Per our annual Halloween tradition, we have some spooky happenings planned next week. This year we have ventured into the stacks to bring you some spooky stories, so make sure to check the Lab’s blog and Instagram on October 30th and 31st, if you dare!
Recently Jessica and I started working on a series of special collection items from UC Libraries’ DAAP Library. These were recent acquisitions specifically bought to be used as a teaching collection within the DAAP Library. Most items are small prints and single manuscript leaves that need to be matted for exhibition and prepared for handling during class. We have been working on these in small batches since it is a much larger collection that keeps growing.
Most of the items we have received so far have been very straightforward matting projects, however we encountered one that was puzzling and fun to work on. We received this item: a proof print accompanied by its very heavy, copper engraving plate. The print was adhered to a paper brown envelope with no information and the copper plate was also unhoused.
The curator of the collection wanted both items to be housed together and housed in a way that would allow students to touch the items, and also be able to use them for exhibits. We decided that both items would be matted individually, and then housed together in a thin corrugated clamshell box. The most challenging part would be to create a matting system that was strong enough to secure the very heavy copper plate and elegant enough to be used for exhibition.
The print itself received minor treatment, with the backing envelope being removed and the print housed in a polyester L-sleeve mounted with photo corners.
With the engraving plate, I needed to figure out how to create a matting system that was strong enough to hold the copper plate in place, especially if used for an exhibit where it may be propped at a slight angle. After considering some options, I created a sink mat that would secure the plate halfway, and then the rest of the sink mat would be adhered to the window mat so the copper plate, resting on a polyester tray, could be pulled out of the mat easily. How would I keep the matting system closed? ….with magnets, lots of magnets! For this project I used 24 rare earth magnets.
This was a fun project to work on. After using 24 magnets and breaking a few in the process, the copper plate was securely housed in the sink mat, while also able to be propped up for exhibition and handled for teaching.
Catarina Figueirinhas [UCL] – Assistant Conservator
Conservation photography by Jessica Ebert
Back in October of 2022, The Preservation Lab had the pleasure of hosting Book Conservator, Jeff Peachey, for a week-long workshop on Conservation of Leather Bindings. One of the topics that was mentioned, but not discuss in depth, was leather facing.
No one in the lab had ever faced leather before, so Sr. Conservation Specialist, Jessica Ebert, and I decided to conduct some tests to understand the process, the best materials, and tools. With the research available, Jessica and I focused primarily on two sources, Conservation of Leather and Related Materials by Marion Kite and Roy Thomson and an article written by James Reid-Cunningham entitled Leather Rebacking, for the Seminar in Standards of Excellence in Hand Bookbinding, The Guild of Book Workers, 2013.
The primary reasons for testing out this technique was the fact that there were leather books from UC’s Archives and Rare Books Library here in the Lab for treatment and they could potentially be good candidates for leather facing.
Both Jessica and I chose two different withdrawn leather books to test on:
The first step was to consolidate the leather on all the withdrawn books we were using as models. The leather was consolidated with 3% Klucel G in isopropanol. Since there were different methods shown in the available resources regarding leather facing, we decided to use two different methods for facing: facing with Japanese tissue adhered with Klucel G and facing with a Crompton heat-set tissue activated with ethanol. Trying out these two different methods would help us to understand which one of these materials would work best and cause less damage/staining to the leather.
After having consolidated the leather, the spine was “divided” in two sections, top and bottom, with a small portion of the spine in between. The reason the spine wasn’t fully faced was because I wanted to see if there were any changes in the leather after being faced, removed, and reattached.
For this book, the leather was very degraded, and I couldn’t get the Japanese tissue to adhere to the leather spine with Klucel G. As a result, for this model I only used the Crompton heat-set tissue method.
The adhesive on the heat-set tissue was activated by brushing on a thin layer of ethanol. Once it was activated, the heat-set tissue was placed on the spine, and with a tamping brush pressed on the leather. Using a lifting knife, I was able to remove the leather spine, leaving the middle portion still adhered to the text block for comparison.
