservation” and “archival” mean longer lasting or preserving. Unfortunately, there are no agreed upon industry standards that define these terms, or guarantee the quality of materials used and/or the work done. Rather, these terms are used by the manufacturers and framers to describe the many different products and techniques they use in matting and framing. The purpose of this chapter is to point out the differences in these products. This will help you decide which matting and framing products and techniques are right for your particular prints, in the location and environment where they will be displayed. You will need to weigh the monetary or sentimental value of your prints, against the costs of using different framing and matting materials and techniques, to achieve the overall appearance you desire with the appropriate level of protection for your artwork.
My wife has been a watercolor artist for a number of years, and I have been collecting and selling antique prints for many years. We have a considerable amount of matting and framing work done. We do no matting and framing ourselves, but are fortunate to have access to private framers. I regularly confer with our framers, and the curator at the local college museum, about the latest materials, techniques and thinking in the areas of archival museum quality matting and framing.
Generally, it is recommended that your artwork be hung in areas with relatively constant temperatures, and away from excessive heat and humidity. Sunlight, halogen spotlights, black light, and direct indoor incandescent and florescent lighting can all fade colors, darken unpainted paper surfaces, and contribute to the deterioration of the artwork over time.
The basic purposes for matting and framing are to display your artwork in a way that will best enhance and highlight the beauty of the art itself, plus encasing it in a protective stable environment that will greatly lessen the potential for damage and deterioration from interior and outside sources, and prolong the life of the artwork. When matting and framing your Audubon prints, there are 3 main areas of consideration: the glazing, the frame, and the matting package. There are a few other items to think about, which I will also discuss below.
GLAZING
Glass -
Glass, of course, will protect your artwork from airborne dirt and pollutants, especially in areas where smoking is prevalent. It also affords some protection against damage from little flying objects that children might throw around. Finally, glazing prevents very interested or curious people from actually touching your artwork and leaving finger smudges or natural human body oil residue from their fingers.
Regular picture framing glass (perhaps under different names regionally) is the most common material used for glazing. In quality, it is a step above ordinary window glass that you might buy at your local hardware store. Picture framing glass can come in different qualities from different manufacturers. At a minimum, picture framing glass should be clear and without imperfections. Popular back in the 1960s-1980s and now experiencing a comeback, non-glare forms of regular picture framing glass are available. Non-glare glass has been lightly sandblasted or etched on one side. This cuts down on the reflection of light when artwork is viewed from different positions. Avoid textured or etched non-glare glass. Acid residue could remain which has not been completely neutralized. Also, some non-glare glass will not be as clear, and will slightly distort the details in the artwork or change the colors of the artwork underneath it. If you are thinking about using non-glare glass, be sure and view your artwork (in natural and artificial light) under a sample of the glass. Borrow a few of the frame shop’s mat board corner samples and set them between your artwork and the glass. You’ll then see your artwork, through the glass, at the same spacing as it would be when matted and framed. This is important! If your artwork does not have a relatively high sentimental or monetary value, you could safely use regular picture glass (clear or non-glare) if your artwork is hung in places where only reflected or ambient light reaches it.
Conservation Glass -
Obviously, you want your artwork displayed in an area with enough light so it can clearly and comfortably be viewed. Too much light, however, will cause damage to your artwork over time. Quality frame shops will now likely suggest that you use conservation glass for all your artwork. Conservation glass (sometimes referred to as UV glass) will filter out various levels of the damaging ultra-violet light rays from the sun and from fluorescent and other artificial light sources. However, UV glass does not prevent damage from visible light sources. Apogee Enterprises Inc. produces a wide range of glass and acrylic products under the Tru Vue trademark name. Tru Vue has virtually become a generic term in speaking about glazing for framing. Other companies have come out with similar products using slightly different spellings of the Tru Vue name.
There are 2 important characteristics that you should consider, against the cost of the glass and the value of your artwork, when choosing conservation glass. The most important is the percentage (%) of UV light that the glass blocks. The second consideration is the percentage (%) of transmitted light that the glass does not block, and therefore allows your artwork to be seen in its best light. In both cases, the higher the percentage the better.
Conservation glass is available in both clear and non-glare forms. Always bring your artwork to the frame shop to see how it will look under non-glare glass, if you are considering using it. Depending on the individual manufacturer of the glass, there may be one to several different conservation glasses available, with different specifications. Its costs will range from 2-3 times more expensive than the best picture framing glass. Today, it is probably a good idea to at least use a conservation glass with all your Audubon prints. You should find out what percent of the light in the UV spectrum is filtered out by a particular glass. Conservation glass will generally filter out 85% - 95% of UV light.
Museum Quality Glass -
I think it would be fair to say that any museum would utilize the highest standards and very best materials in protecting and displaying their artwork. Again, there are no agreed upon standards for a “museum quality glass.” Some UV glass is also called museum quality. However, a true museum quality glass will cost considerably more than any other previously mentioned glass, and will exhibit superior qualities and features.
A good museum quality glass would offer non-glare features to eliminate reflections from your artwork when viewed from different angles. Yet, this glass would be smooth and hard, to reduce excess collection of airborne dust and dirt. It might also have an anti-static coating. A good museum quality glass would be harder and stronger than other picture framing glass, but it would be optically clear and distortion free, allowing 96% - 98% light transmission through it. Finally, a good museum quality glass should offer filtering of 98% - 99% of the radiation from the ultra-violet light spectrum.
Below is a list of the costs I found for an 8” x 10” piece of the various listed glass products –
Window glass $1.25
Picture framing glass $3.00
Tru Vue Conservation Clear $6.00
Tru Vue non-glare Conservation $11.00
Tru Vue Best Museum Glass $47.00 (this is NOT a typo)
Acrylics –
Clear acrylic sheets (Lucite®, Plexiglas®, and Lexan®) are materials that are being used more and more today as quality glazing materials in archival matting and framing. Acrylic sheets are perfectly safe for your Audubon prints, but they can develop static charges and may not be safe for other artwork such as chalk and pastels. Their chief advantages over glass are their nearly unbreakable characteristics and their lighter weight. They should be considered for any size artwork that will be hung in a rec room or children’s room where balls or other objects might be tossed about. When matting and framing double elephant sized Audubon prints, whether original or modern reproductions, acrylics might be used in place of glass to reduce the overall weight of the finished framing job.
Acrylics cost a bit more than regular picture glass. It can be considered archival because it is stable and does not out-gas any fumes that would harm your prints. Acrylics are optically very clear and distortion free, and come in several thicknesses. However, acrylic sheets can show up with minute scratches in them. Do not hesitate to reject a sheet with scratches. If the scratches are miniscule and in an area over the window mat, they will be virtually invisible if placed on the inside, up against the window mat. Acrylics are available with a UV coating that will filter 95-99% of ultra-violet light. They are also available now in non-glare forms. While certainly not traditional, acrylic sheets have legitimate uses in modern matting and framing, and are now being used more often.
Antique Glass –
Framing with original antique glass is becoming more popular. Individuals or frame shops will rummage through salvage yards where fixtures and furnishings from old buildings and homes are sold. Often, old windows or individual glass panes can be purchased at fairly reasonable prices. This 75-100 or more year old glass will give some authenticity to framing an antique print. The imperfections and other marks commonly found in glass of that age would give it some original character. The glass can be cleaned up and cut to size, often trimming off the edges where glazing putty has stained it for many years. Some frame shops can arrange to have a clear UV coating applied to this glass to further protect your artwork.
No Glass –
One of the newest ideas in framing is to frame a print without using a glazing covering. Using blind archival fastening, the print would be mounted to a back mat or board, and framed without a top mat, as if it were an oil painting. This technique would not yet be recommended for antique Audubon prints. However, it is something to consider when framing modern high quality Audubon reproductions.
There is a relatively new product called Print Guard, manufactured by Lyson Inc. in Illinois. It is recommended for use on any watercolor or water-soluble surfaced print. It comes as an aerosol spray, and 3 light coats are applied to each print. The flat non-glossy finish provides protection from moisture and humidity. The print can be dusted or lightly scrubbed to remove dirt and fingerprints. The most important feature of this coating is that it filters out 97-99% of ultra-violet light.
