Category Archives: Uncategorized

Preservation Lab Open House – 2025

Please join the Preservation Lab (300 Langsam Library) for our annual open house on May 1st. There will be cookies! And bookmarks! And stickers!

Also, new this year, two learning opportunities in Langsam Library by the circulation desk (see below)!

Open to the public. Parking available for a fee in Woodside Garage.

A beautiful and uncommon cover

With so much special collections materials going through the lab, sometimes I forget to appreciate the beauty of general collection items. No such problem with this beauty – a stenciled book cover with splashes of gold.

I love pochoir, screen printing, and risograph (the stencil arts), so was thrilled to see this Greek monograph from 1899. It really reminds one of the intense labor that goes into the production of even one book and the subtle difference apparent in each one.

Back book cover.  Stenciled pattern with gold splashes.

Holly Prochaska, Head, Preservation Services & Lab at the University of Cincinnati

Preservation Lab update

The Preservation Lab, after 13 years of collaboration between the University of Cincinnati and the Cincinnati & Hamilton County Public Library, is embarking on an expanded mission to provide our expertise and services to the larger cultural heritage community.  

Beginning in 2025, The Preservation Lab is transitioning to a regional lab model that is entirely managed, staffed and equipped by the University of Cincinnati. The Preservation Lab’s current staffing and location will remain the same during this transition.    

The Preservation Lab provides the full suite of preservation services to the University of Cincinnati Libraries and, for a fee, to other cultural heritage institutions. The Preservation Lab’s expertise is in book and paper conservation, with services available in general circulating materials repair, single-item conservation treatment, housing, exhibition prep, and preservation consulting.Please visit The Preservation Lab’s new website at https://libraries.uc.edu/thepreservationlab.html for updates and more information.

Holly Prochaska, Head, Preservation Services & Lab at the University of Cincinnati

Historical Binding Structures with Julia Miller

This week the Preservation Lab and the Archives and Rare Books Library hosted a 2-day workshop with the conservator and book historian Julia Miller. The workshop, Identifying and Describing Historical Binding Structure: A Stacks Appraisal Workshop, provided the Preservation Lab staff, University of Cincinnati Libraries’ (UCL) special collections catalogers, and UCL special collections stewards an opportunity to strengthen their skills of historical binding identification and description. We honed our descriptive skills by examining collections from the Archives and Rare Books Library and models/exemplars from Julia’s personal teaching collection.

Julia Miller is in the fore ground holding a highly decorated book that is read with gold stamping and tooling.
Julia Miller presenting to the Historical Binding Structures class.

Thanks to Julia Miller, one of the most knowledgeable and giving people that we have had the privilege to learn from.

Thanks to Chris Harter for providing access to so many Archives and Rare Book treasures and a wonderful space to learn and collaborate.

Thanks to Catarina Figueirinhas for suggesting the course and being the on-site coordinator and organizer.

Lastly, thanks to University of Cincinnati Libraries for their continued support of staff professional development!

Holly Prochaska [UCL] — Preservation Librarian

Problem Solving: An Exhibition-Style Enclosure for a Collection of Lafcadio Hearn Japanese Bindings

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.

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…

Three models pictured, two are collapsible cradles and one display stand with foam insert
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.

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…

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:

Jessica Ebert [UCL] – Assistant Conservator

Are You Ready for Halloween?

With Halloween creeping up, it’s either a chance for you to unleash your spooky side or to totally panic and obsess over costumes until the last second. Ghost? Meh. Mummy? Boring. Werewolf? Too hairy. But if you work in a conservation lab, fear not. We have you covered!  

This year, we’ve scoured the lab to create costumes that mix chilling creativity with eccentric conservation tools! Each costume has a difficulty rating, so you’ll know if it takes professional skill or just a wildly spooky imagination. 

So, grab some supplies, get haunting, and remember: Conservation may be reversible, but goofy Halloween memories are forever!  

Edward Scissorhands costume, woman in black holding many scissors

Edward Scissorhands
Difficulty level – Easy
Materials and tools needed:

  • Scissors, tons of scissors
  • Black clothing
  • Strong hands (those old scissors may refuse to work properly)

Note – Not recommended for the long-haired among us…so remember, safety first! Keep a safe distance, and beware of those “accidental” snips, unless your colleagues think that you desperately need “just a little trim off the top”.

Mock crime scene with woman pretending to collect evidence by a fake chalk outline

Crime Scene Tech
Difficulty level – Medium
Materials and tools needed:

  • Masking tape
  • Caution tape
  • Gloves
  • Lab coat
  • Tweezers
  • Scalpel
  • Thread (to mimic hair samples)
  • Binder’s board to create a body/chalk outline (create a tri-fold for easy travel)
  • Golden gloss/matte media (or anything that fluoresces) to create “blood” splatters
  • Polyethylene bags (to collect evidence)
  • UV lamp
  • Protective UV goggles
  • Fluorescent scale (optional)
  • Camera (optional)
  • Tripod (optional)
  • A strong stomach, not for the faint of heart

Note – For the body outline, just kindly convince a colleague to lie on the binder’s board. Nothing says “team building” like creating a fake crime scene!

The following costumes can be done as a group effort or a solo act – dealer’s choice!

