Tune in Friday, November 3rd on our Instagram and ask us anything you might want to know about conservation, preservation or the Lab!
Tune in Friday, November 3rd on our Instagram and ask us anything you might want to know about conservation, preservation or the Lab!
Congratulations are in order! We are happy to celebrate with our lab colleague, Chris Voynovich. After 25 years at the Public Library, Chris is retiring to a lovely beach house in Florida.
Chris first began his career at the library working in Shipping and Receiving. He then transitioned to Cataloging and Processing where he began his journey in material repair. He was a quick learner, able to utilize hand skills from his personal experience in metal work, graphic design, drumming, and matting at a frame shop.
Since 2011, Chris has grown his skills to preserve a WIDE variety of materials at the Preservation Lab. Chris has…
While he brought many skills with him, such as an ability to cut oversized mats, solder and work with metal files, his treatment skills have grown from general collections conservation to the treatment of special collections – with interests in leather, scrapbooks, and making clasps for medieval books. Treatment aside, Chris has held the esteemed title of Box-Maker Extraordinaire.
Known for his engineering feats, a few of Chris’ masterpieces can be viewed below:
As you can see, we will miss Chris’ can-do attitude when faced with any challenge. His positive outlook, efficiency (no one makes a box as fast as Chris!!), cartoons and dad jokes will especially be missed, but we are so happy for the new adventures that await him.
Please join us in celebration on Oct. 30th! RSVP to ashleigh.fergusonschieszer@chpl.org.
Ashleigh Ferguson Schieszer [CHPL] – Special Collections Conservator, Co-Lab Manager
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.
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 nano technology. (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.
Matthew McCoy [CHPL] – Conservation Specialist
Sources:
http://photographyhistory.blogspot.com/2010/10/daguerreotype-panorama.html (Fairmount Water Works Photo)
I recently had the privilege of sitting down for a talk with the newest member of the lab staff, Matt McCoy. Matt is a CPHL employee who comes to us from…well, I’ll just let him tell it.
[edited for clarity]
Hyacinth: Alright, so first off, how did you come to be here in the lab?
Matt: I became aware of the lab at an open house; I think it was 2017 or 2018. I was working in Materials Retrieval downtown. I did the tour here, and I knew Cat [Catarina Figueirinhas, Assistant Conservator in the lab] because she used to work in my department. My boss picked a couple of people to go to the open house, and I got to check it out.
It was really cool, and I thought, ‘this would be a cool place to work someday.’ At the time, libraries were sort of just a side job for me. They’ve become more of a focus, especially over the pandemic. I started an MLIS but decided not to continue with it after getting a taste for the public librarianship. I guess I wouldn’t say I’ll never pick it back up again, but who knows?
I’ve always kept an eye on job postings, and I saw this one, I think it was over winter break. At that pont I had been working as a customer service substitute for CHPL for about a year. Then I saw the job posting and it just it sort of was like they have an opening there; I feel like that was the first time I had ever seen an opening pop up when I was here.
H: Yeah, it doesn’t happen often.
M: So I was like, you know what, I’m just going to apply for that. I was a little worried I’d missed my shot because I think it had been posted for a month or so. I had a friend who was staying with me over the holidays, and I applied for it the first day he was out, just kind of on a whim. Things just sort of fell into place from there, and here I am.
H: Well, you’ve been with us for nearly three weeks [at the time of the interview.] How are you liking it?
M: I love it so far. Even just the general collection stuff I’m doing so far, it’s very interesting. There are hand skills, but since I’m starting on general collections, it hasn’t been super stressful. The days fly by really quickly. I really like improving skill sets, so just getting to go through the training and practice different things and assessing how’d it go, what can I do better or what do I need more work on, that’s been fun and satisfying to do. I’m really liking that.
You guys have all been great so far, real good staff to have around. Everybody’s been really helpful and friendly. I’ve felt very welcomed here from the start and it’s been cool just getting to see all the stuff you guys have been working on, both at the open house but also the…I guess the pre-return meeting? That’s what it was, right?
H: Yeah. [nods]
M: Yeah, that was really cool to see too, and just get a feel for how things work with the special collection stuff, and how the process goes from an item first arriving, to you guys doing treatment on it, and then sending it on its way.
H: It’s a whole thing. We have a flow chart.
M: [laughs] I’ve noticed that a couple of times, as I’ve been leaving for the day, and think that I need to read that and then forget, and then I’ll walk by it again.