I have treated 2 later edition Audubon octavo bird prints, and another 12 assorted modern prints, with this product. All are framed, without glazing, and are hanging on a wall that is bathed with direct morning sunlight, plus they receive several hours of overhead incandescent lighting each day. I have control samples of all prints stored in my paper vault. Upon comparison after more than 3 years, there is no noticeable fading of colors, or darkening of any of the uncolored paper areas, from either of the light sources.
FRAMES
Frames for your Audubon prints can be made from many different materials. Wood is, of course, the most popular material. Frames are also made from metal, glass and plastic. I will not discuss glass or plastic frames because they are either, in my opinion, inappropriate or not structurally sound. There are hundreds of metal frames available that might be used in particular decorating schemes. Metal frames are mostly extruded in very simple profiles and designs. There are a few ornamental cast metal frames also available. Metal frames come in various natural metal finishes, as well as painted colored finishes. Metal frames are structurally stronger than wood frames. Therefore, a smaller width metal frame will safely hold and support a larger and heavier sized framing job, compared to an equally sized wood frame.
Wood Frames –
There are thousands of different wood frames available in various profiles and finishes. This chapter is not intended to favor particular frame finishes or profiles. The selection is vast and the final decision is up to you, and your particular taste and decorating scheme.
Wooden frames, and some simple metal frames for that matter, are available in standard sizes at Wal-Mart and other major discount store outlets. Some of these frames are made of solid woods, like oak, and are adequate, but often the assembly is not precise and professional looking.
In terms of quality, the next step up from pre-manufactured standard sized frames from retail outlets is the so-called custom frame. The term custom frame or custom framing has many meanings. You can find, on the Internet, many companies selling a vast selection of “custom frames” at “discount prices.” While the profile selection and variety of finishes is generally fairly large, and certainly more than your local Wal-Mart, they are usually made from inexpensive woods, or other wood materials, and come in standard sizes only. A few of the Internet custom frame shops will allow you to provide your own measurements, and they will manufacture a custom sized frame for you. The cost will be somewhat higher than their standard size custom frames. You should again take note of the materials used and the quality of workmanship in the finished product. Most of the Internet custom frames are a bit better than what you might find at a Wal-Mart or similar store, but local frame shops can do much better in terms of quality and service.
Custom Frame Shops –
When you walk into your local framing shop, with the idea of matting and framing one or more of your Audubon prints, you should get the impression that you are dealing with professional competent people, who have knowledge of the latest materials and techniques of archival museum quality matting and framing. When you go, bring your artwork and all your questions. You should expect individual and personal attention, specific to your needs. You may want to call first and ask some of your more important questions. Maybe you’ll discover that a particular frame shop is not equipped or knowledgeable enough to suit you. If you phone first and tell them what you want done, you might make an appointment with the owner/manager or person most knowledgeable about your area of matting and framing.
At a frame shop, you will likely see scores or hundreds of pre-finished frame samples from a number of manufacturers. Some samples may come in various colors, but not all will be displayed. If you find a profile you like, ask what finishes it comes in. Pre-finished frame mouldings are usually sold by the foot, and each side of a frame is measured from point to point to get the total number of feet needed for a frame. Prices will vary widely. I’ve seen pre-finished wood frame mouldings from a company like FrameAmerica at less than $5.00/foot, and mouldings for over $30.00/foot for some Larson Juhl frames.
Once you have selected your frame, glazing and matting (discussed next), the frame shop will do one of two things. Most frame shops do not actually make your frame in their shop, for lack of space, or lack of money for a large moulding inventory. Instead, they will phone in your frame’s manufacturer name, style and measurements, to a regional manufacturing warehouse. The warehouse will cut and assemble your wood frame and ship it to the frame shop. Some of these manufacturing warehouses are near enough to the frame shop so that someone can make regular trips to pickup assembled frames and other matting and framing supplies as needed.
Some frame shops will have the inventory and equipment to actually assemble your frame at their store. No matter who assembles your frame, it is the quality of the work that matters. Look around the frame shop. They will likely have framed art or prints for sale, or have framed work there that is waiting to be picked up. Examine the quality of the workmanship. Look at all four corners and see how they line up. Whether you pay $5.00/foot or $30.00/foot for your frame, you do not have a quality frame job if the corners aren’t well constructed. This is an easy way to evaluate the work done by a particular frame shop.
Whether you choose an authentic antique frame reproduction, or choose a period, contemporary or modern design, the choice of frame finish and profile is yours to make from the hundreds that are available. Finally, your frame shop should advise you on frame size and structural stability. If you are framing a full double elephant sized Audubon print using a metal frame, with either glass or acrylics, a 1” to 1-1/2” wide metal frame should be structurally sufficient. If framing the same print with a wood frame and acrylics, a 1-1/2” to 2” wide wood frame should be adequate. For a wood frame with glass, probably a minimum 2” wide frame should be used to carry the weight and maintain structural integrity.
Custom Wood Frames –
If you want the very best of frames, you can have a truly custom frame built for your artwork. You will find these custom frames available at large or exclusive print dealers, highly specialized frame shops, and at upscale art galleries. A truly spectacular authentic custom frame, along with hand colored mat, and museum quality glass, might cost in the $1000.00-$25000.00 range for a double elephant sized print.
This type pf frame is assembled from unfinished hardwood mouldings. The mouldings can be ornate designs made by machine, or can be hand carved. Once assembled to the correct size for your artwork, they are sanded to perfection, and then finally finished. How your custom built frame is finished can almost be left to your imagination. However, many examples of authentic period frame finishing designs will be available. You could easily take features from more than one example, and combine them into your personal custom frame.
Simple yet elegant hand rubbed wood finishes, in most any shade you want, are available on a large variety of different woods. Custom colored hand painted features and accents can be added. Various complementary or contrasting wood inlays can be included. Gold-leaf and white gold-leaf accents can be added. For an authentic yet completely different look, the unfinished frame is covered with gesso (a plaster like coating), followed by a smooth clay layer in one of several colors. Gold-leaf is then applied to the colored clay layer, and burnished by hand (a very laborious process). The burnishing of the gold-leaf gives the gold its luster. Further hand burnishing removes minute areas of the gold-leaf, revealing portions of the colored clay beneath it. This produces a very stunning and dramatic effect. To complete these unique custom frames, additional hand antiquing and distressing provide the final touches.
Wood Out-gassing or Leeching –
There is the potential for out-gassing, or leeching out, of harmful fumes or by-products from some wood frames. In certain unseasoned or inexpensive wood frame mouldings, resins or other acidic chemical compounds may exist in the wood. These acidic compounds or resins, or fumes from them, could actually come out of the wood mouldings and get into the mat package and damage the matting materials or even the artwork
All surfaces of pre-finished frame mouldings are generally finished and sealed, except for the rabbet. The rabbet is the right-angled cutout in all wood frame mouldings that accepts and holds the glazing, matting (with artwork) and any support backing. A frame rabbet usually comes as freshly cut unsealed raw wood. Conservationists now recommend that the right-angled rabbet of any wood frame be sealed with either a clear acrylic sealer or a polyester tape with acrylic adhesive, before assembling the entire frame package.
MATTING
I’ve discussed the frame and the glazing. The rest of the materials that go into a framing job are referred to as the “framing package”, “mat package” or simply the “package.” A few people might include the glazing as part of the “package”, and I won’t quibble.
The most important parts of the package are the window or top mat and the back mat. Besides hinges and fastening devices, the window and back mats come in direct contact with your artwork, and therefore must be made of materials that will not damage your artwork. Unless your artwork is fairly small, you will undoubtedly need a backboard or backer board, which goes behind the back mat, to help support and give structural integrity to the package. Finally, a moisture barrier and dust cover would complete the package.
Mat Board Composition and Construction –
The window mat and the back mat would generally be made from the same mat board material. The window mat is, of course, the one on top with the beveled cutout to reveal and display your artwork. Only about 1/4” of the window mat, along all four edges, need contact the artwork to hold it down. However, some Audubon prints and modern reproductions are done on large paper sheets with smaller image areas. In these cases, a larger area of the window mat will cover and contact the artwork. The artwork is attached to, and rests entirely on, the back mat. Mat boards are a pressed board made of fibers. They generally come in various thicknesses called plies. Commonly, mat boards are sold in 2, 3, 4, 6, and 8 ply thicknesses. 3 and 4 ply are the most commonly used. 2 ply is more for photographs and very small artwork. The thicker 6 and 8 ply are used for their added strength to very large mats, or where special effects such as added depth are required. Added depth can also be achieved by double or triple matting.
