Category Archives: Paper

How many magnets is too many magnets?!

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.

Image of print on the left and the copper plate on the right, with a photography target below
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.

An image of the matted print
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.

Image of the matted copper plate
Copper engraving plate housed in a specialty sink mat with magnetic closures.
Diagram of the magnet locations in the sink mat
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 partially removed from the matting system with a box highlighting the location of the polyester film tray
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.

The matting system in action!

Catarina Figueirinhas [UCL] – Assistant Conservator

Conservation photography by Jessica Ebert

Playing Favorites: Lab Staff Share Their Most-Loved Treatments & Projects

To celebrate national Preservation Week (April 25 – May1, 2021), staff at the Preservation Lab are sharing the following answers to the question below as they reflect upon the wealth of library resources located in the Cincinnati community: 

What is your favorite treatment or project that you have worked on in the Lab?


Jessica Ebert:

Learning a new photographic imaging technique, RTI

In April of 2017 I had the amazing opportunity of attending a 4-day workshop at Yale University to learn Reflectance Transformation Imaging (RTI) from the experts at Cultural Heritage Imaging.  It was one of the most exciting experiences of my career, and when I came back to the Lab to show the staff what I had learned, Aller Bucher Und Schrifften volume from Martin Luther was one of the first items we captured with RTI.  I remember that moment when Catarina and I completed the capture and processed the images – we were just in awe of everything we could see with RTI that we couldn’t under normal illumination.  Since then, we’ve made changes to our equipment and our workflow, so now the results are even better than they were back then…but this will always be my favorite. 

Catarina Figueirinhas:

Treatment of Diseases of the Sexual Organs, Male and Female from the Winkler Center

Of all the projects I have worked on at the Preservation Lab, this item is by far one of my ultimate favorite treatments I was able to perform. This book was brought to the Preservation Lab in poor condition. The book had no binding, the text block was split in multiple areas, the sewing was broken, and several pages of the text block where either torn or had extensive loss. In addition, most of the text block showed signs of water damage. Since this book was in such poor condition and the curator of the collection wanted the book to be handled by scholars and the public, it was necessary to do a full conservation treatment.  

I was thrilled when I got assigned to this book treatment. I love to work on any book, but the more complicated or involved treatments the better and this was definitely the case. In this treatment, I was able to repair the text block, reduce some of the tideline staining, fill losses and resew the entire text block, while also creating a new binding (called a split board binding) that is strong and flexible to allow such a heavy book to be read.  

This treatment took a long time to complete, and to this day it is still one of the projects that I have enjoyed the most. Click here to see the complete treatment report and all the photographic documentation. To learn more about conservation split board bindings, check out the Preservation Lab blog post by Kasie and Jessica. 

Kasie Janssen:

Iron gall ink treatment of the CHPL Jones Account Book  

Washing and rebinding treatments are always a favorite when they come across my bench, as they allow a highly damaged item to become usable and accessible once again. An account book of Jones and Rammelsberg offered one such treatment as it came to the lab with a myriad of issues: a damaged book block without a binding, corroding iron gall ink, previous mold damage, and a shocking amount of pest evidence. The treatment is incredibly memorable because to tackle the issues of aging iron gall ink I was able wash the pages of the book block using a calcium phytate bath to stabilize the manuscript. Once the washing was complete, I was able to resew and rebind the book block, making it whole, functional, and protected once again. It is rare and special to have done such an involved treatment, but in this case the in-depth steps allowed previous damage to be treated and helped remedy the inherent vice of aging materials.  

Curious about what some of this process looks like? Check out our Preservation Lab Instagram, @thepreservationlab, and see our Phytate Treatment Stories

Holly Prochaska:

Creating the Italian ledger binding for our teaching model collection 

The lab creates a lot of models. Many of these models are made in preparation for treatments.  However, some models are created with instruction or engagement in mind.  These models, such as the Italian stationery binding (laminated archival bind) I created, help illustrate the history of the book as its form and manufacturing process change over time.  Check out the model at the blog entry where you can see a video of the binding being handled.  Follow the instructions on the blog make you very own, and in the future, come see it for yourself when our in-person open houses resume in the future. 

View of the cover fully opened that shows the overband lacing pattern, the front fore edge flap, and the buckle clasp.