Once the leather spine was removed, I relined the text block spine with a reversible layer of Japanese tissue and wheat starch paste. The two portions of the leather spine were lined from the back with Japanese kozo fiber tissue and wheat starch paste.
At this point, there were two different ways to follow, I could adhere the faced spines to the text block and then remove the heat-set tissue, or I could remove to heat-set tissue first and then adhere the leather spine to the text block. I decided to first remove the heat-set tissue by activating the adhesive again with ethanol and gently removing it with a Caselli spatula. Once the heat-set tissue was fully removed and the leather was dry, I reattached each portion of the leather spine to the text block with wheat starch paste.
For the leather book with false raised bands and hollow tube, the process was very similar. However, for this model I was able to try out both the Japanese tissue adhered with Klucel G as a facing method and the Crompton heat-set tissue.
The spine was “divided” in two sections: top portion was faced with Crompton heat-set tissue activated with ethanol and the bottom portion of the spine was faced with Japanese kozo fiber tissue adhered with Klucel G.
Using a Peachey lifting knife, I was able to remove both portions of the spine. On the top portion of the spine, I ended up not removing the previous hollow tube, but removed it completely on the bottom portion of the spine.
Once the two portions of the spine were removed, a new hollow tube was created to adhered to the bottom portion of the text block spine. The hollow tube was mode of Griffin Mill Broadsheet 60 gm/115 gm paper. The new hollow tube was adhered with wheat starch paste.
Again, I decided to remove the facing tissue before adhering the leather spine back on. With ethanol, I was able to remove the facing tissue from both pieces of the spine. As seen in the pictures below, while removing the Crompton heat-set tissue there was some loss of the leather along the edges and where the leather was most degraded already.
Each spine piece was lined on the verso with a Tengujo tissue and wheat starch paste. This provided some support to the fragile leather spines. The two pieces of the spine were then adhered back on with wheat starch paste.
Here are a few of Jessica’s test models (she has a better eye for taking good photographs throughout the process).
This was a great project that Jessica and I worked together. It was useful to test out different methods using different types of books with leathers in various stages of deterioration. We learned that Japanese tissue may not be able to be used as a facing material when coated with Klucel G, since in one of the tests I did, it did not adhere to the leather. This could lead to further testing, perhaps working with a Klucel G of a different concentration since we only used a 3% concentration for these tests. In addition, depending on how degraded the leather is, using a Crompton heat-set tissue may not be an ideal good solution for every item as it created some damage on the surface layer of the leather spine of our of the test books. Finally, at least in one of my models, the leather became darker than it was originally. There is still more testing and practice to do before we use this technique on a collection item, but this was a great place to start.
Catarina Figueirinhas [UCL] —- Assistant Conservator
The University of Cincinnati’s Archives and Rare Books Library owns a few cuneiform tablets that date around the 1st century BCE. Most are small enough to fit within the palm of your hand. However, the clay tablet in question measures 14 inches (W) by 14 inches (T) x 4.5 inches (D) and weighs roughly 40-50 lbs.
More accurately, it is thought to be an Assyrian cornerstone that dates between 860 and 824 BCE. It is described in the catalog record to be from the ruins of Calah (near Ninevah) on the Tigris River. It is likely the cornerstone of a temple or palace erected by Salmanser III, king of Assyria. The provenance of how the University acquired the tablet is uncertain.
A translation of the cuneiform writing reads, ““Salmaneser, the great king, the mighty king, king of the universe, king of Assyria, son of Asurnaserpal, the great king, the mighty king, the king of Assyria, son of Tukulbi-Ninib, king of the universe, king of Assyria, and indeed builder of the temple-tower of the city of Calah.”
After surface cleaning and digitizing the cornerstone, finding suitable storage for an Assyrian cornerstone tablet seemed like a straightforward task in the beginning. I thought, “Let’s get it off the floor, house it, and protect it from dust!” No problem, right?