There are many different kinds or grades of mat board. Some are not acceptable for archival museum quality matting, despite what is claimed. Read the specs before you decide which one to use.
Standard mat board is made from bleached wood pulp. It is not acid-free. Lignin, and other chemicals from the wood pulp in the mat board, will soon turn a standard mat yellow or brown, and turn any artwork it touches acidic. When this happens the artwork will discolor and begin to deteriorate. Standard mat board is NOT RECOMMENDED.
Buffered mat board is made from bleached wood pulp and is treated with a buffering agent, like calcium carbonate, to make it acid-free. Buffered mat board is a little better than standard mat board. However, the buffering agent will gradually wear away or deteriorate. When this happens, you basically have standard mat board. While buffered mat board will offer acid-free protection for a while, it is NOT RECOMMENDED.
Acid-free mat board is made by chemically neutralizing the acids in bleached wood pulp. It is sometimes also buffered. However, acid-free mat board is not lignin (a complex polymer in wood) free. Eventually, acids and other chemicals in the lignin will begin to discolor and damage the artwork. While providing adequate protection for a period of time, acid-free mat board is NOT RECOMMENDED for archival museum quality matting.
100% Alpha Cellulose mat board is an acceptable archival museum quality mat board for use in matting your finest artwork. It is made from wood pulp, but has been emaciated and chemically purified to remove all lignin and other acidic chemicals. It is 100% acid-free and 100% lignin free. It is also buffered, to raise its pH* to 8.5-9.5, for additional protection.
Finally, the very best archival museum quality mat board that you can use for your artwork is 100% cotton rag mat board. It is not made from wood pulp, and is naturally 100% acid-free and 100% lignin free. Little purification is required because cotton is nearly 100% pure cellulose. 100% cotton rag mat board is also available in a buffered form, for additional protection in areas where light sources and airborne pollutant levels are high.
*pH is a chemical measurement of how acid or alkaline a material is. The pH scale goes from 0-14.0, with 7.0 being neutral. Numbers below 7.0 are acid, and above 7.0 are alkaline. The pH of a high quality archival museum quality mat board should be in the 8.5-9.5 range.
Colored Mat Boards –
Mat boards are available in literally hundreds of colors, including an amazing variety of whites and off-whites. Mat boards also are available in various patterns and textures. Today, mat board manufacturers have changed their color selections, in various grades of mat board, as consumers have become more aware and knowledgeable about the need for archival museum quality matting and framing for their most valuable artwork.
The three NOT RECOMMENDED mat boards above now come in a limited selection of colors. These three grades of mat board have legitimate short-term uses. In fact, many frame shops now explain and sell them for “temporary” or “short-term” matting of inexpensive artwork and other items that people might want displayed for a relatively short period of time. However, frame shops would offer no guarantee of longevity in using these grades of mat board.
Today, the 100% cotton rag mat boards are available in the largest selection of colors and variations. You can be as creative as you want in putting together a matting package for your artwork. You can double and triple mat for extra depth and interesting effects. For antique artwork, you can select off-white colored mats to match the color of the antique artwork’s paper. You can pickup a specific color in your artwork and use a matching colored mat. Or, you can do both by double matting. It is not necessary or recommended to use a colored back mat. You artwork lies directly on the back mat, and is never seen, so use a plain white back mat.
There are two other considerations when using colored mat boards. You should be CAUTIONED that not all colored mat boards, even some made from 100% cotton rag, are “color safe” or “color fast.” Colored mat boards that are not color safe can easily fade, even if protected by UV glass. More importantly, however, is the danger of non-color safe mat board colors running or bleeding when displayed in certain environmental situations. If colors run or bleed, they could ruin your artwork. This is further reason to never use colored mat board for the back mat. Various manufacturers will certify and label some of their colored mat boards as “color safe” or “color fast.” Use only those.
The 2nd consideration, when using colored mat board, is to realize that the color is only on the surface. When the beveled window cutout is made, the white inner core of the colored mat board will be exposed on all four inner edges, and will be next to your artwork. This may or may not matter to you. If you use a single colored top mat to pickup a color in your artwork, the white beveled edge inner core may closely blend or match the color of your artwork’s paper. You could use a white or off-white inner top mat, and double mat on top of that with a colored mat that picks up a color in your artwork.
There are at least two manufacturers, that I am aware of, who make a “solid core” 100% cotton rag mat board. This means that the surface color, and the color of the inner core, is identical. When the window mat cutout is made, the four beveled inner edges will match the surface color of the mat. This can be very useful, in either single or double matting, if you don’t like the look of the exposed stark white beveled inner core. Bainbridge makes a line of solid core colored mat boards, which I have seen, and Crescent has a similar line, which I have extensively used. These “solids” aren’t available yet in a wide range of colors. Until just recently, Crescent had only 25 colored solids, mostly off-whites plus beiges and grays and black. Both companies are regularly coming out with more colors for their solids. They are available in 2, 4, 6 and 8 ply, and either buffered or non-buffered.
Custom Mats –
Your local frame shop will custom cut the mat for your artwork and personally mount and assemble your artwork in a complete framing package ready to hang on your wall. While that is custom service, it is not a custom mat. You would find people with the knowledge and skill to create custom mats at upscale print dealers or art galleries, if your local frame shop does not do this work. The work requires a lot of experience and patience.
The simplest, and perhaps most elegant, custom mat that you can have done is the French mat. The term French line is also used to describe this mat finishing technique. Usually 1 or 2 fine accent lines are hand drawn around the entire window mat, using colors that are picked up from the artwork. If 2 lines are drawn, they run parallel to each other around the entire mat. Often the space between the two French lines will be hand painted with another complimentary color.
If you think it appropriate for your artwork or decorating scheme, you can order a hand painted mat. This requires an artist, but the possibilities are limited only to your imagination. Typically, one or more different decorations would be hand painted and evenly spaced around the entire window mat. A straight or wavy hand painted line might connect these painted decorations. Also, the cut beveled edges of the window mat can be painted with an accent color. If you cannot find just the right color, among the hundreds of available colored mat boards, the bevel and exposed surface of the lower mat (in a double mat system) can be custom painted to any color. Finally, a hand painted frame liner or fillet can be used between the glazing and top mat. They can be painted and decorated in any color, including metallic finishes.
Some people would say that the finest of all custom mats is the French Silk mat. Actually, the French Silk mat falls into a category of custom mats called “hand wrapped mats.” Hand wrapped mats fall into two categories, paper wrapped and fabric wrapped. In both types, a 4-8 ply 100% cotton rag mat is cut to size and the beveled window opening is cutout. At this point, the mat could be finished in any of the above-described techniques.
For a paper wrapped mat, the cutout window mat is hand wrapped with a 100% cotton rag artist’s watercolor paper. The paper can be any color, and any available finish or texture. From there, the custom mat can be decorated and finished with any or all of the techniques described above.
A fabric wrapped mat is a step above the paper wrapped mats. The process is the same as for a paper wrapped mat, except the mat is hand wrapped with a fabric. Fabric wrapped mats are made using linen, suede, satin or silk. I suppose of those four fabric types, silk could be considered the “queen” of fabric wrapped mats. The choice of fabric colors and textures is certainly in the hundreds, and probably exceeds the number of colored mats that are available. The silks and linens can also be hand painted with additional decorations and accents.
The variations for custom mats are only limited by your imagination, taste and pocketbook.
Completing the Mat Package –
A number of other details and techniques go into completing the mat package. The artwork cannot touch the glazing. The common use of a window top mat will generally provide enough space between the artwork and the glazing. If for some reason a top window mat is not used, either spacers or a frame liner or fillet will have to be used between the glazing and the back mat. Even if both a 4 ply top mat and back mat are used, it is generally recommended that a rigid backboard or backer board be used behind the back mat. Mat board is fairly rigid, but over time and under certain conditions, it could sag or warp. An acid-free backboard, such as foam core or tiger board, would prevent this.