Ashleigh Ferguson Schieszer:

Treatment of a Haggadah owned by Hebrew Union College 

I particularly enjoy the problem solving nature of special collection treatments and thus, my “favorite” treatment is usually the one I’m working on. Currently, I’m treating a Haggadah owned by Hebrew Union College that dates to 1526 or 1527. While I’ve treated other haggadahs from HUC, including this one, this project involved iron gall ink treatment AND rebinding a textblock with two different sized leaves, or pages, into its original historic leather cover.  Because the binding had been previously treated and reformatted with materials that did not age well, collaboration with the librarians at HUC required exploration into whether we wanted to re-create the past reformatting option with longer lasting materials, or perhaps, explore a new option altogether. Before we committed to a solution, I created a model to test out a new option since unanticipated questions or outcomes often arise during experimental pursuits.  For that reason, it’s better to problem solve on a model, rather than on an actual special collection material.  In the end, the librarians and I were happy with the results of the new option, and I’m currently at the stage where I’m ready to start rebinding the pages of the actual object.

Not only was this piece based on a favorite subject of mine (I love Shakespeare!), this was a historic photograph treatment I was able to handle with just a little guidance.  I was able to properly identify the photographic elements on the first try, performed a surface cleaning on the piece, and created my very first cloth-covered clamshell and cradle to house it. It was such a wealth of learning experiences within one project, which is the best part of my work! 

Chris Voynovich:

Constructing a custom cloth-covered enclosure to house the Public Library’s  William S. Porter Collection of photographs 

One of my favorite aspects of the job here, in the lab, is designing and creating custom enclosures. This collection of rare daguerreotypes, ambrotypes, and tintypes is an example of adapting a standard cloth covered clamshell to accommodate a collection. I created two trays with pull tabs that are removable for easy access and display. Each photograph has its own tuxedo box and is set in polyethylene foam (Volara) for protection. The tuxedo box enclosures are identical in size to reduce confusion while repacking. Check out this blog created by Jessica that shows a gif of the enclosure opening and closing, and this blog post showing a similar enclosure I created for a dairy collection. 

In case you missed, head over to the Cincinnati & Hamilton County Public Library’s blog where Holly shared some of the Lab staff’s favorite tools and equipment yesterday.

Today at 3pm (EST) join Jessica and Catarina on the Preservation Lab’s Instagram (@thepreservationlab) for a quick, informal Instagram Live.

Then tomorrow, make sure to tune into the Public Library’s Instagram (@cincylibrary) at 12pm (EST) for an in-depth Instagram Live event where Catarina and Jessica will be sharing treatments they are currently working on; giving you a behind-the-scenes look and answering all your questions “Live in the Lab”.

Finally, Friday a new video will be posted on the Preservation Lab’s YouTube channel.

Ashleigh Ferguson Schieszer [CHPL] – Rare Book and Paper Conservator, Lab Co-Manager

Call for Applications: Ohio Preservation Council 2020 Professional Development Grant

The Ohio Preservation Council has updated grant procedures and awards to reflect the current emphasis on remote learning and virtual conferences.

In 2020, the Ohio Preservation Council will offer four awards of up to $250 each in support of continuing education for Ohio Students and Professionals with an interest in preserving our cultural heritage. Applications will be accepted on a rolling basis and awardees will be notified after the 3rd Thursday of: August, September, November, December. Full details can be found here

For more information on how to apply visit: http://ohiopreservationcouncil.org/Grants

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The Ohio Preservation Council serves as a coalition of preservationists, conservators, librarians, archivists, curators, records managers, the institutions they represent, and other concerned citizens who recognize the serious threat to documentary heritage. The Council’s mission is to provide a network for preservation education and to support preservation activities within the state of Ohio. The Council believes in cooperative, state-wide efforts across geographic and professional lines are needed to meet preservation challenges.

The Ohio Preservation Council recognizes the value of professional meetings, conferences, and other educational opportunities to advance the field of preservation and provide a forum to voice the need for ongoing stewardship of our documentary heritage. When possible, the OPC shall provide financial support to individuals to develop skills, expand knowledge, and gain experience relevant to the mission and goals of the Ohio Preservation Council.  Applications are due the first Mondays in March and September.

Individuals requesting financial support must meet the following criteria:

• Working in the state of Ohio OR pursuing an advanced degree or certificate in the state of Ohio;

• Working directly in the field of preservation (as described above) OR pursuing a degree or certificate within the field;

• Request is for professional development that clearly relates to preservation issues and/or preservation skills;

• Have not received financial support from the OPC Grant within 3 calendar years.

