This set of Japanese side-sewn, crepe paper bindings, or Chirimen-bon, came to the Preservation Lab housed in their damaged traditional Japanese wraparound case, known as a maru chitsu. The set belongs to the Cincinnati and Hamilton County Public Library, which has an extensive Lafcadio Hearn collection. This collection of volumes was printed by Hasegawa Takejirō, a Japanese publisher who specialized in books written in European languages on Japanese subjects. The Japanese Fairy Tale Series was one of the more popular series, beginning with six volumes in 1885; though this later collection only has five volumes of fairy tales. Lacadio Hearn was one of the foreign translators employed by T. Hasegawa.
Original enclosureFive volumes withing the original enclosure (pictured after treatment)
Due to the high profile nature of Lafcadio Hearn for the library and the beauty of the bindings, the collection is often shown during tours and used for display, however, the crepe paper volumes, while in excellent condition, are extremely floppy, and they are also side-sewn, both factors make them difficult to handle and display. The original enclosure is also very fragile and damaged, and susceptible to further damage if used as an enclosure moving forward. For all these reasons, the curators wanted an enclosure that would not only store the collection long-term, but could also be used for display.
This proved to be a challenge, but a fun one. I started by making a couple of sketches and then a couple of models…
Models – two types of collapsible cradles and one model of the display tray/stand
For the models, I had two main focuses: 1) a collapsible cradle that would house and display one of the volumes, and 2) a display component that would act as a tray or level within the enclosure and house the remaining four volumes, in two stacks of two, side by side.
I will always advocate for making a model if you are trying to work through a new enclosure or adjust an existing enclosure or display piece, like a cradle. For example, I knew that a normal collapsible cradle wasn’t going to fit the bill for these volumes. Instead, I was going to need a stiff, squared off spine piece built into the cradle to help support the bindings’ spines.
One of the main areas I had to troubleshoot was the display tray, which would house the four remaining volumes. I knew I wanted to create a stand that would basically replicate one side of a collapsible cradle and have a 1/2 inch Plastazote foam insert, which happened to nestle the thickness of two volumes perfectly, that was covered in Tyvek. But I had concerns about gravity and reliability of PVA to hold the foam insert in place overtime. And I wasn’t happy with my initial ideas of how to remove the volumes (and also the original enclosure and collapsible cradle) from the insert(s), which consisted of a tab underneath the volume. It created friction that would ultimately cause damage to the actual volumes.
Ultimately, I am extremely happy with what I came up with. I think it functions very well, and checks all the boxes it needed to check. Safe, secure storage. Elegant display. User-friendly.
Display stand openDisplay stand closed. A lip was added to support the foam insert overtimeDisplay stand closed with one set of volumes removedPolyester slings were created as a solution for removing items safely and easily from the enclosure
The display stand includes a cloth tape inserted into the boards to keep it from opening too far, a foam insert covered in Tyvek, a lip to support the foam insert overtime, and two polyester film slings to aid in removing the volumes from the foam insert. The polyester slings proved to be an excellent solution for removing all the elements from the enclosure safely and easily.
For those interested in how some of the components were constructed, here are some in-progress images…
Detail of the turn-in for the display stand lip; cut similarly to how we cut our clamshell enclosure tray turn-insDetail of the turn-in for the display stand lip; cut similarly to how we cut our clamshell enclosure tray turn-insFoam insert, vertical panels covered in Tyvek firstTyvek sheet cut in preparation for attaching to foamTyvek sheet cut in preparation for attaching to foamTyvek attached to the front of the foam pieceTyvek turn-ins cut
Because of the way the trays/components of the enclosure are constructed, they are actually interchangeable. So if the “lower tray” with the original enclosure and collapsible cradle ends up on top of the display tray/stand, that’s not an issue at all. And there is a 1/4 inch Volara foam piece adhered to the outer tray of the clamshell enclosure, so whatever items are on top will be cushioned by soft foam in the enclosure.
Get a full tour of the enclosure by watching our reel on Instagram:
When a collection of Egyptian mummy bandage fragments at the Cincinnati and Hamilton County Public Library was found in an area used to store uncatalogued flat materials, the lab was asked to play a role in providing better stewardship.