The top mat and back mat are generally hinged along one common side so that the two pieces would fold open like a book. Acid-free archival linen tape is generally used. The top mat and back mat inner surfaces (the surfaces that will touch the artwork) are placed face up and two sides butted. A strip of linen tape applied straddling the butted seam will create the hinge. The artwork is secured or mounted to the back mat. Two T-hinges made from Japanese rice or mulberry paper, and attached using wheat or rice paste, is the best way to mount artwork. There is an acid-free paper tape roll available, with water-activated adhesive that is also used to make T-hinges. Clear acrylic or Mylar mounting corners can be used, if they do not prevent the top mat from lying flat and the artwork is not too tightly constricted. The T-hinge method is best because it allows for some natural expansion and contraction of the artwork. Dry mounting and heat-activated glues are not safe for your artwork. Also, there is no pressure sensitive adhesive tape that is safe for your artwork.
After the mat package is mounted in the frame, a polypropylene or polyester sheet should be affixed as a vapor barrier. This is especially important in cold weather climates where the frame is to be hung on an outside wall. Finally, the back of the frame is sealed with a special Kraft paper dust cover. In cold weather areas where the frame is hung on a colder outside wall, spacers are placed on the back of the frame to provide warmer air circulation behind the frame.
IF YOU VALUE YOUR AUDUBON PRINT, DO NOT FOLD OR TRIM IT TO FIT A SMALLER SIZED FRAME.
Encapsulation –
Frames Unlimited, a chain of framing shops here in the Midwest, offers a technique called encapsulation, for added protection, as part of their framing package. Encapsulation is a process that uses a gel adhesive to seal your artwork in a clear archival Mylar envelope. This clear envelope, containing the artwork, is mounted to the back mat in a mat package, and covered by the cutout window mat, for conventional matting of antique prints. I’ve seen a sample of their encapsulated artwork, but not matted and framed. This technique, though used in libraries for document storage, is not yet proven as a safe environment for artwork within a framing package
Alternative UV Protection –
When I purchased the condo I now live in, all windows with a south and west exposures were lined on the inside with a protective film. This film provides filtering out of 98% of UV light from the sun, and also filters out some percentage of the sun’s infra-red (IR) energy, which additionally helps cut down on air conditioning costs. These films are available in clear, tints and reflective colors. My reflective film has a 20 year warranty, and only reduces the amount of visible light in a room by 5%. If you cannot find a satisfactory UV glass (non-distorting and non color altering) to protect your artwork in a particular room, you might consider this option for UV light protection. These films are now available at Lowes, Home Depot and other home supply stores for do-it-yourself installation. However, you must not defeat the purpose of these films by using direct fluorescent or incandescent lighting on your artwork. Visible indoor light on valuable artwork should always be indirect.
]]>Introduction
From the final years of the eighteenth century until the first half of the nineteenth century lived a man of nature by the name of John James Audubon. His life was filled with romance, hardship, idealism, persistence and an unusually strong sense of purpose. During his lifetime, Audubon took in the sights of places surrounding the Atlantic, Caribbean, France, United States and England. Although at times he suffered from adversity and disappointment, he was fortunate to obtain financial well-being, distinguished artistic achievement and public acclaim from both sides of the Atlantic, albeit delayed in his adopted homeland. John James Audubon even today continues to be the most celebrated American bird painter. His well deserved fame remains firmly established in his extraordinary book, Birds of America.
Birth and Early Years
On April 26th, 1785, John James Audubon was born illegitimate in Les Cayes on the southern coast of what is now Haiti. He was the son of Lieutenant Jean Audubon, a French naval officer with a plantation on the island and Mademoiselle Jeanne Rabin, a French Creole woman. John James Audubon's mother died before he reached the age of seven months on November 10th, 1785. However, in August, 1790, when Lieutenant Audubon returned home to Nantes, France, his wife accepted John James as her own son.
Young Audubon observed all of nature but was keenly interested in the birds. At the family villa in Coueron, near Nantes, France, he began to draw birds he watched in the ponds, meadows, hedges and woods. The era he lived in did play a part in sparking this interest he had for birds. The writings of people such as Jean Jacques Rousseau, William Wordsworth, Sir Walter Scott and Daniel Boone all encouraged the idea of "the natural man in the natural world."
Audubon had little education. He lacked formal training in speaking or writing either French or English. Private lessons, though, were given to him in mathematics, geography, music and fencing. Around the year 1805 at Coueron, Aububon made his earliest drawings of life-size birds drawn with crayon and watercolor.
Coming to America
In 1803, he found himself on his father's farm on Mill Grove, near Philadelphia. The reasons for this move are varied. At the time, Napoleon was in control of France. The First Consul's agents were seeking conscripts for the army. Jean Audubon may have wanted to keep his son from the army or spare him the mark of illegitimacy. Either way, John James was now in Mill Grove. Here is where he began his studies of the American bird life. Although he would shoot the birds for sport, he also shot them in order to paint their features.
However, Audubon was not sent to America to become a naturalist. His father sent him there to superintend and develop the lead mines of Mill Grove. Both he and his business associate lacked the necessary talents in the business world. Hence, Audubon had to put forth much effort to try to learn and succeed at his trade duties. He found himself torn between the wish of his father and his hobby of drawing birds.
Audubon early realized that drawing birds from stuffed specimens produced stiff paintings, lifeless and dull. So he proceeded to use inserted wires to display his models in natural positions. This process enabled him to add drama, life, and vigor to his paintings.
John James experienced much joy at Mill Grove. He was able to awaken, fashion and pursue his artistic talents. It was also at Mill Grove where he met his future wife, Lucy Bakewell. Despite this happiness, though, due to his lack of business skills, he not only lost his job but also his home.
His Move West
In search of new income, Audubon and Ferdinand Rozier, his business associate, started off for the West. They traveled over the Allegheny Mountains to Pittsburgh in a stagecoach and then down the Ohio River in a flatboat to Maysville, Kentucky. Having traveled a thousand miles, they found themselves in Louisville.
Audubon and Rozier decided to make Louisville the home of their newly established store. Audubon's more ambitious and enterprising partner, ran the store while Audubon continued painting. By the year 1810, his portfolio contained over two hundred paintings of American birds. These were all life-size, usually in pastel with watercolors depicting the eyes, bill and feet.
In the spring of 1808, Audubon returned to Mill Grove and married Lucy Bakewell on April 5th. The day after their marriage they began their journey together to Louisville. They lived in the Indian Queen, an inn on the Ohio River. This was the birthplace of their son, Victor Gifford Audubon, on June 6th, 1809.
While in Louisville, Alexander Wilson, the father of American ornithology, influenced Audubon. Wilson was a Scotsman who traveled to the United States around 1794. He was encouraged by his friend and Philadelphian naturalist, William Bartram, to study and draw birds. Chiefly on foot, Wilson searched the East, the Ohio and Mississippi valley frontier and the Deep South for material found in his work American Ornithology. During this time he discovered thirty-nine species of American birds, all of which are described by the biographies of the birds and pictorial detail in his book. Audubon shared his paintings that demonstrated the grace and power of avian movement to Wilson. Audubon's paintings were a combination of romantic verve and classical monumentality while Wilson's drawings were more factual and useful. Regardless of the different style these two artists possessed, Wilson's book suggested that it was possible to publish a book featuring Audubon's own artistic work.
Kentucky
The population and business activity in Louisville was growing because of the increased westward migration. Nevertheless, Audubon and Rozier did not profit in their business. They decided that the business had a chance to profit if they moved one hundred and twenty-five miles down the river to Henderson, Kentucky. The move did not change the management of the business. Rozier still looked after the store while Audubon hunted and fished in the woods.
This was not the final move for the two business partners, though. After about six months, they moved down the Ohio and Mississippi rivers to a French settlement in Missouri called Ste.-Genevieve. Audubon sold his interest in the business to Rozier in April 1811. Rozier enjoyed much profit in this area until his death in the year 1864.