H: It’s a lot of flow chart. I mean, you get the hang of it, but it’s a lot of flow chart.
M: And the flow of my life has been really nice since starting this job. It’s a short commute, and the fact that the days go by quick. I feel like I never have enough time to…I’ll get into something and then I’ll hear the [closing] announcements go on. I’m like, ‘shoot, I was just getting into this!’ I was also a little worried, I wondered how much energy I’d have at the end of the day, to work on music and whatnot, but it hasn’t really been an issue so far.
It’s cool being on a college campus too. It’s sort of lively. I know it’s going to get more lively as we go along, but it’s a lively place to work. And I like being around people, so that’s been cool. It’s also nice that it’s not the place where I went to college. I don’t feel like ‘oh, shoot, back here again.’
H: So what’s the most fun or interesting or fascinating thing you’ve done in your training so far. I know it’s going along really quick.
M: I really like the – and I feel like it’s probably the thing I’ve had to work at the most – I like the hinge-in, doing hinge repairs. They’re just very satisfying. It’s either, you know, pages have fallen out of a book, or it’s structurally compromised and then all of a sudden, oh look how nice! It’s all nice and sturdy now, putting it back together, so I really like those. I enjoy any sewing I’ve done so far too. Once it’s all nice and tight and looking prim and proper, that’s been pretty gratifying.
H: It is very gratifying. And Jessica [Ebert, Sr. Conservation Specialist] is a good person to learn it from.
M: Absolutely! She’s been a great teacher.
H: Her sewing is fantastic. You’ll never be as fast as her.
M: She really does just fly by!
H: Even I’m not as fast as she is.
M: Yeah! And then I also like the tear repairs too. Those are nice, once everything’s all dry and put together, it’s like there we go, that looks nice.
H: What are you looking forward to learning?
M: Definitely down the road, but I’m looking forward to getting into some of the special collection stuff. Getting to have a project. I mean, I have had a couple of projects that I’ll start and finish up the next day, but I haven’t had any long-term things. And I’m sure it’s different for every item, like I’m not sure how long each of you spends on a particular treatment, but I’m sure that there’s some where there’s a lot of different steps, seeing something throughout the whole process on a broad scale, that sort of thing. I think it’d be neat to work on something like pieces of artwork or maps. I’m also excited to get into any kind of bookbinding stuff, like the models you guys have made of different types of books. The more complex things like making a cover or something like…I forget what it was, the sermon that Jessica worked on.
H: The split-board binding.
M: I think that looks really cool, yeah. I always enjoy a well put-together book and that is a nice one.
H: Well, I have found that there are two kinds of library people. There’s the kind that’s born and raised in the stacks – that was me, my family was into libraries from the time I was really little – or people who kind of stumble in one day and realize that it’s great, and then they just never leave. Which kind are you?
M: I did go a little bit as a kid, sort of here and there. I remember would do summer reading. But then I got into my teenage years and early adulthood and didn’t really utilize them that much. I think it was later in college that I started going to the downtown library because they had – this was before I got into the streaming music services – they had such a good jazz CD collection. I think it had been donated by a radio station that used to play a lot of jazz stuff, the Oscar Treadwell jazz collection. That’s what got me into it. Then I thought this might be a cool place to work, and that’s what led me here.
H: What sort of things do you like to read, and what are you reading right now?
M: Mostly fiction. Although I’d like to read more nonfiction, I think sometimes reading is a nice sort of escape from reality. So I like reading fictional stories. I’m reading this Cormac McCarthy book right now. It’s the third part of a trilogy he has called the Border Trilogy.
H: Cormac McCarthy is so bleak!
M: Oh I know, that was the exact same reaction Holly [Prochaska, Preservation Librarian] had!
H: Oh he’s a wonderful writer. Just bleak.
M: Yeah, he’s great, one of my favorites. His prose is so beautiful, but the actual contents of the story is so dark and depressing sometimes.
H: You read it and you gotta take a break.
M: Yeah, so I’ve been chipping away at this one and afterward I’m going to take a break. I’ve also gone through phases where I’m really into science fiction and kind of fantasy stuff sometimes. I think maybe when I get done with [the Cormac McCarthy], I’ve been wanting to maybe start Dune.
H: I’ve tried Dune like three times. It’s so dense.
M: That’s what I hear.
H: It has a glossary.
M: I’m wondering if I can get into it or not because I was really into Tolkien. I did The Silmarillion a few years ago, and that was the only book where I’ve had a little sheet that just had notes on it.