Discovered in the stacks: A mounted collection of six Egyptian textile fragments that date to the Ptolemaic Period (around 300-30 BCE), recto
Mummy bandage wrappings are rare finds in public libraries, and discovering that the materials where uncatalogued was not terribly surprising; having the specialized knowledge to catalog such a unique object may not have been available at the Public Library at the time of the acquisition. With no identifying marks, and mounted to an aged board, the provenance of these objects are unfortunately unknown.
Collection suffered from a lack of storage housing without identifying information, found by staff performing a collections inventory, verso
Concerned about their overall safety of the fragments, as they were attached to a brittle board that could potentially chip and break if mishandled, it was clear that a solution for long-storage was needed. Therefore, the items were brought to the lab for a comprehensive examination.
As a book and paper conservator with little knowledge of archeological textiles, the first step towards selecting a preservation solution was to better understand the fragments and conduct research on how to care for them. Because of the age and fragility of the items, my goal became to find a storage solution that could facilitate access while limiting handling of the actual objects themselves.
Examination
In order to conduct research, the condition of the individual fragments were fully examined with a variety of illumination techniques to better understand their composition. The collection was photographed with a DSLR camera in normal illumination, raking light, infrared, and ultraviolet fluorescence. The images revealed valuable information such as the possible types of adhesives used in mounting, the degree of linen loss, as well as the type of pigment applied to the linen.
Creating the photographic documentation also allowed me to reach out to other scholars, to inquire about their history, while providing high quality images.
Types of Photography Performed During Examination
Normal Illumination – General reference image
Raking Illumination – Shows losses in linen, brown paper linings, and breaks in board
Infrared Imaging – Reveals inscriptions hidden along stains
Ultraviolet Fluorescence – Exposes differing types of adhesives
Normal Illumination – Overall images were taken of both the front and back of the mounting board. Normal illumination images serve as general reference photographs, representing how we perceive the object in normal room lighting.
Raking Illumination – Reveals the surface topography, showing breaks, tears, and losses in both the linen fragments and the mounting board.
Infrared Imaging – A modified DSLR camera and specialized filters remove visible light and capture longer wavelengths than the human eye can see, revealing the carbon-based writing while allowing the stains to disappear, making the writing more legible.
Ultraviolet Radiation– Ultraviolet radiation produces a fluorescence that readily shows the two differing types of adhesives used to adhere the fragments onto the backings. The first adhesive used to adhere the fragments to a brown paper backing does not fluoresce, while an adhesive that is smeared onto the face of the backing board does fluoresce. This indicates that the fragments were adhered at different times to the two different substrates, first being adhered overall to a paper backing, then later mounted onto the board.
Research
Using the high-quality images described above, I reached out to experts in Egyptology and papyrology at the University of Cincinnati Classics Library and the University of Michigan to learn about the history of the objects. Right away, I was given extremely detailed information by generous colleagues.
One of the first surprising things I learned is that two of the fragments were oriented upside down. So in their mounted format, they were not properly represented. Perhaps even more exciting was the discovery that three fragments were able to be attributed to a priest named Wennofer! (There will be more about the history of the pieces in the second part of the series, stay tuned.)
Of Parts and Pieces
It was serendipitous that during my research one of the contacts I was put in touch with was Dr. Ann-Katrin Gill from the University of Leipzig. Dr. Gill happened to be in the midst of a larger project titled: Of parts and pieces: unearthing, reassembling, and documenting papyri and linen objects in US libraries. As you can imagine, she was thrilled to receive the treatment documentation of the Public Library’s fragments to add to the collection. We have hopes that should any other fragments belonging to these be discovered, perhaps they could become reunited.
Materiality
The Egyptian mummy bandage fragments, or cloth shrouds, are also referred to as archaeological linen textile fragments. I learned the following about the materiality of the fragments.
Inscriptions
Fragments contain either formal hieroglyphs (using pictorial characters) or cursive hieratic script (which is a later Egyptian shorthand writing system used by scribes). It was determined that the fragments likely date to the Ptolemaic Period (around 300-30 BCE) based on the writing style used during that time period.
Inscriptions are written in black ink with a reed or rush pen, referred to as rush ink. The ink appears to be typical of the time period, most likely carbon-based with a gum binder. The fragments when viewed though infrared imaging (see slide show above) shows the carbon in the ink absorbing infrared radiation, making the ink appear dark black in infrared images, while the organic staining drops out of the image .