It can be said that the decade between 1811 and 1820 was a very difficult on in the life of Audubon. He did not succeed in his second business interest. The inheritance of his wife was used on ventures that did not last. A partnership with his brother-in-law, Thomas Woodhouse Bakewell, was started in New Orleans to carry on trade with England. However, this partnership failed when the War of 1812 began. The last of Audubon's funds was used at a sawmill and gristmill in Henderson, Kentucky. In 1819, Audubon found himself jailed due to enormous debts. He realized that his business failures followed by his bankruptcy cost him both money and friends.
Audubon's main comfort was his family. His wife, Lucy, understood his passion in recording the birds of America. Therefore, she was consistent in her support and encouragement even though this meant risking her inheritance and her family's favor, not to mention having to deal with the long absences of Audubon when he was working in the wilderness. Perhaps she continued supporting him because she was able to experience firsthand the stories of his creative work and the enjoyment apparent in his eyes. Whatever the reason, she along with their two sons, Victor Gifford and John Woodhouse, were the source of Audubon's comfort.
Aware of the responsibility to provide for his household, Audubon returned to Louisville in 1819 and began using crayon to draw commissioned portraits of sitters. Though there was a demand for this work, he did not abandon his passion of drawing birds. Audubon continued creating portraits in order to support his family until he sailed to England in 1826.
Beginnings of The Birds of America
Audubon was now thinking of publishing his own portfolio, ten years after meeting Alexander Wilson. This portfolio would include all the North American birds, life-size and how they are found in their natural surroundings. He did not yet have enough material, though, to accomplish this task. So he planned an extensive trip that would take him down the Ohio and Mississippi rivers to New Orleans, east to the Florida Keys and then to Cincinnati by way of Arkansas and Hot Springs. This trip would enable him to search for new bird specimens that he would shoot, dissect and draw. During the trip he would also study the habitat and vegetation in order to include text with his drawings.
The 1820 Trip
Accompanied by a thirteen year old student of his, Joseph Mason, Audubon sailed on a flatboat from Cincinnati on October 12, 1820. Mason would grow to be one of Audubon's most important associates in the making of the Birds of America. Of the four hundred and thirty-five paintings, Joseph Mason painted the floral backgrounds in over fifty of these. Audubon met Lucy's brother-in-law on Christmas Day, 1820 when their flatboat reached Natchez, Mississippi. He invited Audubon to join him in the trip to New Orleans on his keelboat. They reached New Orleans on January 7, 1821. Having no money for lodging, Audubon used his talents of producing portraits to support himself. The journey to New Orleans turned out to be unsuccessful as Audubon spent little time producing portraits or working on the Birds of America project.
Audubon came across James Pirrie, a prosperous cotton planter of Feliciana Parish, on his travels to the north. From June, 1821 to October of the same year, Audubon served as the tutor for Pirrie's daughter, Eliza, in drawing, music and dancing. Finding the region of Feliciana Parish filled with fauna and flora, he spent spare moments portraying the birds there. This five month period was most favorable for both Audubon and Mason, his student. During this time, Mason unveils his expertise in painting a realistic setting for the birds while Audubon demonstrated his talents in producing the color, design and drama of the birds.
After the five months in Feliciana Parish, Audubon and Mason returned to New Orleans. Upon his return, Audubon recruited students for drawing lessons and started the task of arranging, correcting and revising the notes that would supplement the birds. By the time he left Cincinnati, he finished sixty-two drawings of birds and plants along with about fifty portraits. Even though he sent money home to his wife in Kentucky, Audubon suffered from a feeling of emptiness. He missed his wife and sons and the negative comments received from others hurt his sense of well-being and purpose.
December of 1821 brought the reunion of Audubon and his family. Lucy was able to obtain work as a nurse to further provide for the family's needs. Although Audubon was happy with this reunion, he was bothered by his own position financially. Therefore, he soon made up his mind to seek financial stability in Natchez where he would teach French, music and drawing in a school. With this added work, he was unable to progress in the production of his book.
Confusion, bankruptcy and aimlessness are words that can be used to describe Audubon's life between the years of 1821 and 1824. His personality was filled with vanity and he possessed a heavy ill-temper and ingratitude in his dealings with others. He did not fit the world of a charismatic artist.
Philadelphia in 1824
Audubon returned to Philadelphia in the spring of 1824. A main contribution to this troublesome visit was his arrogance and quarrelsome temperament. There in Philadelphia, Audubon met Charles Lucien Bonaparte, the twenty-one year old son of Napoleon Bonaparte's brother, Lucien. Charles Lucien arrived in the United States with his Uncle Joseph, Spain's former King, who settled in Philadelphia. A distinguished naturalist, Charles Lucien published one hundred birds that were not earlier discovered in his work American Ornithology Not Given by Wilson. His kindness not only imparted him to introduce Audubon to the members of the Academy of Natural Sciences, but also made arrangements for an exhibit of Audubon's drawings at the Academy. Nevertheless, Audubon succeeded in making three enemies. Titian R. Peale, the primary illustrator of Bonaparte's book, was proud that his portraits were not drawn from stuffed specimens. Despite Peale's close connection with Bonaparte, Audubon did not hide his disdain of Peale's drawings. Another enemy was the engraver of Wilson's book, Alexander Lawson. Now preparing the plates for Bonaparte's book, Lawson revealed his disdain for Audubon's work saying that his drawings were not fit for engraving and were not realistic. Lastly, Wilson's friend, biographer and editor of the final two volumes of his work, George Ord, became Audubon's foe. Ord did not welcome a competitor, especially one that could lessen the success and significance of his own work. It came as no surprise when Audubon praised his drawings over those of Wilson's, while Ord criticized the habit Audubon had of encircling his birds with forms of embellishment such as plants or tree branches.
Audubon received clear hints that no one in Philadelphia would publish his book. However, he was well received by Edward Harris, a wealthy man from Morristown, New Jersey. Harris not only bought some drawings of Audubon, but he also joined him on the expedition to Florida in 1837. Audubon likewise leaned toward a trip to Europe as Bonaparte suggested that he would be able to publish his drawings there.
Off to England
On May 17, 1826, Audubon began his sail from New Orleans to Liverpool, England equipped with letters of introduction. He was quickly befriended by Richard Rathbone upon his arrival on July 21st. Audubon was fortunate to be looked after by Rathbone, whose family was prominent in banking and business. Rathbone took the opportunity to introduce Audubon to community leaders. Besides this, he also arranged for an exhibition at the Royal Institution for two hundred and twenty-five of Audubon's drawings. Prominent citizens expressed their adulation for Audubon's achievements, making this exhibition a great accomplishment. Unlike Philadelphia, Audubon's visit to England served to upbuild his sense of purpose and well-being due to the warm public reception and praise given to him.
Audubon's strong desire to paint the birds of North America remained. He was overwhelmed by the reception he received in Liverpool since the lack of appreciation elsewhere had contributed to much uncertainty. Audubon once remarked, "My poor heart is at last relieved...for I now know that I have not worked in vain."
Now focusing on the chore of publishing his work, Audubon was as energetic as he was when painting the birds. Potential publishers and subscribers in Liverpool, Manchester and Edinburgh, reviewed the prospects of printing his life-sized paintings. Originally, he desired to print four hundred paintings in eighty parts consisting of five parts each. The fee for this would be two guineas per part. Each plate would be made of one full page, two medium and two small illustrations. Four hundred and thirty-five illustrations in eighty-seven parts completed the contents of the final work. Subscriber fees would meet the amount of the engraver's expenses.
Edinburgh engraver, William Lizars, finished the printing of the first group of plates in February 1827. These five paintings were the Wild Turkey, the Prothonotary Warbler, the Yellow-billed Cuckoo, the Purple Finch and the Canada Warbler. The Wild Turkey now enjoys the recognition of being Audubon's most famous plate. Audubon was able to give his subscribers a pick of diverse and colorful birds and backgrounds which were masterfully enhanced by Joseph Mason's artistic abilities.
In order to publicize the publication of Birds of America, Audubon traveled to London, a place where international culture, finance and politics came together.
