We’ve reached the end of Preservation Week and what better way to celebrate than with a fun how-to video on our Lab’s YouTube channel?!
This video goes over how to make a collapsible punching cradle, step-by-step. Punching cradles are a useful bookbinding tool to have on hand in your toolbox. They allow you to create uniform sewing stations in your signatures or gatherings when you are preparing to sew a textblock. Best of all, this type of punching cradle is fully collapsible and easy to store while not in use; especially when you make one of these simple slipcases to hold all the pieces.
Here you can see a collapsed punching cradle stored in a paper slipcase made with marbled paper (left) and a punching cradle assembled and ready for use (right).
Don’t forget to “like” our video and subscribe to our YouTube channel to stay in the loop when we post new videos to the channel. If you decide to make your own punching cradle, we’d love to know what you thought of the video or, even better, tag us in a photo of it on Instagram (@thepreservationlab).
We hope you’ve enjoyed celebrating Preservation Week 2021 with us! We look forward to celebrating our 11th annual Preservation Week next year…maybe even in person this time?!
To celebrate nationalPreservation 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.
The left side of the image shows the front cover under normal illumination, or what you see with your naked eye, whereas the right side is a RTI generated image using the specular enhancement mode.
This generated snapshot illustrates the Static Multi Light mode. Below the center panel that features a portrait of Martin Luther you can see “1571”, and above the panel you can see “ID”, both of which are virtually impossible to see in the normal illumination image.
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.
Before Treatment – Initial condition of the book when it was received by the Preservation Lab. The text block was split, the sewing was broken, and several pages were torn or had paper loss.
After Treatment – Conservation treatment complete. After the text block was repaired and resewn, the book received a new split board binding that allowed the heavy book to be read while mitigating further damage.
After Treatment – The new split board binding provided the book a more flexible opening.
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.
The book block before treatment was highly damaged, so much so, that it was difficult for library patrons and staff to access and use the item without a cover.
Handling the book, you’d never know the hours of labor that went into the treatment (including learning!), but its functional form makes it ready for use once again.
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 Haggadahowned 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.
The top image shows the book open to smaller sized printed leaves before treatment. Leaves are previously reformatted with yellowed tape along the edges, attached to larger paper frames. Paper frames are cockled and distorted. The middle image shows a detail of untrimmed, full-size manuscript leaves. The bottom image shows the fore edge of the binding before treatment.
These images show the model that explores a solution to encapsulate the smaller pages into polyester sleeves that could be sewn into the binding next to the larger pages. This required staff to weld polyester sleeves with paper hinges that could be sewn through like a gathering.
The image shows the binding ready for resewing with its new encapsulated leaves, or pages, next to the created model.
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!
Before cleaning; albumen card (note the finger prints in the upper right corner). The image depicts the photographer as a soldier.
Cloth-covered clamshell exterior.
Cloth-covered clamshell interior, with piece opened to surface cleaned soldier image in integrated cradle.
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.
View of the opened cloth-covered clamshell with the two removeable trays in place. The trays contain the collection of cased photographs in tuxedo boxes with labels for easy identification.
This image shows the bottom tray partially pulled out, displaying the two larger cased photographs.
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”.
Wednesday 28th – We’ll be sharing our “Favorite Treatments/Projects” right here on our blog.
Thursday 29th – Catarina and Jessica will be “Live in the Lab” at 12pm for an Instagram Live event hosted by @cincylibrary
Friday 30th – We will have a new video up on our YouTube channel – “How to Create Your Own Collapsible Punching Cradle”.
We hope that you can join us for all the activities we have in store for Preservation Week 2021. If you can’t wait for the celebration to begin, then check out our past Preservation Week activities!