20th Century Alterations
Lined with Brown Paper
At some point in the fragments’ history, the textiles were lined on the back in an acidic machine-made brown paper (reminiscent of brown craft paper tape). If you look carefully in the raking light image (see slide show above), you might notice the brown lining paper poking through losses in the textiles as a slightly darker shade of brown than the board support. Under UV fluorescence (see slide show above), the adhesive used in conjunction with the brown paper lining does not fluoresce. This adhesive was found to be readily water soluble and possibly a gum-based adhesive.
Trimmed Edges
You might notice the fragments are cut into odd shapes, likely they were trimmed to remove frayed ends and damaged parts. There’s no way to know if the fragments were trimmed before or after they were lined with the brown paper lining, however the edges are fairly consistent with one another. One could make the case they were trimmed at the same time.
Mounted to a Board
After lining, these fragments would have then been mounted to a board, with two identified as upside down (oops)! Faint patterns on the back of the paper board resemble off-setting from wood, likely caused by a wooden backing board in a frame. If these assumptions are correct, it’s my guess that the fragments were mounted then framed for the tourist trade, with the frame now lost.
Condition
Being mounted on an aged, unsupported, brittle board put the fragments at risk of breaking along with the board. Since the board already contained cracks and breaks along the edges, this concern felt urgent.
Despite the precarious storage and concerns surrounding the fragments being exposed to the elements, the textiles themselves appeared in fairly good condition for being over 2,000 years old! Viewing the fragments in raking light (see slide show above) reveals a considerable amount of linen loss throughout the textiles. However, it doesn’t appear that these losses were a recent incident in the past half century. The losses were likely present when the fragments were lined with brown paper backing.
Next Steps
Next steps were to prepare the objects for safe keeping in long-term storage. To do so, required research on possible treatment options to safely store the items in their proper orientations. Also, knowing that not all fragments belonged in context with each other was further justification to split the collection into separate parts. Read on for more discoveries in this preservation journey!
To learn more, check out the other three posts in the series. (Links will be made live as the installments are released.):
History – Historical information provided about the Egyptian inscriptions
Treatment – How the materials were treated after learning about their content
Storage Solutions – Individual solutions for separated fragments as well as storage as a collection
Acknowledgements
Katherine Davis, Lecturer in Egyptology in the Department of Middle East Studies at the University of Michigan
Suzanne Davis, the Associate Curator and Head of Conservation at the Kelsey Museum of Archaeology at the University of Michigan
Dr. Ann-Katril Gill at the University of Leipzig
Marieka Kaye, Harry A. and Margaret D. Towsley Foundation, Head, Conservation & Book Repair, University of Michigan Library
Obie Linn, Textile Conservator at the Cincinnati Art Museum
Ann Wuertemberger, Catalog Librarian at the Cincinnati and Hamilton County Public Library
Meredith Montague, Textile Conservator at the Museum of Fine Arts Boston
Ashleigh Ferguson Schieszer – Special Collections Conservator and Co-Lab Manager [CHPL]
Otto Ege (1888-1951) was a real-life figure known for his involvement in the dispersal of medieval manuscripts. Whether he is considered a villain or a hero depends on the perspective and context in which his actions are viewed.
Ege was a book dealer and collector who gained notoriety for breaking apart medieval manuscripts and selling individual leaves or pages to collectors and institutions. He would disassemble bound illuminated manuscripts and sell them as separate pieces or as a collection of works, thereby dispersing the original works.
Original portfolio case
Leaf from 12th century manuscript bible
Leaf from 12th century Armenian bible
This is one of four Otto F. Ege collections owned by the Cincinnati and Hamilton County Public Library before treatment. It is titled Original Leaves from Famous Bibles, Nine Centuries 1121-1935 AD (call number R090 ffB582). It came to the lab for better long term storage.
Villain
From the perspective of some scholars and conservators, Ege’s actions are viewed as unethical today. By breaking up unique historic manuscripts, he caused irreparable damage to the cultural, historical, and scholarly heritage they represented. The dispersal of these manuscripts makes it challenging for researchers to study them as cohesive and complete works, leading to a loss of valuable historical information and artistic context.
Hero
On the other hand, some might argue that Ege’s actions had positive effects. By selling individual leaves, he made rare and exquisite artworks more accessible to a broader audience, including institutions and collectors who might not have been able to afford an entire manuscript. This enabled more people to appreciate the beauty and artistry of these ancient texts.