His Relationship with Havell Begins
Once in London, Audubon was disappointed to hear from William Lizars that the production of Birds of America had come to a stand still due to a strike of the colorists in Edinburgh. Besides the fact that this strike delayed the printing schedule, it also decreased the needed income from the subscribers' fees, which was to cover the cost of underwriting the project. To Audubon's delight, he came into contact with Robert Havell, Jr., whose family owned The Zoological Gallery in Newman Street, London. Among other things, such as artists' supplies and books of natural history, The Zoological Gallery more importantly sold engravings. Havell quickly became indispensable to Audubon in the production of Birds of America. Without a doubt, Havell's impressive engravings was a strong foundation for the distinguished reputation that Audubon later earned.
Although Audubon and Havell became good friends, his services were not taken for granted by Audubon. In order to cover all the expenses, Audubon took on the job of a diligent salesman, promoting his work to potential subscribers. He also painted portraits regularly as he had before to cover the different costs that presented themselves.
Success in Paris
To further advance the interests in Birds of America, Audubon traveled to Paris in September 1828, meeting and introducing his paintings to the distinguished class. He was favorably received at the Museum of Natural History by Baron Georges Leopold Cuvier, naturalist and paleontologist. Audubon was able to display his works before members of the Academie Royale des Sciences which was made possible by Cuvier. To say the least, Audubon was overwhelmed by the favorable expressions of this talented group of men.
Audubon even succeeded in having a nobleman as a subscriber. This was the Duc d'Orleans, who later became King Louis Phillipe, along with the Duchess. Pierre-Joseph Redoute, renowned flower painter, arranged this presentation of Audubon's portfolio. As can be seen, Audubon was able to come into contact with the right people in his endeavor to promote his work. His stay in Paris ended with the total recruitment of fourteen new subscribers.
Loneliness was now creeping up on Audubon. Upon his return to London, he longed for the company and comfort of his loving family. Due to this strong desire, Audubon began preparations to rejoin his family by sailing to New York in April, 1829. John George Children , a member of the zoology department of the British Museum and the secretary of the Royal Society, was put in charge by Audubon to supervise the business. It turns out that this was a good choice on the part of Audubon as Children proved to be one of the best advocates for him among London's upper class.
Although the reunion with Lucy and visiting friends was the priority of his trip, Audubon also took the opportunity to gather new material. Not only did he wish to shoot and preserve the skins of many birds, but he also wished to make revisions to a portion of his earlier paintings. The Lyceum of Natural History in New York agreed to show an exhibition of Audubon's paintings. Audubon also made it a point to visit Philadelphia in order to see Dr. Richard Harlan, naturalist and author of Fauna Americana, and Thomas Sullly, esteemed portrait painter. Then traveling to Camden, New Jersey, the Delaware River was chosen as Audubon's place to hunt, study, and paint the avifauna. Great Egg Harbor was the setting for several of the original drawings of the plates of Birds of America: the Vestor Sparrow, Ovenbird, Yellow-breasted Chat, Acadian Flycatcher, Rough-legged Hawk and Warbling Vireo. Two months were next spent in the Great Pine Swamp in Pennsylvania where Audubon collected and drew many small land birds that resided there. Audubon did not forsake the birds living in the woods near Feliciana. He took the time to draw them when he was again reunited with his wife.
New Year's Day of 1830 found the Audubons aboard a steamboat that was bound for Louisville. The purpose of this journey was to spend a few months with Lucy's relatives. These months also afforded Audubon the chance to stuff birds surrounding the falls of the Ohio River. Their next journey together was to Washington, D.C., where they met Edward Everett, leader of the House of Representatives. Everett arranged for the drawings and plates of Audubon to be presented before the members of Congress. He also arranged for the Library of Congress to become a new subscriber to Birds of America. During this occasion, the Audubons also had the privilege of being entertained by President Andrew Jackson.
On April 1, 1830, the Audubons sailed for Liverpool as the business in London now required personal attention from Audubon. While Lucy remained in Liverpool with her sister, Audubon traveled on into London. There he was told that his journey to the United States had cost him some subscribers, which presented the need to paint pictures and enroll new subscribers again. However, while he was away, Audubon was elected a Fellow of the Royal Society. Since this was the most prominent British learned Society, he was no doubt pleased to hear this good news.
Audubon enlisted the editorial assistance for the text of Birds of America as his writing skills were minimal. This assistance came from William MacGillivray who later published the five volume History of British Birds. The winter of 1830 to 1831 was spent writing the text together.
The financial expenses of printing were carried by Audubon himself. Although he acquired much success with his first published volume, Audubon was still very concerned about the financial aspect of the work. For this reason, he turned towards the United States. His goal would be to recruit new subscribers along with the collection of more birds.
Edward Everett, his Washington connection, once again helped Audubon upon his return to the United States. Public exhibitions both in the Library of Congress and in the Boston Athenaeum were arranged by Everett. He also arranged for the nomination of Audubon for a fellowship in the American Academy of Arts and Sciences. Audubon's stay in the United States was very victorious as he finally won the praise of critics, acknowledging his artistic talents.
Between 1831 and 1834, Audubon was involved in new travels, searching for additional specimens. His first journey brought him to Charleston, South Carolina. Accompanying him were George Lehman, who painted many of Audubon's backgrounds, and Henry Ward, an English taxidermist. A Lutheran minister of Charleston, Reverend John Bachman, turned his house into Audubon's headquarters. Maria Martin, Bachman's sister-in-law, later began to paint backgrounds for Audubon's birds. Another interesting fact between Bachman and Audubon was that Audubon's sons married the preachers two daughters. The relationship that these two men shared turned out to be one of the most valuable friendships Audubon experienced.
Leaving Charleston, Audubon commenced an expedition along the east coast of Florida, beginning with St. Augustine. From here, his journey led him up the St. John's River to the islands between St. Augustine and Key West. In his mission for new specimens, Audubon would shoot a minimum of a hundred birds each day. This particular expedition afforded him the opportunity to draw the Great White Heron. In this print, George Lehman reproduced the town of Key West for the background. Lehman and Audubon other associate, Henry Ward, were both dismissed at the end of the Florida journey.
Audubon returned to Philadelphia where his family was still living in the spring of 1832. With the dismissal of Audubon's two associates, he enlisted the help of his two sons in his growing business. Victor would travel to London to address financial details and overlook the engraving and coloring of the plates. John would travel with his father on expeditions to assist in collecting and drawing both birds and their backgrounds.
The one hundred and eighty subscribers in the beginning of 1833 all expected to receive a total of four hundred plates over the course of seven or eight years. Therefore, Robert Havell had to continually be supplied with new drawings so that no interruption would occur in the income secured from the subscribers. Due to this demand, Audubon spent another year in the United States in order to collect new material. The summer of 1833 was spent studying breeding habits of the water birds, making twenty-three drawings and collecting around two hundred birds and a small amount of mammals. Although in Audubon's seventeen hour work day he hoped to discover new species on this trip, he was not able to find new ones.
Audubon next traveled to Charleston, South Carolina again and visited with John Bachman. Since the mid-eighteenth century, Charleston was abundant in the study of natural history and Bachman knew all of the active physicians and naturalists involved. Bachman introduced Audubon to them and he was able to receive much support for his efforts. Audubon's gratitude for their kindness led him to embellish the Long-billed Curlew plate with a few of both Charleston and Fort Sumter.
The planning of volumes three and four were now in Audubon's mind upon his return to London in May 1834. William MacGillivray once again helped with the text in these volumes. The Ornithological Biography was published in December of 1835. With the publication came Audubon's announcement to publish the last of his work along with the final volume of text by the end of 1838.
Another journey to the southern and western sections of the United States was taken by Audubon and his son John. They arrived in New York in September 1836 as they now concentrated on finding new specimens. Audubon heard that John Kirk Townsend of Philadelphia and Thomas Nuttall, ornithologist of Harvard University, discovered new birds and had sent these new specimens to the Philadelphia Academy of Natural Sciences. The Academy only allowed for Audubon to have a brief view of these birds which did not give sufficient time for him to inspect and draw these new species. However, Audubon did meet Nuttall in his trip to Boston. Nuttall respected his interests and decided to sell Audubon ninety-three duplicate specimens retrieved from the regions of the Rocky Mountains and Columbia River. Audubon was ecstatic with this offer and included a number of these duplicates in his work.
