Conservation and restoration of books, manuscripts, documents and ephemera

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A conservation technician examining an artwork under a microscope at the Indianapolis Museum of Art

The conservation and restoration of books, manuscripts, documents and ephemera is an activity dedicated to the preservation and protection of objects of historical and personal value made primarily from paper, parchment, and leather. When applied to cultural heritage conservation activities are generally undertaken by a conservator-restorer.

Paper based items, such as books, scrapbooks, manuscripts, maps, deeds, newspapers, drawings, water colors, miniatures,and postcards present distinctive concerns when it comes to care and conservation. Unlike works of art on paper, these items are often handled directly and repeatedly to access information.[1] Even paper ephemera like newspapers and letters can be considered important historical records or family mementos.[2]

Agents of deterioration

Inherent vice

Inherent vice is "the quality of a material or an object to self-destruct or to be unusually difficult to maintain".[3] Paper, books, manuscripts, and ephemera are prime examples of this. Early paper was handmade from plant fibers such as flax, hemp, and cotton: it is generally durable and can last for centuries.[4] However, in the mid-19th century, machine-made paper was introduced, and wood became the most common, least expensive ingredient, especially in newspapers. The presence of lignin in wood pulp paper causes acid to degrade the cellulose, which causes the paper to become unstable and discolored over time.[5] In addition, paper has the natural ability to absorb and retain moisture from the atmosphere, making it prone to the growth of mold, fungi, and bacteria.[6]

Books are inherently complex; they are often made of mixed materials ranging from parchment, leather, fabric, adhesives and thread. Some inks used in old books and manuscripts are harmful to paper. Iron gall ink, most commonly used from the 8th century through the end of the 19th century, contains acid and can corrode the paper in humid conditions.[7]

Ephemera, as the name implies, was never made to survive. Flyers, postcards, programs are often printed on poor quality paper, carelessly handled, and likely to be haphazardly displayed or stored.[8]

Pests

Insects and vermin are naturally attracted to paper because paper is made of cellulose, starch and protein, materials that provide plenty of nourishment for pests to thrive on.[6] The most common pests are roaches, silverfish, and various types of beetles.[9] Book lice feed on mold spores found on paper and cardboard, and although they do not cause visible damage, their decomposition and excretions can stain paper and may also nourish other pests, continuing the cycle of damage.[4] To prevent infestation, a clean environment is necessary; dust often and keep food and drink away from the objects and storage areas. If you discover pests, they should first be identified so that appropriate measures can be taken.[6] Freezing the objects is an option for pest mitigation, and a good rule of thumb for most insects is to freeze to the center of the object within four hours at a temperature of -20°C (about -4 degrees Fahrenheit) for at least 72 hours, then to thaw the materials over a 24-hour period.[9] However, some materials should not be frozen, such as books made with leather, because the cold temperatures may cause the fat to rise to the surface of the leather resulting in a white or yellow area called a bloom.[9] A professional conservator should be able to identify what materials can be frozen. The use of insecticides directly on collection materials is not recommended, however if the infestation is severe and fumigation is the best option, the affected objects should be separated from the rest of the collection for treatment.[6]

Environmental conditions

Extremes of temperature or relative humidity are damaging from either end of the spectrum (low or high).[10] High heat and low relative humidity can cause paper to become brittle and leather book bindings to crack.[10] High temperatures and high relative humidity accelerates mold growth, foxing, staining, blooming, and disintegration. Fluctuations in temperatures and humidity may also cause cockling: a wrinkling or puckering preventing the surface from laying flat.[11] Exact figures for optimal preservation conditions depend on if the collection is for use, storage, or a combination; in general, a cool environment (below 70 degrees Fahrenheit) and relatively dry air (between 30-50% relative humidity) is recommended.[12]

Air quality must also be taken into consideration. Dust tends to absorb moisture, providing a suitable environment to attract mold growth and insects.[13] Dust can also become acidic when combined with skin oils and the surface of paper.[6]

All kinds of light (sunlight, artificial light, spotlights) can be harmful.[7] Light can result in fading, darkening, bleaching, and cellulose breakdown. Some inks and other pigments will fade if exposed to light, especially ultraviolet (UV) light present in normal daylight and from fluorescent bulbs.[13] Any exposure to light can cause damage, as the effects are cumulative and cannot be reversed.[10] Minimal or no exposure to light is ideal.

Handling

A paper conservator handling a book.