Conclusion
Otto Ege’s legacy is a complex one, and opinions about him vary widely. However, it is essential to note that Ege’s actions occurred in a different time when the appreciation for medieval manuscripts as complete works of art was not as prevalent as it is today. Modern views on preservation and the importance of maintaining cultural heritage have evolved significantly. Ultimately, his actions highlight the ethical and moral dilemmas surrounding cultural heritage and the need for responsible stewardship of historically significant artifacts.
Treatment and Storage of the Public Library’s Collections
The Public Library owns four collections by Ege. Each have been receiving treatment to better improve their long-term storage. After the smaller collections received successful treatment, this larger collection followed suite.
Treatment
In their original format, the manuscript leaves were hinged to floppy paper folders with windows cut out for viewing. The original hinges were thick cloth, and in many cases, no longer functioning as the hinges became stuck in place. This prevented viewing the backs of the materials. The flexible folders overtime became U-shaped and were in need of supports to keep materials planar, especially during handling.
Individual leaves were unmounted from the original paper folders and re-hinged with kozo tissue and wheat starch paste onto archival 2 ply mat board supports. The mat board supports were then placed within the paper folders. Unbuffered interleaving tissue was then added between the manuscript and the folder window for long term storage to prevent the edges of the window from catching or rubbing onto the objects.
Armenian manuscript hinged to 2ply mat board support, stored within the original paper folder
The backs are now viewable!
Interleaving tissue protects the face of the manuscripts from rubbing along the edges of the windows
Storage
While other collections were retained within their original enclosures with a protective chemise, this portfolio was acidic and deformed with broken ties, so two new corrugated banker’s boxes were created to retain the original enclosure and store the manuscripts separately.
Additional Resources
The Public Library also owns Ege collections titled Fifty Original Leaves from Medieval Manuscript Western Europe: XII‐XVI century (call number R096.1 ffF469), Fifteen original oriental manuscript leaves of six centuries (call number 096.1 ffF469f), and Original Leaves from Famous Books, Eight Centuries 1240 A.D. – 1923 A.D. (call number R094 ff069).
The collection Fifty Original Leaves from Medieval Manuscripts is digitized and is available online in the digital library.
There are also multiple copies of the printed pamphlet by Otto Ege titled Pre‐Alphabet days. Interestingly, Genealogy and Local History own two copies in different formats. One copy is a cased‐in hardback with a single sewn gathering while the other copy is a single gathering pamphlet sewn into a paper case. Both pamphlets are original formats that would have been offered to buyers at different price points!
If you’re interested in further treatment details, check out our treatment reports on the Digital Resource Commons by searching for Otto Ege.
Ashleigh Ferguson Schieszer [CHPL] – Special Collections Conservator, Lab Manager
Hi! I’m Nicole, and I’m the newest member of the Preservation Lab.
When I was interviewing for the position of Conservation Assistant, I did a deep dive into what preservation and conservation really mean. I read through blog posts and perused the Lab’s Instagram, trying to get a grasp on what exactly the lab did. Little did I know, these snapshots into lab life hardly even scratched the surface.
Materials and Tools
My first week as a Conservation Assistant was full of learning, from what types of boards and paper supplies are available, to how to create a pamphlet binder and sew music scores. I had no idea there were so many types of paper out there, and I was ignorant about how many tools there exist simply to cut these pieces of paper. My hand skills were immediately put to the test with learning the stitches used to attach pamphlets to protective premade binders, which create a hard cover for these otherwise soft materials. I was also instructed in which methods of cutting are best for which practices and types of paper, such as board shears for larger pieces of Bristol or corrugated board, scalpels and Olfas for small, precision cutting, and even a corner cutter to clean up the corners of your pamphlet binders!
Sewing parts of a music score with a needle and thread.
Enclosures
Over the next few weeks, I was thrust into a whole new world of enclosures after learning about pamphlet binders and music scores. Enclosures are typically boxes that are used to keep a book or object safe from light, dust, and other environmental factors that can harm the item over time.
Tuxedo boxes
Creating tuxedo boxes was an exciting and fun challenge, as getting all the measurements right and being precise is so important. These boxes take a lot of focus to make, and attaching the two pieces of board can be daunting, as you must make sure not to overlap the folds and ruin the whole box.
A finished tuxedo box on the left, and the two pieces of an unfinished tuxedo box opened to show the full spread of the box on the right.