For more information on how to apply visit: http://ohiopreservationcouncil.org/Grants

Ashleigh Ferguson Schieszer – Ohio Preservation Council Vice Chair

The Protective Power of Interleaving

You might know the importance of a protective enclosure, but how often to you consider the quality of storage materials?  In fact, the composition of storage materials plays a significant role in the preservation of archival collections.  But how?
Since storage plays a passive role, the positive and negative interactions of storage materials may not be readily apparent.  Chemical reactions that occur between library and storage materials are often a slow process, spanning over a number of months or years before a visual change occurs.  Without the gratification of seeing immediate effects, many may not realize how some storage materials can be problematic, let alone the ramifications for using non-archival materials.

 
To illustrate some of the effects, I thought I’d share a vivid example of protection from acidic materials during storage. The following photograph shows the positive effects of archival buffering paper (also known as interleaving), as well as the danger of using non-archival boards and tapes – even when they are not in direct contact with the object!
The protected object is a 17th century printed broadside.  It’s a single sheet of paper with printed black text on the front.  The broadside was stored for many years in a green cloth-covered portfolio.

Within the portfolio, the broadside was secured beneath with folded sheets of plastic film with a blank sheet of paper.  You can see the plastic film is attached to the portfolio around the edges with green tape.


This image shows the front of the blank sheet of paper stored side the plastic film, below the broadside. The plastic has yellowed overtime.


Here, the blank sheet is removed, revealing yellowish-brown discoloration around the top and right edge. This discoloration aligns perfectly with the green tape that is adhered on top of the plastic –located on the top and right side of the plastic.


When you flip the paper over, the back of the blank sheet shows even more discoloration. In fact, the discoloration is a mirror image of the materials below the plastic! This has occurred because the plastic is “breathable.” The materials below are all acidic, except for the white fragments of paper, which protected a portion of the paper from turning brown.


The interleaving paper served two purposes here:

  1. Acts as a support for the broadside when handled.
  2. The interleaving served as a sacrificial barrier that absorbed the bulk of acidic off-gassing from the non-archival paper and tape.

In summary, this enclosure is an excellent example of how different materials can interact with one another in nuanced ways, and how plastic is actually a permeable barrier to gasses overtime!
General storage tips:

Ashleigh Ferguson Schieszer (PLCH) —- Book and Paper Conservator

Upcoming OPC workshop

Our conservator Ashleigh Ferguson Schieszer will be assisting paper conservator Jamye Jamison in an upcoming Ohio Preservation Council workshop.  Seats are still available!  prints in mylar sleeves and backing paper
Workshop description: This course is for archivists, librarians, or anyone who is interested in caring for their family documents, print collections, or other ephemera. The class will begin with a short discussion of materials and what to look for when making archival enclosures for flat paper objects. Each participant will then make a small portfolio of reference samples of various enclosures for paper materials, including a simple four-flap, polyester sleeve, paper envelope and a “back and wrap” enclosure, which can be used for display. Each participant is asked to bring four objects no larger than 4 x 6 inches (roughly postcard size) that can be used to make the reference samples. No previous experience necessary.
Learn more and register at —-  http://opc.wildapricot.org/event-3357153

Fun with PhotoDoc: Infrared Again (Edition 8)

It’s been a while since my last Fun with PhotoDoc post, so I wanted to share some progress I’ve been making with Reflected IR.  You might remember from my last PhotoDoc post, we purchased a modified UV-Vis-IR camera from MaxMax at the end of 2017.  Our first two objects we (Ashleigh and I) examined and documented with the camera were a great learning experience, but didn’t exactly leave me with goosebumps.  Still it was a good experience and we worked out the use of the various filters and the general IR workflow.
Fast forward to April when the lab received not one but two books from UC in need of IR photography.  The first was the Masters thesis of Ralph E Oesper from the Oesper History of Chemistry collection.  The curator wished to exhibit several of the pages from the volume, but upon inspection Ashleigh (our conservator) was concerned that the purple text ink might be dye based, which is very light sensitive.

The ink disappearing under near IR is a clear indicator that the ink is most likely dye based, and while that made Ashleigh very happy and validated her choice to create printed surrogates of the pages for exhibition, I still felt a little less than wow’d.  I was still waiting for a really compelling and dramatic IR example.
Enter volume 1 from the Third German Protestant Church of Cincinnati collection, an 18 volume collection of early Cincinnati baptismal, marriage, and funeral records from the Archives and Rare Books Library that pre-dates the city records.  In this case, Ashleigh wanted me to examine and document 4 pages within the volume with faint graphite inscriptions on paper with heavy foxing.