Other than a poor environment, handling is the primary cause of deterioration for books, manuscripts, and ephemera.[8] Fortunately, there are many ways to properly handle these items to prevent damage:

  • Having a clean work area and clean hands are important first steps. Keep food and drink away, and avoid smoking near the collection. Wash and dry hands immediately before handling objects. Hand lotions, creams and wipes should never be used prior to handling objects.[14]
  • Wearing gloves can reduce dexterity and feeling in your hands, so use them only when necessary.[4] If gloves are necessary, wear clean white cotton gloves.
  • Be aware of the rest of your body: if you have a cold, loose clothing, jewelry, buttons, stable footing.[4]
  • Avoid using paper clips, folding page corners, or acidic inserts to bookmark pages.[15]
  • Avoid using rubber bands, self-adhesive tape, any kind of "leather dressing," and/or glue.[16] Adhesives can leave stains and a damaging residue.[8]
  • Do not force a book to open to beyond its natural opening. Instead, prop up the covers of an opened book to decrease the opening angle using foam wedges or book snake weights.[17]
  • Turn pages by the top corner instead of the bottom to prevent tears.[18]
  • Turn the pages of a bound manuscript slowly and flex the leaves as little as possible, because decorations and inks on manuscripts may no longer be firmly attached to the parchment leaves.[14]
  • Remove a book from the shelf by gripping on both sides of the spine at the middle of the book (push in the neighboring book on both sides to get a good grip), instead of tugging at the top of the spine.[16] Use both hands when removing large or heavy books from a shelf; if you're removing a volume from a stack of books, remove the books that are above it and do not pull it out from the middle of the pile.[7]
  • Use pencil, not ink, to make any necessary marks or inscriptions, and only make inscriptions when the paper is on a clean hard surface to avoid embossing the inscription into the paper, which will be visible from the other side.[15]
  • Never lift a work in paper by its edges; instead use a thin support such as a folder or foam board.[19]
  • Parchment is not as flexible as paper and is more resistant to unfolding; do not force it.[20]
  • Avoid photocopying that forces books to lie flat; this can damage the spine and weaken pages.[7]
  • For oversized items prepare a large clear space. You may need more than one person for handling. Maps and blueprints that have been rolled can be gently unfolded or unrolled if they are not brittle or weak. They can also be placed under light weight for a few weeks to relax.[21]

Proper storage methods and materials

A paper conservator surveying a collection of materials in storage.

Good storage can extend the life of an object and is an important aspect of preventative conservation. As mentioned above, storage should be cool, dry, clean, and stable (room temperature or below and relative humidity between 30-50% is acceptable). Avoid exposure to any kind of light, especially direct or intense light.[15] Keep objects away from radiators or vents, which can cause fluctuations.[15]

Manuscripts and paper documents should be stored in protective archival-quality boxes and folders. It is essential that storage enclosures be made of acid-free and lignin-free materials.[22] Storing or encapsulating a paper artifact in a polyester (Mylar) film sleeves or folders is also a good choice for documents that might be handled often, as polyester film is clear. As added protection acid formation, paper-based storage materials may have a buffer, such as calcium carbonate, which can neutralize acids as they form in the storage materials.[22] When filling storage boxes, interleave with acid/lignin-free paper and do not overstuff them.[13] If the containers are partially full, use spacers or store the container horizontally.[4] Large format material is best stored in a plan cabinet with shallow drawers.[13] Avoid rolling large items (e.g. maps); but if flat storage is impossible, it is safer to roll around a large diameter archival quality tube.[23] Once the map or large document is rerolled in its original direction, cover the outside with archival quality paper.[23]

Books require proper shelving. The most desirable is baked enamel steel shelving that stands away from exterior walls (icc, books). Average size books should be shelved vertically, side-by-side so they can support each other.[18] If a book is removed from the shelf, replace it with a foam block to maintain verticality (MRM5, 215). Do not overstock the shelves. Oversized books or fragile books should be stored horizontally and completely flat, but keep stacking to a minimum.[7] Books should be placed in supportive and protective enclosures. Book boxes prevent soiling and abrasion as well as provide structural support. Book boxes can range from simple four-flap enclosures made of archival safe paper or cardboard to custom clamshell or drop-spine boxes covered in book cloth.[18]