H: Then you’ll probably be fine. I had an ex who read it. He loved it, but it was a lot.
M: Some other favorite authors…I like [Kazuo] Ishiguro a lot, probably one of my favorites, and Vonnegut.
H: Vonnegut’s great.
M: I really like his sense of humor, it’s very much up my alley. I also don’t think I mentioned the name of the book that I’m reading, the McCarthy one, it’s called Cities of the Plain. The most famous of the trilogy is the first one, All the Pretty Horses, and then The Crossing, and this is the third one.
H: Do you have a favorite book?
M: Let me think…I really love the Lord of the Rings trilogy. I could pick out a favorite of the movies, but not the books. I also liked Blood Meridian; I read Song of Solomon, a beautifully written book. I also enjoyed Never Let Me Go. That was Ishiguro, a really sad one, very beautiful.
H: That was adapted into a film.
M: I haven’t seen the movie yet, and I think I started it one night but then…I think I got worried. The story has such a high place in my head, it might live up to it. Sometimes for that reason if there’s a movie version I’ll watch it first and then read the book. But yes, those are a few of my favorites.
H: So you are a jazz musician. What led you to that?
M: That’s a good question and kind of similar to what you’re saying about how there’s like kind of two types of people who get led into libraries. I found there’s sort of like two kinds of a paths that lead people into jazz, and I was kind of in the middle of it. It’s usually either band kids in high school –
H: [raises hand] I was a band kid.
M: – they get into it, but then also it’s also people that like the hippie Grateful Dead sort of jam bands.
H: I like those too.
M: That’s how they get into it, more improvised music.
H: It’s very technical.
M: Yeah, so that kind of start it for me. I started playing electric bass when I was probably 14 or 15. I got really into it, I wanted to learn everything I could about it. And then I started learning about all these jazz musicians and hearing some good bass players. You check a record out and that led me down that path. I had a lesson teacher, and he pitched the idea of going to school for music. There’s a couple of programs where you can do what they call commercial music, if you want to study music in college, a jazz or classical degree. I thought, ‘Oh yeah, I wouldn’t mind going to school for a jazz degree’. Through that I got really immersed in the jazz world and fell in love with it and have been doing that ever since.
H: So not the Miles Davis route, starting with classical and hanging out in jazz clubs?
M: Yeah, there’s a lot of people who do that, it’s funny. I feel like a lot of the famous acts were classical musicians who kind of got into jazz, which is also cool.
H: What other musical genres do you listen to?
M: It’s kind of all over the place. I like a lot of hip-hop, the current modern stuff and some more classic stuff too. I like folk music and I play in a folk band, although we’re kind of losing momentum right now. Everybody in the band other than me keeps having kids, which make rehearsing a little difficult. But I grew up in the time where the pop punk emo thing was real big, so I will always have a soft spot for that in my catalog. Usually if I like something, I’ll just save it. I was listening to Bob Marley recently; I mean, everybody knows he’s great, but I couldn’t remember the last time I just sat down and listened to him. So, a pretty wide range of stuff, but there’s a few things I gravitate towards. I will end up listening to indie rock and folk more than other genres.
H: Is there a piece of music that you’re obsessed with at the moment?
M: That’s a good question. Let me look here and see if something stands out. [He flips through his phone briefly.] There is a Gregory Allen song called Dark Dark Dark that I really like. I’m going to go with that one.
H: Do you have any other hobbies?
M: I like going to the gym, although I can sometimes kind of slack on that. I feel like lately my life has just been a lot of music stuff and this job and I haven’t been doing too much else, but I really do like being outside, just hiking and stuff. I want to go camping more.
H: We’ve had good weather for it.
M: Absolutely! I also like traveling. I mean, everybody does, but you know, I like getting out to see stuff. Other than that, I’m somewhat into movies, TV shows, nothing super wild at the moment though. I have a bunch of hobbies that I’ve been meaning to get to, that I want to give a shot. I just never seem to find the time for it.
H: I know you’re a coffee guy, you come in with one every morning.
M: [laughs] Yeah.
H: So instead, Coke or Pepsi?
M: I would say Coke over Pepsi. Not that I have anything against Pepsi! In terms of cherry cola I used to like Wild Cherry Pepsi better, although I feel like I never see it around anymore. But yeah, I would say Coke.
H: Do you have a favorite movie or movie genre?