Corrugated Clamshells
Corrugated clamshell boxes came next, with their in depth measuring and precision crimping and cutting. Like a tuxedo box, these boxes offer better storage from light and dust, and are a more structured enclosure. Where they differ, though, is they are made from corrugated board rather than Bristol board, and this offers more support to items that need a little boost of structural help. These boxes are made from one piece of board that is cut and folded into a clam-like box that opens on one end and is attached at the spine.
A corrugated clamshell during the construction process. This clamshell still needs it’s ends glued in to create it’s box shape.
General Collections Treatment
My final big learning project was cloth tape removal, which was something completely different, making it very enjoyable to learn. Cloth tape removal is taking off old adhesive tape that has been applied to materials that is now falling apart. To remove cloth tape, a poultice of methyl cellulose is applied in thirds to the tape. Introducing moisture to the adhesive allows you to slowly and carefully use a Casselli microspatula to loosen and remove the tape, leaving behind only the original materials.
An old pamphlet that’s been bound together with cloth tape in the middle of the removal process. Weights hold down pieces of Mylar to keep the pamphlet cover from absorbing any of the poultice. The cloth tape is the grey strip on the right of the pamphlet, and you can see where some of the tape has been removed and what still needs to be done.
Final Impressions
I’ve learned so much over my first month at the lab, but so far corrugated clamshells have been my favorite. It’s been so fun to grow my hand skills and to see how much of a difference one month can make, and I’m so excited to expand my horizons and learn more about the lab in the upcoming months!
Illustrations of the Nests and Eggs of Birds of Ohio are on display at the Cincinnati Symphony Orchestra March 1st and 2nd as part of a musical program honoring Oliver Messiaen who was both a major composer of the 20th century and an ornithologist.
Synesthesia
Oliver Messiaen is well known for studying bird songs and interpreting their notes into musical transcriptions. His works are also unique in that Messiaen experienced synesthesia which greatly influenced his creations. Synesthesia is when a person perceives more than one sense at a time, such as Messiaen who experienced colors when listening to music and was able to see sounds.
Cincinnati Symphony Orchestra Program
The program at the CSO honors Messiaen by incorporating both music, color, and bird visuals to invite the audience to experience a unique multi-sensory experience. Messiaen’s Des canyons aux étoiles (“From the Canyons to the Stars”) will be performed by the conductor, Matthias Pintscher, and pianist Pierre-Laurent Aimard.
Click the image for a link to the digital program for the CSO Proof: From the Canyons to the Stars
“Inspired by his visits to Utah’s Bryce Canyon and Zion National Park, Messiaen’s Des canyons aux étoiles (“From the Canyons to the Stars”) depicts the birdsong and red rock hues he experienced during his time in the desert… Accompanied by immersive video-art, Springer Auditorium will be transformed, allowing listeners to escape into the southwestern landscape and experience a synesthesia of their own.” – As described by the CSO website
Nests and Eggs
Complementing the musical performances, on display will be a page from Cincinnati and Hamilton County’s Illustrations of the nests and eggs. The page showcases a local Ohio native, the Wood Thrush, who lays bright blue colored eggs within a nest made of old leaves, dried grasses and moss (rarely sticks). The nest of the Wood Thrush also contains “rootlets” placed intentionally inside of the nest, resulting in a pinkish brown or black lining. The nest is “plastered” with a thin mud that is easily missed as it’s thoroughly worked in and covered.
Nests and Eggs, while lesser known than Audubon’s Birds of America, is quite extraordinary in how it highlights the uniqueness of the construction of nests made by different bird species. Take for instance, the Baltimore Oriole’s nest, which primarily consists of strings and flax fibers to create a soft and long pocket. Compare that to the more traditional nest of the Wood Thrush whose home is bowl-shaped with a wide opening.
Baltimore Oriole – Plate 1
Wood Thrush – Plate II
It’s also extraordinary that the illustrations are detailed lithographic portraits created by Gabrielle Estelle Jones and her family, despite not having been formally trained. Their work was intended to be used as a companion volume to John James Audubon’s Birds of America. While not as large as the Birds of America double elephant folios, Eggs and Nests is still an impressively large-sized volume.