Ghostbuster on the left, painting of old man at the center, conservator seated on the right

Vigo the Carpathian (Painting)
Difficulty level – Hard
Materials and tools needed:

  • Print out of Vigo the Carpathian – our Lab recently switched to a 17″ wide Epson printer, so we are unable to print large scale items, so Jessica skillfully created the painting with two printouts pieced together.
  • Corrugated board
  • Cloth tapes (to create handles on the back of the painting)
  • Gold spray paint
  • Double-sided tape
  • Black/dark clothing
  • Strong arms and captivating eyes

Note – For that eerie stare DON’T FORGET to remove the eyes from the print out…the creepier, the better!

woman dressed as paintings conservator seated in front of a painting

Sigourney Weaver (as “Paintings Conservator”)
Difficulty level – Easy
Materials and tools needed:

  • Lab coat
  • OptiVisor
  • Acrylic paints
  • Gloves
  • Cotton swab
  • Beaker with filtered water
  • Paint brushes
  • Vigo printing proof, as reference (optional)
  • Must not be easily spooked by creepy eyes staring into your soul

Note – We know we aren’t a paintings conservation lab, but I think we pulled it off…or at least better than the movie, I hope!?

woman dressed as a ghostbuster

Ghostbuster / Bill Murray as Dr. Peter Venkman
Difficulty level – Easy
Materials and tools needed:

  • Jumpsuit from your favorite brand (Dickies, Albion Fit, etc.)
  • Nilfisk GD 10 Back HEPA Vacuum (Proton Pack)
  • Print out of Ghostbusters logo
  • Double-sided tape
  • Portable fan (for special effects)
  • Must be courageous yet capture the whimsy and humor of Bill Murray! Ready for anything!

Note – A portable fan can really elevate the special effects for this costume! Just check out our Instagram reel to see for yourself…

Happy haunting to you all! May the ghost tyrant and sorcerer Vigo (also known as Prince Vigo von Homburg Deutschendorf, Scourge of Carpathia, Sorrow of Moldavia, Vigo the Carpathian, Vigo the Cruel, Vigo the Torturer, Vigo the Despised, Vigo the Unholy1) protect you in all your spooky endeavors!

Catarina Figueirinhas [UCL] – Assistant Conservator

Images by Jessica Ebert [UCL] – Assistant Conservator & Social Media Coordinator

Position Announcement – Associate Dean for Collections

The University of Cincinnati Libraries seeks a strategic, outcomes-focused leader to fill the Associate Dean for Collections (AD) position.  The AD for Collections will lead the overall strategy and direction for units associated with collections, including acquisitions, metadata, digital projects and digitization, e-resource management, physical collections management, and preservation.  To review the full job description and apply, visit  https://jobs.uc.edu/job/Cincinnati-Associate-Dean-for-Collections-OH-45201/1161779000/

brick library building
University of Cincinnati, Langsam Library

You’re invited to the PRESERVATION LAB OPEN HOUSE!

Driving & Parking Directions

We recommend parking in Woodside Garage
(2913 Woodside Drive) connected to Langsam Library – where the Preservation Lab is located.  The garage is located on the corner of MLK Drive W. and Woodside Dr.  When you turn onto Woodside Dr., it will be the 1st parking garage on your right.

Once you park in the garage, take the stairs or elevator to the entrance of Langsam Library.  Once you enter into the library, follow the signs down to the lab!

New Exhibit at DAAP Library – Women Artists, Patrons, and Rulers in Renaissance Europe (March 7 – April 8, 2024)

Stop by DAAP to see a new exhibit and participate in the gallery talks:

March 18, 1:00-1:30pm, Exhibition Gallery Talk
“Women Artists, Patrons, and Rulers in Renaissance Europe: Introduction to the Exhibition,” DAAP Library (across from Circulation desk), Christopher Platts (University of Cincinnati Assistant Professor of Art History and exhibition co-curator)

March 28, 12:30-1:00pm, Exhibition Gallery Talk
“Catharina van Hemessen’s Scourging of Christ: Painting Materials and Techniques in Sixteenth-century Europe,” DAAP Library (across from Circulation desk), Michael Ruzga (Director and Head of Conservation, Fine Arts Conservation, Inc. and exhibition co-curator)

April 3, 12:30-1:00pm, Exhibition Gallery Talk
“Women Artists in Renaissance and Early Baroque Europe,” DAAP Library (large seminar room), Lauren Tate (University of Cincinnati Assistant Professor of Art History)

April 4, 4:00-5:30pm, Exhibition Reception and Gallery Talk
Reception: 4:00-5:00pm; Galllery Talk: “Women Artists, Patrons, and Rulers in Renaissance Europe: Introduction to the Exhibition”, 5:00-5:30pm, DAAP Library (across from Circulation desk), Christopher Platts (University of Cincinnati Assistant Professor of Art History and exhibition co-curator)

Learn more at this website.

Special shout out to the lab’s Jessica Ebert and Catarina Figueirinhas for assisting with the exhibition of the bound materials.

Preservation and Exhibition: DAAP Library’s Teaching Collection & Upcoming Gallery Talk (12/5)

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.

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.

A small “shelf” of mat board supports the bottom of the scrolls.

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:

Image of the exhibit
Current display at the DAAP Library featuring the Teaching Art Collection.
Close up of the scroll mounted on exhibit
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.

Image of the gallery talk flyer

Catarina Figueirinhas [UCL] – Assistant Conservator