Consulting a conservator

In general, the cleaning and repair of paper documents and books should be left to a professional conservator.[4] Conservators combine in-depth knowledge of science and art with extensive practical experience to care for objects of cultural and historic value.[24] Many paper or book conservators are members of a professional body, such as the American Institute for Conservation (AIC) or the Guild of Bookworkers (both in the United States), or the Archives and Records Association (in the United Kingdom and Ireland). Some condition problems will require more cautious treatment and/or immediate attention of a conservator:

  • Surface cleaning: Dry surface cleaning needs to be done carefully. Paper and leather can be dusted with a soft brush and dust can be removed from books with a vacuum cleaner that has a cheesecloth tied over the nozzle.[24] Nonchemical vulcanized rubber sponges or nonabrasive erasing materials such as vinyl erasers are also used. However, the wrong cleaning technique could permanently ingrain dirt or remove media.[4]
  • Mold and insect removal: Insect accretions and mold residues are normally removed by scalpels, aspirators, or specialized vacuum cleaners. Deep freezing may be appropriate to kill insects.[25]
  • Adhesive removal: Some adhesive materials are acidic and harmful to paper, causing stains. Repairs made with water-based adhesives such as animal glue can be removed in a water bath, by local application of moisture, or with poultices or steam. Synthetic adhesives and pressure-sensitive (self-adhering) tapes usually have to be dissolved or softened with an organic solvent before they can be removed. Steam is sometimes helpful to remove adhesive.[25]
  • Washing and alkalization: Washing not only removes dirt and aids in stain reduction; it can also wash out acidic compounds and other degradation products that have built up in the paper. Washing can also relax brittle or distorted paper and aid in flattening. When washing alone does not combat acidity, the addition of an alkaline buffer to paper is sometimes recommended for de-acidification. Alkalization can be achieved by immersion or by spraying.[25]
  • Mending and filling: Severe tears that cannot be stabilized with polyester film can usually be mended on the reverse with narrow strips of torn Japanese tissue. The strips are adhered with a permanent, nonstaining adhesive such as starch paste or methyl cellulose. Holes or paper losses may be filled individually with Japanese paper, with paper pulp, or with a paper carefully chosen to match the original in weight, texture, and color.[25]
  • Sewing and rebinding: Books with broken sewing, loose or detached boards or leaves require special care.[26] Several techniques are used in conservation binding. The original sewing in a volume should be retained if this is possible; it can be reinforced using new linen thread and sewing supports.[27] If the original binding is too deteriorated, the book may be rebound with new archival safe materials. An alternative to a leather-covered laced-in structure is a split-board structure, which can be covered in leather or cloth.[27]
  • Backing: Weak or brittle paper may be reinforced by backing them with another sheet of paper. Again, Japanese paper can be used as a backing, adhered with a starch paste.
  • Flattening: Flattening is always necessary following aqueous treatment. Flattening is also helpful for rolled or folded paper that cannot gently and safely be opened. It is usually done between blotters or felts under moderate pressure.[25]
  • Emergencies and disasters: Most natural or man-made disasters, such as floods or fire, involve water. Even a small amount of water from a leaky roof or pipe can do significant damage to a paper collection. When such a disaster occurs, contact a paper conservator, regional agency, or cultural institution for assistance. Immediate response within the first 48 hours is crucial to the successful salvage of materials and the prevention of mold growth. Wet paper or books may be frozen to stabilize them; they can be thawed and dried at a later time.[24]

Reformatting options

Reformatting options include photocopying, digitization, and microfilming. Many libraries and universities have book copiers where the book can be supported at an angle, avoiding the damage to its structure that can be caused by forcing it flat.[8][7]

In spite of the digital revolution, preservation microfilming is still used. Microfilm can have a life expectancy of 500 or more years, and only needs light and magnification to read.[28]

History

The first substantial work on the subject of book restoration was Alfred Bonnardot's Essai sur l'art de Restaurer les Estampes et les Livres: which was first published in Paris in 1846. The first book of restoration, published by Ferdinand Petrov fine art restorer conservator Vancouver Canada. Title: The Art of Painting and The Art of Restoration. 484-pages, hard cover. See: on Google:"art restoration books" or "fine art restoration book-manual for restoration paintings, covers paper borne art restoration in details.

