Category Archives: Book

Nests and Eggs on Display at the Cincinnati Symphony Orchestra

Illustrations of the Nests and Eggs of Birds of Ohio are on display at the Cincinnati Symphony Orchestra March 1st and 2nd as part of a musical program honoring Oliver Messiaen who was both a major composer of the 20th century and an ornithologist.

Synesthesia

Oliver Messiaen is well known for studying bird songs and interpreting their notes into musical transcriptions. His works are also unique in that Messiaen experienced synesthesia which greatly influenced his creations. Synesthesia is when a person perceives more than one sense at a time, such as Messiaen who experienced colors when listening to music and was able to see sounds. 

Cincinnati Symphony Orchestra Program

The program at the CSO honors Messiaen by incorporating both music, color, and bird visuals to invite the audience to experience a unique multi-sensory experience. Messiaen’s Des canyons aux étoiles (“From the Canyons to the Stars”) will be performed  by the conductor, Matthias Pintscher, and pianist Pierre-Laurent Aimard.

Click the image for a link to the digital program for the CSO Proof: From the Canyons to the Stars

“Inspired by his visits to Utah’s Bryce Canyon and Zion National Park, Messiaen’s Des canyons aux étoiles (“From the Canyons to the Stars”) depicts the birdsong and red rock hues he experienced during his time in the desert… Accompanied by immersive video-art, Springer Auditorium will be transformed, allowing listeners to escape into the southwestern landscape and experience a synesthesia of their own.” – As described by the CSO website

Nests and Eggs

Complementing the musical performances, on display will be a page from Cincinnati and Hamilton County’s Illustrations of the nests and eggs.  The page showcases a local Ohio native, the Wood Thrush, who lays bright blue colored eggs within a nest made of old leaves, dried grasses and moss (rarely sticks).  The nest of the Wood Thrush also contains “rootlets” placed intentionally inside of the nest, resulting in a pinkish brown or black lining. The nest is “plastered” with a thin mud that is easily missed as it’s thoroughly worked in and covered.

Nests and Eggs, while lesser known than Audubon’s Birds of America, is quite extraordinary in how it highlights the uniqueness of the construction of nests made by different bird species. Take for instance, the Baltimore Oriole’s nest, which primarily consists of strings and flax fibers to create a soft and long pocket.  Compare that to the more traditional nest of the Wood Thrush whose home is bowl-shaped with a wide opening.

Baltimore Oriole – Plate 1
Wood Thrush – Plate II

It’s also extraordinary that the illustrations are detailed lithographic portraits created by Gabrielle Estelle Jones and her family, despite not having been formally trained.  Their work was intended to be used as a companion volume to John James Audubon’s Birds of America.  While not as large as the Birds of America double elephant folios, Eggs and Nests is still an impressively large-sized volume. 

Gabrielle “Gennie” Estelle Jones

The following excerpt was written by Sara Williams, Arts & Special Collections Reference Librarian:

Illustrations of the Nests and Eggs of Birds of Ohio was a project begun by Genevieve Estelle Jones, a native of Circleville, Ohio. Born May 13, 1847, Genevieve, or Gennie, spent much time as a young girl birdwatching in the woods and wetlands with her father, an amateur ornithologist. Just before the age of 30, Jones’ father forbade her from marrying the man she loved, and in 1876, she visited the Centennial World’s Fair in Philadelphia to take her mind off her broken heart. While there, she viewed hand-colored engravings from John James Audubon’s vibrant The Birds of America. Inspired by Audubon’s example, Jones set out to illustrate the nests and eggs of birds, an aspect often missing from his work. Jones completed only five illustrations for her book before she died of typhoid at the age of 32. The work was eventually completed by Genevieve Jones’ family. Only 90 copies of the book were published, of which only 34 are currently known to exist.  

Preservation

As part of the Preservation Lab’s role in displaying the object, a condition report book was created to accompany the item to ensure the object’s condition is preserved. This helps those who are installing anticipate any possible challenges in supporting fragile pages or bindings. In this case, the upper endsheets are extremely brittle and have been previously repaired, but could break again if not carefully draped and held with polyester strapping in a safe manner.

After determining a proper exhibit case to fit and secure the binding, a custom cradle was made. To protect weak points of the binding on display, a support was constructed out of 8 ply museum mat board to support the heavy and oversized pages from stress along the joint.  

Solutions were tested to fit within an 18 inch deep case, however, the book was just too large!
A custom 8 ply mat board cradle was created to fit within a more appropriate 4 ft case. Pages are strapped with polyester strapping

Before an object travels, it’s often reviewed to make sure it can handle transport and treated if necessary.  Luckily, in this case, the binding was treated in 2016 and is still in great condition for its age.  When it received treatment, at that time it received a lightweight yet strong enclosure that will also work well to safely protect the item for travel to the CSO.