Audubon, accompanied by Edward Harris and Audubon's son John, set out on a journey to Galveston Bay. Protection was given to the three of them since the Republic of Texas had just recently won its independence from Mexico. Although no new species were discovered, Audubon was able to see many different birds on this expedition of Galveston Island.
The dream that Audubon had envisioned of the publication of his book was now fulfilled on June 20th, 1838. Now fifty-four years of age, the completion of his fifth volume freed Audubon from the responsibilities linked to this project, therefore enabling him to return to the United States. The return back home did not stop him from working, though. Audubon started work on miniature editions of Birds of America and The Quadrupeds of America. The total cost of this work was one hundred dollars which was about one-tenth what was charged for his other work.
Now that Audubon had received enough income from all of his hard work, he bought thirty-five acres of land of what is presently known as Washington Heights in New York City. He worked on illustrating the Quadrupeds here and this is also the house where he set out on an exploration of the Missouri and Yellowstone Rivers.
Following 1847, Audubon no longer had the ability to draw or paint. The Quadrupeds project had to be completed by his son Victor. With deteriorating mind and health, Audubon died on January 27, 1851.
Different aspects involved in Audubon's work show many qualities to admire. For example, unlike others, the financial expenses of Audubon were never taken care of by the federal government, state agency or other foundations. Audubon's entire financial burden was carried by himself and the family of his wife, Lucy. Although some uncertainties went along with keeping the burden within the family, doing this also made Audubon's achievements more rewarding and permanent.
Today, bird illustrators have many easy ways to access the information needed for them to draw accurate paintings. They enjoy the comfort that travel can bring, sophisticated optical equipment and a numerous amount of publications dealing with the natural world. Looking at Audubon's work, many are amazed that he did this with only his legs, eyes and a gun at his disposal.
Another aspect deserving admiration was that up until the nineteenth century, Audubon's book was the largest and most expensive that was published. Since all of his paintings were made life-size, this took much creativeness on his part to accomplish the production of such a different style.
Audubon's paintings are not only filled with such vitality and beauty, but they are also informative. He added information including what birds eat, their behavior, habits, where they live and how they breed. This detailed information along with the extraordinary paintings make Audubon's work both factual and visually pleasing to the eye. This goal is something to be reached by all students of the natural world. Whether students or just observers, the work of John James Audubon is a legacy that will continue to be enjoyed by all.
]]>1835 | Desiring to complete The Birds of America, Audubon begins placing multiples species on one page in order to speed up the work. |
1837 | Audubon obtains more specimens in a trip to Florida. His second son, John Woodhouse, marries Maria Bachman. |
1838 | The four folio engraved volumes of The Birds of America are completed. |
1839 | The five volume Ornithological Biography is completed. The Audubon family now settles in New York. |
1840 | Audubon begins work on two new projects named The Viviparous Quadrupeds of North America and the smaller edition of The Birds of America. |
1842 | The family moves to their other property in New York City which is now West 155th Street and Riverside Drive. |
1843 | The smaller edition of The Birds of America is completed. Audubon, Edward Harris and an assistant board a steamboat on the Upper Missouri River region on a summer expedition. |
1847 | A stroke decreases Audubon's mental competence. |
1848 | The last of the three volume Quadrupeds is completed. |
1851 | Audubon dies on January 27 at the age of 65. |
1886 | George Bird Grinnell, formally a pupil of Lucy Audubon, founded the first Audubon Society. |
How can one determine if a print is an authentic Audubon or not? Since the Audubon prints are in the public domain, and not copyrighted, many modern reproduction editions have, properly, reprinted the image with original publisher attributions (i.e. Engraved by...) toward the bottom of the image without mention of the new modern-day publisher. This leads some to think that they have an original, when very often, it is actually a very good reproduction. Without physically seeing your print, we cannot make an absolute determination. However, we are pleased to submit to you this checklist which will take you step by step in a logical sequence to help you make an initial determination if you have an actual Audubon original. To begin, please get a ruler and a magnifying glass...
Please measure your print.
Size
All Audubon originals are one of only three sizes.
The first and most valuable is the original "double elephant folio" edition of the Birds of America. This on average measures 26 1/4" x 39 1/4" trimmed. Sometimes an additional inch or slightly less is trimmed off a longer side, where previous owners may have removed original binding marks.
The second is the "Imperial" edition of the mammals or quadrupeds. This measured 22" x 28" and is defined in the Oxford English dictionary as the "elephant folio" sizing, but more often called the "Imperial" edition.
The third is the "Royal Octavo" or miniature edition of the Birds, and later, the mammals. This edition measures about 6 1/2" x 10 " or 7" x 10 3/4".
If your print does not closely match any of these sizes, taking into consideration trimming, then you most likely have one of the 100's of reproduction editions.
One caution: some of the outer edges of double elephant prints with smaller images have been trimmed by various owners, in order to fit the print into smaller frames.
Plate impression
Next, does your double elephant sized print have a rectangular impression, a border within the paper edges, surrounding the image? On the original prints, this was caused by the edges of the inked copper engraving plates being pressed into the paper, and in doing so leaving a crease.
Not only are these generally visible, but you should be able to feel them as you run your fingers gently from the image to the outer edges of the paper.
These impressions will vary in size, this being determined by the size of the printing plate used for the various sized images. Once again, if your print has been drastically trimmed, this impression may no longer exist.
Larger images may have no visible impression since the copperplates extended almost to the end of the paper. However, also be cautioned that there have been a number of restrikes produced over the years, or prints produced by the original plates that are still in existence. These are not Audubon originals. These restrikes too will show a plate impression.
Further, some modern reproductions also have a false plate mark. However, these can generally be distinguished from originals and restrikes since they have a consistent "feel" on both sides of the impression border. A copperplate pressing into the dampened sheet of paper would "smooth" the paper surface within the impression rectangle on an original, but leave the paper "as is" (not as smooth) outside it.
Appearance under magnification
Now take the magnifying glass and bring into focus several areas on the image itself. Do you see a geometric pattern of dots? If so, yours is a photo offset reproduction, and not an original.
Some reproductions are worth thousands of dollars, but a geometric pattern of dots rules out your print being an original.
Audubon double elephant originals under magnification reveal smooth washes of watercolors, not a pattern of dots. Many times one will even see where the colorists went "outside the lines" of the engraved image with their watercolor brushes. Remember, each Audubon original was individually hand-colored.
Foxing, general appearance of paper
Now, if you have passed the sizing, plate impressions, and dot tests, please examine the print itself. Does it appear, well, old? Remember, the originals are about 175-years-old. Foxing may be evident, there may be soiling, small tears, or other irregularities. A newer reproduction will appear, well, newer.
The watermark
If unframed, please carefully hold your double elephant print between your eyes and a light source. All untrimmed Audubon double elephant folio Birds of America prints have a very visible countermark. A countermark is similar to what is termed a watermark, but it is without artistic elements, generally simply consisting only of lettering. It will stretch about 10 inches across the paper, being about 1 inch in height. The name of the countermark is either "J Whatman/Turkey Mill" or just "J Whatman" with a date following, generally anywhere from 1825 to 1838. If you see such a countermark, you have an original Audubon. You may want to have it professionally appraised.
AUDUBON EDITIONS IN ORDER OF APPEARANCE
Preparatory Watercolor Compositions
"My drawings were first made entirely in watercolors."
Not watercolors in the sense we are accustomed to, as Audubon's watercolors used mixed-media, such as papers, adhesives, glazes, pastels, graphite, oil paint, egg white, gouache, chalk and more.
The watercolors were Audubon's original works, preparatory compositions or studies to the subsequent producing of the Birds of America. These watercolors were often painted by Audubon 'on the spot' in the field. The collection of 433* watercolors that Audubon supplied for his paramount work, the Birds of America, stands as the world's preeminent natural history document of the 19th century, and one of arts finest achievements. The freshness, eloquence, and grace of his watercolors reveal a meticulous observation of the natural world.
Audubon's watercolors depicted for the first time, life-size, all known species of North American birds in characteristic poses. Each painting presented a drama in the life of the subject, and Audubon succeeded in surpassing what he viewed as the stilted and constrained efforts of previous naturalists. Their works were, in his words, 'stiff.' Audubon's images live to this very day.