M: I really like science fiction movies. That’s maybe my favorite genre. And I’m going to Cormac McCarthy again, but I really like No Country For Old Men. The Life Aquatic with Steve Zissou, that Wes Anderson movie, that’s up there. As far as sci-fi goes, I liked Arrival; it really stood out to me.
H: What is your favorite time of year?
M: Fall, especially living around here. We have all the leaves changing, and the temperature is nice and not too humid. You can still go outside and do stuff.
H: Do you have any pets?
M: I have a dog named Baby Redbone. He’s a rescue. A significant other and I found him living on the street. We lived in Northside at the time and we used to take our other dogs out together. There was a school that has since been turned into apartment complex, it was abandoned at the time and we used to run with the dogs and wear them out real quick. One day he was just sort of back there. We initially weren’t going to keep him. She mentioned that he was just a baby, so we were calling him Baby. We thought maybe he was a Redbone coonhound because he’s got this real reddish coat, like he’s definitely part pitbull. So the name just kind of stuck. When we parted ways, she kept the other dogs, and I kept him. We weren’t having any luck finding anyone to take him from us. People don’t like having dogs sprung on them! He’s a decent-sized dog, 63 pounds or so.
H: Yeah, we have a pit/rot mix and he’s like 100 and he’s so much dog, but just the sweetest thing I’ve ever met.
M: Oh goodness, yeah. They’re so sweet. My theory is [pits] are very trainable and receptive to things, so if somebody has bad intentions with them, they can get them to be mean, and if someone has good intentions, they can get them to be sweet too.
H: I find that they often work best when they’re mixed with something.
M: Yeah, totally. You’ll have to show me pictures of your dog at some point.
H: And finally, can you leave us with a random fun fact about yourself?
M: I haven’t tried this in a while, but I feel like I could still do it, but when I was in elementary school we had an after school program, a unicycle club where our gym teacher trained us all up to ride unicycles, and we rode in parades and stuff. So I guess my fun fact would be that I can ride a unicycle!
H: That is a very fun fact.
M: It’s been a little bit since I’ve tried it. Somebody had one at a party awhile ago and I tried. It still worked. I feel like my body would remember how to balance like just sort of like a bike.
H: Very cool. Thank you!
I hope you enjoyed getting to know Matt as much as I did!
Hyacinth Tucker [UCL] – Conservation Technician & Bindery Processor
We’re excited to announce that the Madisonville branch is in its final stages to re-open their newly renovated space! Please join the library for the opening event March 18th! At the event, the Genealogy and Local History Department staff member, Chris Smith will talk about Madisonville’s history from 3:30 pm – 4 pm.
During the event, the Madisonville scrapbook will be on view for festivities March 18th.
Because this material is HUGE and considered a rare irreplaceable item, both the book and cradle were hand delivered from one building to another by Preservation Lab and Madisonville staff. Below are “behind the scenes” images showing the delivery of these oversized materials.
View of book in its prior home location, recently cleared of books:
For transport, the oversized book was stored in a lightweight (but strong!) custom enclosure:
The custom enclosure consists of multiple light-weight layers and flaps of foam, all tied together with cotton ties, as shown in Chris’ schematic. This enclosure will be used both for transport and for long-term storage.
Once packaged, both the book and cradle were hand delivered to their new home next door:
The book now awaits the re-opening event while staff continue unpacking the rest of collections!
We hope to see you there!
Ashleigh Ferguson Schieszer [CHPL] – Rare book and paper conservator
To read about the conservation of the scrapbook and construction of the book’s cradle, please see the treatment documentation and a prior blog article titled, Madisonville Scrapbook.
As a bonus, to celebrate the completion of the oversized treatment, Chris created a comic you can fold from an 8 1/2 x 11 sheet of paper. Check out the printable file below! Instructions on how to fold can be found on the Preservation Lab’s YouTube channel video titled Preserving Scrapbooks beginning at the 10:42 time stamp.
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 Specialist position.
The Conservation Specialist 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 Public Library’s Main downtown branch will complete renovations to include a Story Center, with estimated completion fall of 2023. The Story Center will work closely with the special collections Genealogy department at the Public Library, Digital Services, and the Preservation Lab to collect, curate and preserve the experiences, histories and stories of communities, with a focus on communities of color and historically marginalized groups. Collaboration with members of Genealogy, Digital Services, and Story Center staff are an essential component of this position. The successful candidate will also demonstrate an interest in working directly with the public.
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.
Pay rate begins at $17.85/hour. The pay range is $37,128 – $51,979. The position will remain open until filled.