Gabrielle “Gennie” Estelle Jones
The following excerpt was written by Sara Williams, Arts & Special Collections Reference Librarian:
Illustrations of the Nests and Eggs of Birds of Ohio was a project begun by Genevieve Estelle Jones, a native of Circleville, Ohio. Born May 13, 1847, Genevieve, or Gennie, spent much time as a young girl birdwatching in the woods and wetlands with her father, an amateur ornithologist. Just before the age of 30, Jones’ father forbade her from marrying the man she loved, and in 1876, she visited the Centennial World’s Fair in Philadelphia to take her mind off her broken heart. While there, she viewed hand-colored engravings from John James Audubon’s vibrant The Birds of America. Inspired by Audubon’s example, Jones set out to illustrate the nests and eggs of birds, an aspect often missing from his work. Jones completed only five illustrations for her book before she died of typhoid at the age of 32. The work was eventually completed by Genevieve Jones’ family. Only 90 copies of the book were published, of which only 34 are currently known to exist.
Preservation
As part of the Preservation Lab’s role in displaying the object, a condition report book was created to accompany the item to ensure the object’s condition is preserved. This helps those who are installing anticipate any possible challenges in supporting fragile pages or bindings. In this case, the upper endsheets are extremely brittle and have been previously repaired, but could break again if not carefully draped and held with polyester strapping in a safe manner.
After determining a proper exhibit case to fit and secure the binding, a custom cradle was made. To protect weak points of the binding on display, a support was constructed out of 8 ply museum mat board to support the heavy and oversized pages from stress along the joint.
Solutions were tested to fit within an 18 inch deep case, however, the book was just too large!
A custom 8 ply mat board cradle was created to fit within a more appropriate 4 ft case. Pages are strapped with polyester strapping
Before an object travels, it’s often reviewed to make sure it can handle transport and treated if necessary. Luckily, in this case, the binding was treated in 2016 and is still in great condition for its age. When it received treatment, at that time it received a lightweight yet strong enclosure that will also work well to safely protect the item for travel to the CSO.
Corrugated banker’s box with a drop spine houses the Nests and Eggs book. Binding and exhibit labels are ready for packing.
A 4-foot case was kindly loaned to the CSO from the Behringer-Crawford Museum and is ready for use! (Image credit: Amber Ostaszewski)
Entrance to the Founder’s Room
Bird sounds were played in the entryway
During staging of the exhibit
Nests and eggs on display in the Founder’s Room
The Founder’s Room
Night of the performance
Entering the theatre
Not visible are the camping chairs and fire pits in the orchestra pit
Additional Resources
Interested in seeing more Nests and Eggs? The entire binding is conserved and digitized where it is made publicly available online. More information about Gennie’s fascinating and tragic history can be read at the Linda Hall website.
CSO Program Dates
There are two programs where you can view the item on display, Friday, March 1st and Saturday, March 2nd, both at 8pm at the Music Hall. Interested? Click here for the digital program.
We hope to see you there!
Ashleigh Ferguson Schieszer [CHPL] – Book and Paper Conservator, Co-Lab Manager
For the past six months, Jessica and Catarina have been working with the DAAP Library on housing their Teaching art collection, including prior acquisition and newly acquired items. This collection consists of different art prints on paper, print plates and manuscript parchment leaves in need of long-term housing. In addition to housing, this collection is used for teaching in a classroom setting and for exhibition.
Most of the collection only requires simple matting systems, but some require more intricate matting systems such as the copper plate along with its print, a project mentioned in a previous blog post entitled How many magnets is too many magnets!?.
As some of the items of this collection were being prepared to go on exhibit, we had the opportunity to create mounts for other items, such as two parchment scrolls that were included in the exhibit. This was a fun project to work on, as it required us to create a support that would secure both scrolls, while providing an elegant solution for display.
To start, Jessica created a very rough small model with mat board, polyethylene strapping, and paper (as we always do with anything new in the lab, we do love model making!!). The model provided us the visual example that we needed to create the mount for the two scrolls.
Small rough model created by JessicaSmall rough model created by Jessica
With the model in mind, we were able to engineer a good system that would provide support for the scrolls and could be used for display. The scrolls were supported with foam rolls on the inside for the rolled ends, and secured with polyethylene strapping that only touched the foam. The sections of the scrolls that were going to be displayed were also secured with polyethylene strapping that wrapped around the mat board support through slits in the board. At the bottom, the mat board extended outwards creating a small shelf to support the end of the scroll.
Scrolls mounted and ready for exhibition.Scrolls mounted and ready for exhibition.
A small “shelf” of mat board supports the bottom of the scrolls.
Catarina adjusting the strapping on the mount.
A small “shelf” of mat board supports the bottom of the scrolls.
A small “shelf” of mat board supports the bottom of the scrolls.