Side by side comparison of one page under normal illumination and near infrared

Finally!  A satisfying IR session with helpful results.  Documenting all four pages using reflected IR allows for the foxing to disappear from the page, thus making the faint graphite inscription easier to read.  After converting the IR image to grayscale I also upped the contrast significantly, allowing for better readability of the handwriting.  In the end, we now have four pages of legible inscriptions and I’m very happy with the results.

Click on an individual image to see the gif in action for that page…

I definitely still have a lot to learn when it comes to near infrared photography, but I would call this, not only a satisfying experience, but progress that will hopefully lead to a better workflow.  This round of IR photography definitely was not seamless, but I did learn more, as I do every time I shoot, and it is my hope that the more I do the more I will streamline and improve our IR workflow.

Jessica Ebert (UCL) – Conservation Technician, Lead Photographic Documentation Tech

Pleasant surprise

I just want to take a moment to say – sometimes a little surprise can be so satisfying!
We’ve all been there, approaching a task where we see the beginning but not the end.
Well I’m here to tell you there is hope in the darkness. Occasionally delamination can be a real struggle. Sometimes you know what is underneath, sometimes you don’t.
But when you start the work, and occasionally you get a pleasant surprise.

 
 
 
 
 
 
Yay!  And now I think it’s going to be a good day!

 
Chris Voynovich (PLCH) —- Conservation Technician

18th Century Poetry Pamphlets

This past April, during one of the UCL Special Collections meetings, the Lab received a new stabilization/housing project; a collection of Latin poetry pamphlets translated into German from 1830-1917.  This collection of 79 volumes is part of the Classics Library’s collection.  While the Lab will be treating and housing all 79 volumes, the collection is being brought to the Lab in small, manageable batches. The first batch received by the Lab were pamphlets bd.66 to pamphlets bd.79.
 

After consulting with the Lab’s conservator, each pamphlet was evaluated and treated individually. The condition of each pamphlet greatly varied; some pamphlets were in good condition, with only small tears along the outer joints of the paper cover. Other pamphlets were in poor condition, with missing covers, detached covers, split textblocks, torn or missing covers.

After the first batch of pamphlets was evaluated and treated, four stabilization treatment types were established for future batches.  According to the condition of the pamphlet, from good condition, fair condition, poor condition, to severe condition, each pamphlet received either no treatment, a minimal treatment, a minor treatment, a major treatment with stabilization though encapsulation, respectively. For future batches received by the Lab, the same treatments will be applied with small variations when needed.
 No treatmentFor any pamphlets in good condition do not require treatment, these pamphlets will simply be surface cleaned and receive a polyester film jacket.
Each image below shows an example of the treatments mentioned above.  Click on the photo to view the full size image:
 Fair condition/ minimal treatment: This group of pamphlets were in fair condition. There were minor tears on the cover that were mended.

Poor condition/minor treatment: This pamphlet was in poor condition. The  cover was torn and detached and the textblock was broken with loose gatherings.  The cover was mended and the textblock was repaired. The cover was reattached to the textblock.

Severe condition/ Major treatment – stabilization through encapsulation: This pamphlet was received in severe condition. The covers were detached from the textblock and showed major losses. The textblock was stapled and the staples had corroded overtime which stained the paper. The staples were removed and the textblock was sewn. The covers were encapsulated and sewn onto the textblock using Usu Mino tissue hinges.

Once the treatment of the first batch of pamphlets was concluded, the pamphlets were housed together in a custom made corrugated clamshell box with a clear spine. This model of a modified corrugated clamshell box will be used for the future batches of these pamphlets that the lab receives from the Classics Library.

Modified corrugated clamshell box with a clear spine.


Modified corrugated clamshell box with a clear spine.


At the moment, I am working on the second batch of pamphlets; pamphlet bd. 50-bd. 65. On this second batch most pamphlets are in poor condition. The covers are detached and some pamphlets have missing covers. However, the textblocks are in good condition.  Below you will find a sneak peak of this ongoing treatment.

Pamphlets bd. 43 – 49 – small portion of the second batch of pamphlets received by the Lab.



Catarina Figueirinhas (UCL) — Sr. Conservation Technician
Photographic Documentation:  Jessica Ebert (UCL) — Conservation Technician