But once we got the item back in the lab, the weight of the object combined with its fragility proved more of a challenge after Chris, Holly and I began thinking about how the object would be retrieved from storage and how it would be handled. Rather than being stored in specialty shelving (such as items might be in a museum), this item was a library item. We needed to fit the tablet amongst archival book shelving. We were also faced with the prospect of transporting the cornerstone up and down a flight of stairs from the secure rare book storage. There is no easy elevator access! And finally, once it was put in an enclosure, how would a librarian get it out to show researchers and students?
We decided on an industrial case with wheels that could be transported and stored anywhere. I knew I wanted a device with handles to pull the object in and out of the case, but immediately decided against the idea of ratchet straps. The threat of fracturing would be too great if the ratchet straps were over-tightened.
After careful thought (and the creation of mock up solutions!) the following custom design was created in five stages:
1. A waterproof, shock-proof rolling Nanuk 950 case (similar to a Pelican case) was purchased.
2. The interior was customized with foam and supports.
3. The lid was fashioned with a Tyvek pillow screwed to the top with an interior Coroplast sheet.
4. The cornerstone was wrapped around all sides in a foam sheet with four flaps.
5. A cloth wrapper with custom handles was sewn to support the tablet during insertion into and retrieval from the case.
In addition, life-size surrogate photographs were printed by Jessica Ebert and stored in a polyester sleeve within the case. These images may prove even more useful during exhibition or teaching than seeing the actual tablet as they were captured with raking light that beautifully highlights the cuneiform writing. They could even be used as an alternative to handling the heavy tablet.
To help guide future librarians on how to handle the cuneiform tablet in the future, handling instructions were provided, a handling video was created, and a QR code of the video was pasted onto the case. Check out the video below.
I was appreciative to have been able to hearken back to my object’s conservation experience working at the Musical Instrument Museum. My prior experience helped guide me to dust the tablet and store surface cleaning samples, however, this was a project that took me out of my library conservation comfort zone. The knowledge required to house such an object (and the amount of textile sewing used to create the cloth wrapper!) gave me even more appreciation for the work objects and textile conservators do to preserve our oversized and heavy materials – especially when transporting and taking them on and off display!
Ashleigh Ferguson Schieszer [CHPL] – Rare book and paper conservator
Video by Jessica Ebert
At the end of October we were lucky enough to have Jeff Peachey come to the Lab for a week-long workshop on Leather Conservation. We covered sewing extensions, joint tacketing, board splitting and cotton hinges, leather rebacks, and knife sharpening. In the weeks following the workshop we shared highlights from the workshop on our Instagram…
And we couldn’t not highlight the master at work (sharpening and paring leather likes its butter) and the amazing tools Jeff makes:
Finally, conservation ASMR…Jeff Peachey style! Make sure the sound is on for this one…
We had the best time with Jeff. He is such a knowledgable and approachable instructor, and we learned so much from him. Thanks for coming to the Preservation Lab, Jeff!
Fun fact, did you know that Jeff was inspired by a press we have in the Lab to collaborate with Timothy Moore to create a “perfect all purpose” press that you can buy for your lab or studio?!
Jessica Ebert [UCL] – Social Media Coordinator and Sr. Conservation & Photographic Documentation Specialist
In case you missed it, here is a highlight of our Halloween-inspired Instagram series this year…
“The Board Shear”:
“The Chemist”:
“The Saw”:
“The Haunting of the Preservation Lab – Part 1”:
“The Haunting of the Preservation Lab – Part 2”:
“Behind the Scenes – the Making of the Haunting of the Preservation Lab”
We hope everyone enjoyed our spooky Insta reel series…until next year!
Jessica Ebert [UCL] – Social Media Coordinator and Sr. Conservation & Photographic Documentation Specialist
Catarina Figueirinhas (UCL) – Assistant Conservator
Don’t miss out on our Halloween antics this year! Make sure to follow us on Instagram for some spooky but informative Halloween reels…
In February 2019, the Lab received a unique item at the special collections’ meetings for the UC Libraries, a Book of Hours (ms.37) from 1475 from the Archives and Rare Books Library. I was so excited when this book came into the Lab.