The foam rolls support the inside of the scrolls and are secured with polyethylene strapping.
Jessica securing the foam roll that supports the scroll.
As a result of all the mounting and matting we did for the Teaching Art collection and for the scrolls, each item is currently on display at the DAAP Library entrance case:
Current display at the DAAP Library featuring the Teaching Art Collection.A close-up of the scroll mounted on exhibition.
If you are interested in learning more about our preservation considerations for exhibition of this collection, Catarina and Jessica will be giving a short gallery talk on Tuesday, December 5th at 1pm, at the DAAP Library entrance on the 5th floor.
The Preservation Lab, a partnership to preserve and conserve the collections of the Cincinnati & Hamilton County Public Library and the University of Cincinnati Libraries, seeks applicants for a Conservation Assistant position.
The Conservation Assistant is a technician level position with on-the-job training that may appeal to emerging conservation professionals. This position will join a collaborative team of 7 full-time staff members, including conservators, a preservation librarian, technicians, student workers and volunteers to preserve collections from both institutions. The Preservation Lab staff consists of both Cincinnati Public Library and the University Library members. This position is a Cincinnati and Hamilton County Public Library position but is stationed at the University of Cincinnati West campus.
The successful candidate will demonstrate the ability to execute hands-on work with skill.
Founded in 1853, the Cincinnati and Hamilton County Public Library today is one of the busiest and most highly acclaimed library systems in the United States, providing service to over 800,000 residents through a network of 40 branch libraries, a major downtown Main Library, and a Distribution Center. CHPL holds one of the largest genealogical collections in the United States and many other specialized collections, most of which are housed in the Main library.
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.
Proof print (left) and engraving plate (right) before treatment and housing.
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.
Print housed in a polyester L-sleeve and matted 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.
Copper engraving plate housed in a specialty sink mat with magnetic closures.Matting system for the copper plate – a sink mat, half attached to the back mat and half attached to the window mat, all secured closed with magnets.Copper plate slightly removed from the matting system by the polyester film tray.
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.
Before treatmentAfter treatmentThe matting system in action!
As conservation professionals at the Preservation Lab, we get to see and work with our fair share of historic, rare, and just plain interesting artifacts. I recently had the pleasure of becoming familiar with an item that is all 3 of these, and just so happens to be one of The Cincinnati & Hamilton County Public Library’s (CHPL) most prized possessions: the Fontayne and Porter 1848 Cincinnati Panorama Daguerreotype.
Cincinnati Daguerreotype Panorama by C. Fontayne and W. Porter, 1848
For those who are unfamiliar, a daguerreotype is the very first photographic process, utilizing iodine-sensitized silver plates and mercury vapors, often offering stunning detail and resolution. Currently on display in the downtown Main Library’s Cincinnati Room, the Cincinnati Panorama is no exception, and is considered one of the most detailed and vivid examples of daguerreotype photography currently in existence.
CHPL panorama plate 5 detail
CHPL panorama plate 4 detail
CHPL panorama plate 2 detail
Daguerreotype photography is not without its challenges, however. Most significant of these (at least which concerns us in the conservation field) is that daguerreotypes are extremely delicate. They scratch easily and can degrade with simple exposure to oxygen, atmospheric pollutants, and moisture. These attributes bring up a difficult question: how does one display an item like this, while also ensuring its preservation for generations to come?
Enter Ralph Wiegandt. Wiegandt is a Photograph Research Conservator who designed and installed the 1848 Cincinnati Panorama’s enclosure and display case in 2008. He routinely has performed on-site follow-up consultations in 2012, ’14, ’16, and most recently this past June with Genealogy and Local History and Preservation Lab staff. My fellow lab mate, Hyacinth, and I had the good fortune to also meet with Wiegandt on this recent visit to attend a presentation on his uniquely designed enclosure. Although the primary purpose of the visit was to discuss the enclosure, Ralph shared no shortage of information about daguerreotype plates, the photographers (Fontayne and Porter), the conditions surrounding the panorama, and much more.
Ralph Wiegandt, photo by Hyacinth Tucker
It was clear from speaking with Wiegandt that this project was one he was deeply passionate about, referring to it as “a seminal object in my career.” He spoke with excitement about the unique attributes the Cincinnati Panorama showcases, chief among them: the stunning detail and clarity. According to Wiegandt, this image is so detailed that it can be magnified up to 30x before experiencing any resolution loss. This allowed for intense digital imaging to be performed during the initial conservation of the daguerreotype in 2008. In this process, digital photos were taken from different degrees of closeness to the original image and then stitched together, creating one large interactive digital display, viewable here.