Gallery

  • RDZ des Historischen Archivs der Stadt Köln - Gefriertrocknungsanlage und Archivgut-2281.jpg
  • RDZ des Historischen Archivs der Stadt Köln - Gefriertrocknungsanlage und Archivgut-2293.jpg
  • RDZ des Historischen Archivs der Stadt Köln - Gefriertrocknungsanlage und Archivgut-2286.jpg
  • RDZ des Historischen Archivs der Stadt Köln - Gefriertrocknungsanlage und Archivgut-2287.jpg

See also

References

  1. ↑ Landrey et al. (2000), p.31.
  2. ↑ Library of Congress, "Preservation Measures for Newspapers", Accessed 13 April 2014, [1].
  3. ↑ National Postal Museum, "Inherent Vice," Smithsonian, Accessed on 13 April 2014, [2].
  4. ↑ 4.0 4.1 4.2 4.3 4.4 4.5 4.6 Lua error in package.lua at line 80: module 'strict' not found.
  5. ↑ Dava Tobey, "Preserving History," Minnesota Historical Society, Accessed on 13 April 2014, [3].
  6. ↑ 6.0 6.1 6.2 6.3 6.4 Shelley (1992), p.30.
  7. ↑ 7.0 7.1 7.2 7.3 7.4 7.5 Lua error in package.lua at line 80: module 'strict' not found.
  8. ↑ 8.0 8.1 8.2 8.3 Landrey et al. (2000), p.33.
  9. ↑ 9.0 9.1 9.2 Mary C. Baughman, “Approaches to Insect Problems in Paper and Books,” Harry Ransom Center, Accessed 13 April 2014, [4].
  10. ↑ 10.0 10.1 10.2 Shelley (1992), p.29.
  11. ↑ Cameo, "Cockling," Museum of Fine Arts Boston, Accessed 22 April 2014, [5].
  12. ↑ Sherelyn Ogden, "Temperature, Relative Humidity, Light, and Air Quality: Basic Guidelines for Preservation," Northeast Document Conservation Center, Accessed 22 April 2014, [6].
  13. ↑ 13.0 13.1 13.2 13.3 State Library of Victoria, "Caring for Works on Paper," State Library of Victoria, Accessed 13 April 2014, [7].
  14. ↑ 14.0 14.1 Harry Ransom Center, “Ransom Center Guidelines: Safe Handling of Medieval and Early Modern Manuscripts,” The University of Texas at Austin, Accessed 22 April 2014, [8].
  15. ↑ 15.0 15.1 15.2 15.3 Library of Congress, "Care, Handling, and Storage of Works on Paper," Library of Congress, Accessed 13 April 2014, [9].
  16. ↑ 16.0 16.1 Library of Congress, "Care, Handling, and Storage of Books," Library of Congress, Accessed 13 April 2014, [10].
  17. ↑ Landrey et al. (2000), p.35.
  18. ↑ 18.0 18.1 18.2 Landrey et al. (2000), p.36.
  19. ↑ Dixie Nielson, "Object Handling," in MRM5: Museum Registration Methods, eds. Rebecca Buck and Jean Allman Gilmore. (Washington, DC: AAM Press, 2010), 214.
  20. ↑ Landrey et al. (2000), p.39.
  21. ↑ Landrey et al. (2000), p.41.
  22. ↑ 22.0 22.1 Sherelyn Ogden, “Storage Enclosures for Books and Artifacts on Paper,” Northeast Document Conservation Center, Accessed 22 April 2014, [11].
  23. ↑ 23.0 23.1 Landrey et al. (2000), p. 42.
  24. ↑ 24.0 24.1 24.2 AIC, "Caring for Your Treasures," American Institute for Conservation of Historic & Artistic Works, Accessed 26 April 2014, [12].
  25. ↑ 25.0 25.1 25.2 25.3 25.4 NEDCC, "Conservation Treatment for Works of Art and Unbound Artifacts on Paper," Northeast Document Conservation Center, Accessed 26 April 2014, [13]
  26. ↑ Landrey et al. (2000), p. 45.
  27. ↑ 27.0 27.1 NEDCC, "Conservation Treatment for Bound Materials of Value," Northeast Document Conservation Center, Accessed 26 April 2014, [14]
  28. ↑ Steve Dalton. "Microfilm and Microfiche". Northeast Document Conservation Center. Accessed 22 April 2014.

Sources

  • Gregory J. Landrey et al. (2000), The Winterthur Guide to Caring for Your Collection Hanover and London: University Press of New England.
  • Marjorie Shelley (1992), "Storage of Works on Paper". in Conservation Concerns: A Guide for Collectors and Curators, ed. Konstanze Bachmann Washington, D.C.: Smithsonian Books.

External links

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