This 15th century Book of Hours was in poor condition and in need of conservation treatment. Not only was the binding structure failing and the text block broken in half, but this book was also heavily used as a teaching tool at the ARB library, and in its current condition it could not be safely handled. This was the perfect project for Ashleigh and I to collaborate.
From the beginning, it was decided that in conjunction with the conservation treatment of the Book of Hours, I would create a book model like the original Book of Hours, to be used as a teaching tool in the ARB library collection. In addition, the model would have a leather chemise, a common feature in some Book of Hours of the time.
Now here is where this story begins with the model of the Book of Hours. Often, here in the lab, we all create book models for various reasons: to learn about a new treatment, test different treatment options, to understand how some materials work together, and as teaching tools.
As a teaching tool in the ARB library collection, this model needed to resemble the original Book of Hours in its structure and materials used.
The primary goal for this model was to show how a Book of Hours was historically built, its sewing structure, the materials used, and also to provide the ARB library with a book that could be easily handled by students and scholars.
Once the treatment for the Book of Hours was fully established and confirmed with the ARB curator, I was able to start working on the book model. I will save you form reading about all the different steps of making the model, but here are the main features of model:
Text block
Cover
There was no evidence that the original Book of Hours had clasps, but the curator requested tension clasps for the book model. Clasps were common in the 15th century bookbinding, and this would provide the students with the experience of handling a book with clasps and allow them to understand their function.
The curator also requested that one of the pastedowns be kept unattached, so the students could see how the boards were attached to the text block and that they were wooden boards.
In addition, I created a removable chemise, also requested by the curator of the ARB library. In some Books of Hours, it was common to have a leather chemise, but most often they were not removable. The chemise was created from a vegetable tanned goat split skin.
Stay tuned for a future blog post where we will dive into the conservation treatment and research we did on the Book of Hours (ms.37).
Catarina Figueirinhas (UCL) —- Assistant Conservator
Photographic Documentation by Catarina Figueirinhas and Jessica Ebert
After a two year hiatus, the Preservation Lab once again was able to celebrate the American Library Association’s Preservation Week. And this year, the lab decided to take Preservation Week to the public.
On the morning of April 21st, Catarina and Jessica took one of the lab’s rolling work tables to the entrance of the Langsam library. There they set up a demonstration area with some very dirty books, to show the public a little bit about surface cleaning. They brought out the different supplies used in surface cleaning (such as hydrophilic sponges, smoke sponges, eraser crumbles and vinyl erasers). In addition to surface cleaning materials, Jessica and Catarina also brought some Japanese tissue for the public to touch and learn about tear repair.
A few members of the public were too nervous to even try to surface clean a little bit of the dirty books (all filled with soot from coal burning stoves), but others were brave enough and felt that surface cleaning was a very satisfying and relaxing treatment.
In the afternoon of the same day, Chris and Hyacinth showed the public a variety of enclosures and how they are made from beginning to end. There were corrugated clamshell boxes, one with an integrated cradle, cloth clamshell boxes, tuxedo boxes and a Japanese four-sided enclosure.
Chris also brought a corrugated clamshell in its early stages to show the public how the process of making a corrugated clamshell begins.
The crowd favorites were the elaborate cloth covered clamshell box made by Chris, and the beautiful Japanese four-sided enclosure made by Hyacinth.
Even though this was a smaller event compared to our open house tours of the past, the event was a success; allowing the Preservation Lab staff to share with the UC community a peek into our daily work and explain what goes on in the Preservation Lab. But Preservation week is not done yet…
This upcoming Friday, April 29th at 1 pm, join Holly and Ashleigh at the Clifton Branch of the Cincinnati and Hamilton Public Library, .They will be showing some books models, explaining how books are made and what materials are used. You can find more details in the following link: https://cincinnatilibrary.bibliocommons.com/events/625422b5cd8e792f000bcfc5
Catarina Figueirinhas (UCL) —- Assistant Conservator
