Rare Book Monthly

Articles - May - 2011 Issue

Hard to Fool the Fingers - Paper & Printing through the Ages

Holding an 18th century sheet of rag paper up to the light a watermark and chain lines are visible.

Holding an 18th century sheet of rag paper up to the light a watermark and chain lines are visible.

Wood Pulp Paper

From about the 1850s to now we see mostly wood pulp based paper. It comes in many grades and finishes but as almost anyone who has picked up an older book or newspaper knows, it can be brittle. It may chip and crack easily and can also yellow and discolor. That is because wood pulp has no long strong fibers holding it together as fabric does. Thus no matter how fancy looking or thick it started out, wood pulp paper eventually becomes fragile and hard to conserve. It can also cause significant damage.

 

Wood pulp paper is highly acidic. That means the chemistry of the paper causes it to decay, and over time the acid in wood pulp paper can significantly damage anything else it touches.

 

How often have you seen mat burn when fine art work was matted and backed with cheap mat board? The acid in the mat board and backing migrates into and literally destroys the value of the artwork it was meant to enhance.

 

Beware!! Do not interleave your good collectibles with cheap acidic paper, it will degrade and damage your valuable items. Use only acid free rag paper for interleaving and other conservation purposes.

 

How Was It Printed?

Wood, Metal, Stone, Emulsion, Screen, Photomechanical, Digital

 

Here at AE Monthly we’re mostly interested in books and how they were printed. Just about all the printing methods ever invented were at one time used for printing books, and though many have waned or been replaced by newer methods, it helps to know what they look like and generally what their dates might be.

 

You need to know them all, if for no other reason than over the centuries there have been many clever and ingenious reproductions, facsimiles, and other kinds of copies that to the eye look very much like originals. It is easy to fool the eye. It’s hard to fool the fingers. Forget about fancy certificates, usually worthless anyway. The best guide to determining authenticity is not how it looks, but how it feels.

 

This is especially true when buying fine prints, maps or photos. You want to touch the actual piece of paper. You want to examine the surface of the front and the back under a magnifying glass to be sure that it is what it purports to be.

 

Be cautious about buying matted or framed works of art. It might be a great deal, but if you can not open the mat and see and touch the entire sheet, it could just as easily be a great fake. The difference is often in how it feels.

 

That said here’s a quick intro to printing & graphic techniques for beginners.

Rare Book Monthly

  • Sotheby’s
    Book Week
    December 9-17, 2025
    Sotheby’s, Dec. 11: Darwin and Wallace. On the Tendency of Species to form Varieties..., [in:] Journal of the Proceedings of the Linnean Society, Vol. III, No. 9., 1858, Darwin announces the theory of natural selection. £100,000 to £150,000.
    Sotheby’s, Dec. 11: J.K. Rowling. Harry Potter and the Philosopher's Stone, 1997, first edition, hardback issue, inscribed by the author pre-publication. £100,000 to £150,000.
    Sotheby’s, Dec. 11: Wolfgang Amadeus Mozart. Autograph sketchleaf including a probable draft for the E flat Piano Quartet, K.493, 1786. £150,000 to £200,000.
    Sotheby’s, Dec. 12: Hooke, Robert. Micrographia: or some Physiological Descriptions of Minute Bodies made by Magnifying Glasses. London: James Allestry for the Royal Society, 1667. $12,000 to $15,000.
    Sotheby’s, Dec. 12: Chappuzeau, Samuel. The history of jewels, first edition in English. London: T.N. for Hobart Kemp, 1671. $12,000 to $18,000.
    Sotheby’s, Dec. 12: Sowerby, James. Exotic Mineralogy, containing his most realistic mineral depictions, London: Benjamin Meredith, 1811, Arding and Merrett, 1817. $5,000 to $7,000.
  • Rare Book Hub is now mobile-friendly!
  • Swann
    Maps & Atlases, Natural History & Color Plate Books
    December 9, 2025
    Swann, Dec. 9: Lot 156: Cornelis de Jode, Americae pars Borealis, double-page engraved map of North America, Antwerp, 1593.
    Swann, Dec. 9: Lot 206: John and Alexander Walker, Map of the United States, London and Liverpool, 1827.
    Swann, Dec. 9: Lot 223: Abraham Ortelius, Typus Orbis Terrarum, hand-colored double-page engraved world map, Antwerp, 1575.
    Swann
    Maps & Atlases, Natural History & Color Plate Books
    December 9, 2025
    Swann, Dec. 9: Lot 233: Aaron Arrowsmith, Chart of the World, oversize engraved map on 8 sheets, London, 1790 (circa 1800).
    Swann, Dec. 9: Lot 239: Fielding Lucas, A General Atlas, 81 engraved maps and diagrams, Baltimore, 1823.
    Swann, Dec. 9: Lot 240: Anthony Finley, A New American Atlas, 15 maps engraved by james hamilton young on 14 double-page sheets, Philadelphia, 1826.
    Swann
    Maps & Atlases, Natural History & Color Plate Books
    December 9, 2025
    Swann, Dec. 9: Lot 263: John Bachmann, Panorama of the Seat of War, portfolio of 4 double-page chromolithographed panoramic maps, New York, 1861.
    Swann, Dec. 9: Lot 265: Sebastian Münster, Cosmographei, Basel: Sebastian Henricpetri, 1558.
    Swann, Dec. 9: Lot 271: Abraham Ortelius, Epitome Theatri Orteliani, Antwerp: Johann Baptist Vrients, 1601.
    Swann
    Maps & Atlases, Natural History & Color Plate Books
    December 9, 2025
    Swann, Dec. 9: Lot 283: Joris van Spilbergen, Speculum Orientalis Occidentalisque Indiae, Leiden: Nicolaus van Geelkercken for Jodocus Hondius, 1619.
    Swann, Dec. 9: Lot 285: Levinus Hulsius, Achtzehender Theil der Newen Welt, 14 engraved folding maps, Frankfurt: Johann Frederick Weiss, 1623.
    Swann, Dec. 9: Lot 341: John James Audubon, Carolina Parrot, Plate 26, London, 1827.

Article Search

Archived Articles