Of the over 30 years I have been in framing, it amazes me how framers treat, mount and frame art and artifacts for people who patronize them. On a weekly basis, it's not unusual for someone to contact me through email or phone informing me of a recently framed item which shows signs of deterioration.
The following map, over 400 years old, is a case in point. Although erroneously titled "Virginia", it's really a incredibly accurate likeness of North Carolina. Of course, shortly afterwards, Virginia was given the correct depiction when the cartographers mapped it thoroughly and accurately.
As a seasoned collector of autographs of over 35 years, it still excites me to pick up long desired rare autograph signed by someone I admire. You see, unlike most things, a complete set of autographs cannot be acquired any day or night. It has to be built over time or acquired intact when the rare opportunity presents itself.
Collecting historical autographs has intrigued me for many years given the fact one can own a real piece of history. When first coming into this collecting field many years ago, my first thought was "Aren't these documents locked away in a museum or archives?" It's easy to assume that. But, many important letters and documents are in private collections.
For many years, “museum quality” has meant something made with high quality materials or techniques. Basically, a cut above the rest. The term meant a level of protection or preservation used in the framing process.
Remember that famous botched "restoration" job of the Spanish fresco painting of Jesus Christ by an 80 year old woman? If not, ten years ago, the artist, Cecilia Jimenez, volunteered to restore the painting. Her "restoration" was so poorly done, the term "ecce monkey" was sometimes used to describe the artwork.