For more information about job duties and how to apply, please visit: https://recruitingbypaycor.com/career/JobIntroduction.action?clientId=8a78826755712ad4015573d869f00055&id=8a78859e84c012b10184e2b7555128d5&specialization=8a78826755712ad4015573da172e0079&lang=en
Ashleigh Ferguson Schieszer [CHPL] – Rare book and paper conservator
Cleaning out old historic papers from the lab closet inspired me to investigate finding a reference material that I enjoyed using at other institutions: the Print Council of America Paper Sample Book. A Practical Guide to the Description of Paper, by Roy Perkinson and Elizabeth Lunning, Boston 1996.
While there are many fine art applications, this book is used in the field of paper conservation when describing papers in an examination report. The reason for this is to establish a visual standard since descriptors can be quite subjective. Cream, beige and light brown to one person could be perceived as opposites to another. However, using this booklet, a large range of colors, textures and thicknesses are definitive and straightforward to select when comparing the samples to the object in person.
I first gained experience using the reference in graduate school and thought it could be a valuable resource for the Preservation Lab, especially for staff and students learning to examine objects for the first time. However, I was under the impression it was out of print because the booklet was created by the Print Council of America a few decades ago and contains a limited number of hand cut paper samples. With the lab’s newly found historic paper samples in mind, I emailed the Print Council Of America to seek permission to create a facsimile. Lo and behold, I was thrilled to learn the books were still for sale and no boot-legging necessary!
Ours arrived just this week and I’m excited to share the tri-fold booklet below! Paper colors are defined on the left, thicknesses outlined in the center, and textures displayed on the right.
How to use:
When describing a paper object (or text block) in the description section of the treatment report, I will now reference this booklet to describe the color, texture and thickness using this terminology. Colors include: Light blue, blued white (which looks gray to me!), bright white, white, cream (1), cream (2), cream (3), beige (2), and brown. There are seven types of thickness and nine types of textures to select for comparison ranging from very smooth to rough (3). The accompanying pamphlet has great information to further define the terms, including a measurement chart for the paper thickness (should you prefer using a micrometer), and provenance of all the sample papers.
Let’s use the booklet to describe a handwritten note by Abraham Lincoln from 1864, owned by the Cincinnati and Hamilton County Public Library:
Before having my hands on the booklet, I would have described the object as follows: The manuscript is handwritten with brown iron gall ink on a light beige handmade laid paper. Comparing the object to the Print Council of America sample book, the manuscript could be better described as:
…a manuscript handwritten in brown iron gall ink on a cream (1)…
…a manuscript handwritten in brown iron gall ink on a cream (1), medium (2) thick…
… a manuscript handwritten in brown iron gall ink on a cream (1), medium (2) thick, smooth, handmade laid paper.
Much improved from my initial description that indicated the color was light beige!
When using this booklet as a reference for reports or surveys, at the bottom of the report, I’ll begin adding a footnote that says, “[1] All paper descriptions by comparison with Print Council of America’s Paper Sample Book (Roy Perkinson and Elizabeth Lunning, 1996). This will allow other conservators and practitioners familiar with the book to have a point of reference when reading my report, even on the other side of the country! In the future, this can also help in identifying shifts in paper tone caused by aging paper.
Ashleigh Ferguson Schieszer – Lab Co-Manager, Rare Book and Paper Conservator
In celebration of ALA’s annual Preservation Week (April 24th-30th), Preservation Lab staff will be offering live demos and show & tells this week and next, both at UC Libraries and the Cincinnati and Hamilton County Public Library:
Each session will be unique, with different staff members showing off different aspects of preservation and conservation!
Jessica Ebert [UCL] – Sr. Conservation & Photographic Documentation Specialist
As mentioned in a previous blog post, Andrew and Naomi from Case Western Reserve came to the lab in late February to demo the MISHA portable multispectral imaging system, made possible by a National Endowment for the Humanities (NEH) Research Grant awarded to the Rochester Institute of Technology. In total, Naomi and Andrew imaged five objects from the Public Library, UC Libraries, and one of our third-party institutional clients. Imaged books included, one Otto Ege item, two Book of Hours, one undated Latin music manuscript, and a Pentateuch volume from Hebrew Union College. In all, thirteen separate capture sessions were carried out for the five objects. Afterwards, the raw data from the capture sessions was shared with the Lab via OSF (Open Science Framework) so that I could process the data in the NEH grant supported open access RCHIVE (Rochester Cultural Heritage Image processing and Visualization Environment) software.