Wiegandt informed us that the 1848 Cincinnati Panorama was not the first attempt at such a picture. Just several months prior, W.S. Porter had taken another daguerreotype panorama of the Fairmount Water Works in Philadelphia.
Fairmount Water Works Daguerreotype Panorama by W.S. Porter, 1848
The detail of this image, however, is not as impressive as the Cincinnati Panorama. What can be gleaned from this fact, according to Wiegandt, is that the Philadelphia capture was a successful learning experience for Porter, and that his skills and techniques were able to improve dramatically by the time he attempted the Cincinnati Panorama with C. Fontayne.
At the time of the Cincinnati Panorama, daguerreotype photography had only existed for 9 years. Equally as remarkable as the detail these images were able to capture is the inception of this technology. Wiegandt explained how Louis-Jacques-Mande Daguerre experimented with plates of silver sensitized with iodine fumes. The idea was that the sensitized silver would be reduced as it was exposed to light (i.e., the shutters on a camera opening and allowing light from the image field to hit the plates), thus creating latent images in the silver. Although this proved to be successful, a viewable image was not detectable until a chance happening, which Wiegandt describes as “a miracle.” Legend has it that one of Daguerre’s exposed plates was stored in a cabinet, sharing this space with one other singular item: a broken instrument that utilizes mercury (such as a thermometer, barometer, etc.). Upon examining this plate, Daguerre realized the latent image was now detectable, correctly deducing that the mercury fumes had developed the film. The fumes had caused the light-exposed areas on the silver plate to form small bumps, roughly 1 micron in size, creating an instant high-resolution image. The microscopic size of these bumps means that, according to Wiegandt, daguerreotype images are an early example of what we would today call nanotechnology. (Ralph also notes the actual circumstances of its discovery are unclear since any notes from Daguerre’s studio would have been lost during a fire shortly afterwards.)
Much like the Fontayne and Porter Cincinnati Daguerreotype, the current display case is quite unique as well. As mentioned before, daguerreotypes are incredibly delicate. To successfully prevent further degradation and preserve this object for generations to come, its exposure to oxygen and other reactive gases must be severely limited. The solution that Wiegandt produced was a specialized inert gas case, similar in concept to how the Declaration of Independence is housed. The goal of this case is “to maintain a slightly elevated pressure of a non-reactive gas such that it will not put excessive strain on the seals yet will be above the potentially highest barometric pressure” (Wiegandt, 2006), thus preventing any atmospheric air from coming in contact with the sensitive daguerreotype plates.
Wiegandt’s sealed encasement design sketch provided in treatment documentation
Wiegandt chose argon to pressurize the case with as it has a better diffusion rate and is more inert than other gases such as nitrogen, all while being cost effective.
Wiegandt informed us on his most recent visit that the case is doing its job: the panorama has experienced no detectable degradation since its installation. However, this was likely his final visit to the Cincinnati Library, as he is retiring from the field. I should add that a further and perhaps more important purpose for this visit was to advise and inform CHPL (and Preservation Lab) staff to be successful in monitoring and caring for the object in his absence. Fortunately, Wiegandt was able to leave us with a wealth of information and resources that will aid in the continued preservation of this amazing artifact. With an updated preservation plan, knowledgeable staff in both the Genealogy & Local History and Preservation Lab departments, and a commitment to preserving cultural property, we can be confident the Cincinnati daguerreotype panorama will be enjoyed by library visitors for many generations to come.
This semester the Preservation Lab is collaborating with the English department and Associate Professor Gary Weissman to teach ENGL 3097 – Book Arts. The experiential learning portion of the course is taught in the Preservation Lab by Holly Prochaska, with much assistance from Jessica Ebert, Catarina Figueirinhas, and Hyacinth Tucker. The course offers students a foundation in the history of the codex, artists’ books, and zines, as well as a hands-on introduction to paper making, bookbinding, and printing.
Last week the students finally got their hands on our beloved board-shears while making a tux box to house the many models they constructed during the course.
It has been a fun and rewarding spring thanks to the enthusiasm of our 12 students!
If you are interested in learning more about the experiential learning portion of the Book Arts curriculum, please reach out to holly.prochaska@uc.edu.