"As I wandered, mostly bent on the study of birds, and with a wish to represent all of those found in our woods, to the best of my powers, I gradually became acquainted with their forms and habits, and the use of my wires was improved by constant practice." John James Audubon
After acquiring specimens, Audubon inserted wires in freshly killed birds to simulate lifelike postures. These models were then positioned in front of a grid background, so as to draw them accurately to scale.
Not easily satisfied with his drawings, Audubon often wrote notes on the drawing itself so that the engravers and colorists who were to follow would enhance his work.
Doubtless, considering the working conditions in the field, lack of modern optical equipment, and his being self-taught, the producing of these watercolors represents a monumental achievement.
The watercolors themselves were never reproduced as such by Audubon, as they were a means to the end, a preparatory step to the final goal of producing and publishing prints from engravings based on the watercolors.
It is truly amazing that the vast majority of the original watercolors, are still in existence. Audubon's widow, Lucy Bakewell Audubon, sold them in 1863 to the New-York Historical Society. We suggest you take the time to see these priceless works of America's most famous artist/naturalist.
* Although there are 435 engravings in the completed Birds of America, these were produced from 433 watercolors. Two of the 433 were each the basis for two etchings. Two are also missing, thus the collection of original watercolors in the New-York Historical Society today totals 431.
Having a substantial number of watercolors now ready for engraving, Audubon traveled to Philadelphia, then the center of publishing in the young United States. However, he was unable to find a publisher, willing to produce his works, and thus brought his art abroad to England. He first contracted with a William Lizars of Edinburgh. After completing only ten etchings, Lizars' colorists went on strike, and Audubon was forced to find another publisher. This would be Robert Havell, Jr. of London, whose engravings were considered superior to those of Lizars.
Original Double Elephant Birds of America
Audubon and his sons produced several print editions. The most famous, and most valuable, is the original 'double elephant' folio entitled Birds of America. These are sometimes termed the Audubon/Havell prints, Havell being the primary engraver. These prints were produced by using as a basis the watercolor compositions or studies that Audubon accomplished mainly in the open field. These were then taken to London, where Havell's shop was located. Havell, often under the direct supervision of Audubon himself, would then engrave with precision tools a reverse image of the watercolor study. These engravings were on copper plates, some plates being as large as 27 1/2 x 39 1/2 inches, and others being smaller for the smaller images. When finished, the plates were inked and dampened paper ( all paper being double elephant size, 27 1/2 x 39 1/2 inches, untrimmed) was placed upon them, and then both were run through rollers of a press. The paper was then pulled, or peeled off the plate. What resulted was a properly oriented black and white image, no longer reversed.
Each black and white print was then colored by a team of colorists employed by Havell, closely noting not only the watercolor studies, but also notes that Audubon himself often wrote upon the watercolors. It is these prints then, that are finally referred to as the Audubon originals. Most of these originals were then bound together in four leather books. Over the years many have been unbound and the binding holes trimmed away. Thus, there may be small variations in the above size. Further, the large borders of some smaller images were often trimmed away by owners, in order to fit their print into a smaller frame.
The Octavo Bird Editions
When the production of the double elephant prints was nearing its completion, Audubon began a new undertaking. This was to be a miniature edition of the Birds of America, accompanied by text. This work is often termed The Royal Octavo Edition, the octavo referring to the size of the paper being about 1/8 the size of a normal folio, or about 6 1/2 x 10 1/2 inches. Audubon himself called it "The Birds in Miniature" and you will also hear it simply being termed the 'miniatures'. It was produced in Philadelphia, USA, by John T. Bowen.
Octavo editions were reductions of originals, this being accomplished through the camera lucida process, which through the use of a prism, allowed Bowen to project a reverse image of the original print in reduced size onto the smaller stone. (These were stone lithographs, not copper plate engravings)
The first edition, and the most sought after by collectors of the miniatures, was published in 1840-44. About 1,198 sets of the first edition were produced. It was printed and colored by J. T. Bowen in Philadelphia, although plates 136 - 150 were done by Endicott in New York. The publisher of the first edition was Audubon himself in New York, and J. B. Chevalier in Philadelphia. Other octavo editions of the birds followed the death of Audubon in 1851, these being dated: 1856 and published by Victor G. Audubon; 1859 also published by Victor Audubon using Roe Lockwood and Son of New York; 1860 also by Victor Audubon and Lockwood; 1861 by John Woodhouse Audubon and Lockwood; 1863 (no information available); 1865 by John Woodhouse Audubon, New York; and 1871 by George R. Lockwood.
The Imperial Quadrupeds
This incredibly detailed work is officially termed The Viviparous Quadrupeds of North America. These mammals of North America were published in three volumes, dating 1845, 1846, and 1848. Somewhat more that 303 Imperial sets were printed. These are rare and very valuable today. These lithographs were printed on paper sized at 22 x 28 inches, termed the imperial size, and also defined as the elephant size. (Note that this is smaller than the double elephant size of 27 1/2 x 39 1/2 inches.) Besides the size, these prints are identified by the legend at the lower right "Lith. Printed & Cold. by J.T. Bowen, Phila."
The Octavo Quadrupeds
Audubon's sons saw the need to reduce the size of the Imperials, and beginning in 1849, the octavo edition of The Quadrupeds of North America was published in three volumes. Volume 1 was followed in 1851 with the second volume, and the final, the third volume was published in 1854. Between 1,999 and 2,004 sets were published in this first edition. The size for these editions was about 6 1/2 x 10 1/2 inches. A second edition was published in 1852-54, a third in 1856-60, and a fourth in 1870.
The Bien Edition
The Bien edition prints of the Birds of America were produced by the Audubon family, and thus are properly termed originals. Unlike the Havell edition prints which were produced in England, the Bien Edition prints were produced completely in America. Thus, they are truly American originals. In 1858, about seven years after John James Audubon passed away, his younger son John Woodhouse Audubon initiated an ambitious project to reissue the Birds of America to solve some of the mounting financial problems. He recruited the Roe Lockwood Company in New York city to publish the works and Julius Bien for lithography. Unlike the Havells which were produced from copper engraving plates, Julius Bien utilized the newly emerging chromolithography process as a way of reducing the costs of production.
Chromolithography utilized different sets of printing stones to produce a given plate, some with different colors to produce the final colored image. The use of different stones occasionally resulted in very slight misregister of colors on the dark outlines of birds and background, thus serving as a charming reminder of chromolithography process. Larger images were printed on a single page as in the Havell edition, whereas smaller images were printed two per page. All the larger images as well as some smaller images carry the credit "Chromolithy by J. Bien, New York, 1860". Thus these images are commonly referred to as the Bien edition plates.
Unfortunately, the start of the Civil War in 1860 brought an abrupt end to this project (and a financial ruin to the Audubon family) after only about 105 pages were printed. It was said that about 100 copies of each page (with bird images) were produced, but most of them did not survive.
Audubon Print Abbreviations & Numbering
"I am feted, feasted, elected honorary member of societies, making money by my exhibition and by my painting." John James Audubon
Many have wondered about the abbreviations appearing on the lower edge of Audubon prints, and by the system of numbering for various editions of Audubon prints. The following may be helpful.
Abbreviations
M.W.S. (Member of the Wernerian Society)
F.R.S.E. (Fellow of the Royal Society of Edinburgh)
F.L.S. (Fellow of the Linnean Society)
F.R.S. (Fellow of the Royal Society)
Explanation of print numbering
(Double elephant folio)
You will find two numbers on each Audubon print, one at the top left and another at the top right. What do these signify?
Audubon, Lizars, and Havell produced about 200 engravings each of 435 different images. These engravings were released to the public in sets (also called 'numbers') of five prints each. There were 87 different sets (or numbers) of five prints each that were required to publish all 435 prints. These sets usually contained one large bird, one medium size , and three smaller birds. The five birds in any one set would have the same set number. It is thus a group number. Therefore, the number found usually in the upper left corner of each print is the group number for every bird print released in that particular set of five.
The number usually found in the upper right hand corner is the individual plate number, from 1 to 435, and it is most often in Roman numerals.
You will sometimes find much smaller numbers, such as 1 or 2, immediately next to a bird on many prints. These correspond to the same number shown in the script area below the image and designates the sex or if the bird is an adult or immature.