The image gallery above shows the recto of leaf 32 from the Public Library’s copy of Fifty Original Leaves from Medieval Manuscripts, Western Europe, XII-XVI century, by Otto Ege.
While each of the capture sessions took only two minutes to complete, I found that processing the raw data took me a bit longer to figure out. Processing the data felt very similar to using CHI’s RTI Builder and Viewer software. However, in this situation I did not have a week-long training opportunity to learn the ins and outs of the software and its functions. For the Spectral Analysis App, I had only a couple of brief documents to refer to, so the learning curve was a little steeper. I also experienced some issues with the software while processing the data with the flatfield files provided from the capture session. But in the end, the processed files seemed fine without the flatfield data, so it all worked out.
What I discovered through processing all the MISHA data and then comparing it to the existing specialized imaging done in the Lab was that the suite of imaging we do in the Lab is very well rounded and, in general, suits our needs and our clientele quite well. In many cases, our results were at least comparable, if not better (specifically within the UV wavelengths) than the results accomplished using the MISHA. And, especially with our UV workflow, though our current capture time might be slightly longer than that of MISHA, the data processing time is significantly shorter and, in the case of UV especially, the side-by-side results of the accurate normal illumination next to the full color UV image(s) is ideal for our purposes.
The images above show an example of scraped text on parchment from UC Libraries Hours of the Virgin from 1475, currently in the Lab for treatment. Compare these MISHA generated images to the documentation performed by Catarina Figueirinhas and myself using the Lab’s equipment and processes below.
That said, I am fully aware that not everyone has access to the equipment/training that I have been fortunate to curate/experience over the last five plus years. Also, not everyone uses their finished data exactly how we do. For instance, the needs and expectations of a conservation lab and cultural heritage institutions can be very different. Even within the conservation field, how we use the data provided by specialized imaging in our hybrid book and paper lab is quite different from the kind of data needed by a fine arts conservation lab. Ultimately, I think the core audience for a system like the MISHA system is an organization looking to expand their suite of imaging services, or an institution with no multispectral imaging infrastructure interested in imaging collections in a quick and easy manner. Though for the latter, I would say that there is a big learning curve in manipulating and processing the data, but if greater focus is put into making the software and processing steps user-friendly, especially to novice users, it is completely manageable. And if this step is taken, I think the system could help a lot of institutions dive deeper into the materiality and history of their collections.
The images above depict another example of faded, scraped text. This flyleaf is from an undated Latin music manuscript that is part of the Public Library’s collection. The images below represent imaging done by the Lab, both normal illumination and UV radiation, with the goal to increase the legibility of the inscription.
In the end, multispectral imaging is just plain FUN! So, the idea of making it more accessible to a wider audience is extremely exciting and I think the work that NEH, RIT, and colleagues like Andrew and Naomi are doing to share the power and wonder of multispectral imaging is amazing. The idea of a portable multispectral imaging system with free processing software that does not take a PhD to use is boundary-breaking, and it gives us a glimpse into a future of accessible and exciting imaging, which thus allows us to see and understand more of the past. I will always be an advocate for that kind of imaging!
Jessica Ebert [UCL] – Sr. Conservation & Photographic Documentation Specialist
I love matting projects! Matting is an elegant way to present images and documentation for exhibition. We received a collection of letters and images from Abraham Lincoln in the lab from the Cincinnati and Hamilton County Public Library (CHPL) for preservation and conservation. After our conservator Ashleigh Schieszer completed the preliminary work of removing the artifacts from all the acidic and harmful elements they were previously in contact with, we collaborated on the matting choices. One cool thing I just love about this job is the opportunity to make tiny models of our intended work. Obviously, we can iron out some of the bugs and problem solve unforeseen obstacles with models, but making a tiny representation of my work is not only great to have as a future reference but is just really cool.
So, for one of the previously matted compilations the curator suggested retaining the beautiful custom mat for the finished system. This presented a problem because of the acidity in the original mat. The solution we came up with was to create an archival buffer mat between the original mat and the artifacts. Easy-peezy.
To mount overlapping objects, we decided to secure them to different mat board layers. For example, the document on top will be attached to the back of the archival buffer with a polyester sling while the letter and portrait will be mounted to the backing board with edge strips or photo corners.
We also added a custom portfolio for transportation and long term housing.
Chris Voynovich (CHPL) – Conservation Assistant