Corrugated banker’s box with a drop spine houses the Nests and Eggs book. Binding and exhibit labels are ready for packing.
A 4-foot case was kindly loaned to the CSO from the Behringer-Crawford Museum and is ready for use! (Image credit: Amber Ostaszewski)
  • Entrance to the Founder’s Room
  • Bird sounds were played in the entryway
  • During staging of the exhibit
  • Nests and eggs on display in the Founder’s Room
  • The Founder’s Room
  • Night of the performance
  • Entering the theatre
  • Not visible are the camping chairs and fire pits in the orchestra pit

Additional Resources

Interested in seeing more Nests and Eggs?  The entire binding is conserved and digitized where it is made publicly available online. More information about Gennie’s fascinating and tragic history can be read at the Linda Hall website.

CSO Program Dates

There are two programs where you can view the item on display, Friday, March 1st and Saturday, March 2nd, both at 8pm at the Music Hall. Interested? Click here for the digital program.

We hope to see you there!

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

What ſay you! A brief look at the “long s” and its usage

Introduction To The Long S

I was recently building an enclosure for a book dating back to 1681 entitled The Experienced Farrier. While examining this item I noticed something interesting about the spelling of certain words: often, rather than seeing what normally should be the letter “s” I would see what appeared to be the letter “f.”

Figure 1: An image from The Experienced Farrier, containing what appears to be “strange” spellings.

Since noticing this, I started seeing these seemingly bizarre spellings in other items dating to this period, as can be seen in the title page from a copy of Don Quixote from 1678.

Figure 2: An image of the text from Don Quixote, with further examples of these “strange” spellings.

Identifying The Long S

After some sleuthing, I discovered something interesting: these letters were not “f”s at all. They were a now defunct character known as the “long s.” Closer examination of these letters in the text showed that, although they closely resembled an “f,” the horizontal cross bar did not extend all the way across the letter; it starts on the left side and ends in the middle.

Figure 3: A close-up of the word “most” that uses the “long s.” Note that the horizontal cross bar stops at the center stem of the letter.
Figure 4: The “long s” (left) as compared to a lowercase “f” (right).

This solved some of the mystery, but what about the characters that looked like an “f” where the bottom of it curves to the left?

Figure 5: Another style of the “long s,” depicted as it would appear in cursive handwriting.

The answer is that this is also a “long s,” but depicted how it was written in cursive. If you feel like you’ve seen this character before, you’re probably correct: a notable example of this style of “long s” can be found in the first line of the Bill of Rights. Some may also recognize this character from calculus as the “integral” symbol.

Figure 6: The “long s” that occurs in the word “Congress” as it appears in the handwritten Bill of Rights.
Figure 7: The “integral” symbol used in calculus uses the same character used for the cursive-style “long s.”

When The Long S Was Used

You may have noticed in some of these examples that not every “s” is the long form. So, what exactly were the rules for when and where this character was used?

It’s difficult to say exactly, as the rules changed over time and writers/printers didn’t always adhere to the same rules. However, according to a blog from the National Archives, some simple guidelines for when and where the “long s” was used are as follows:

  • An “s” would use the long form if it appeared at the beginning or in the middle of a word, but only if it is a lowercase s. An uppercase S would not use the long form of the letter.
  • An “s” would not use the long form if it was the last letter in a word.
  • It was very common in the case of a “double s” or “ss”, as in the word “opossum”, for both “s”s to be the long form (opoſſum), unless the “ss” ended the word, as in the word “congress”, in which only the first “s” would be the long form (congreſs). *

*An observant reader may notice that this last rule is redundant given the first two rules; however, mentioning the “long s” in the case of an “ss” is significant in that as this character fell out of favor with writers/printers, one of the last remaining circumstances that utilized it was in the case of an “ss.”

Figure 8: Examples of when the “long s” was/was not used.

Final Observations

Gradually, the “long s” fell out of usage around the time of the late 1700’s-1820’s, although it persisted longer in handwriting. Serendipitously, while writing this blog post, the lab received a first edition copy of Goblin’s Market with a handwritten note inside from the author, Christina Rossetti dating to 1862 that features this use even in the late 19th century:

Figure 9: Although difficult to read, this is the word success (ſucceſs) from a handwritten note dating to 1862 that utilizes the “long s” several decades after it fell out of common usage in printed media.

If you still find words containing a “long s” difficult to read, you aren’t alone; it has been theorized that it was phased out in favor of exclusive “short s” usage as they weren’t as easily confused with other letters and were found to be more legible. The disappearance of the “long s” is a good reminder that language, both written and spoken is fluid with ever evolving rules and norms.

Resources

For further information about the long s and its history be sure to check out these excellent blog posts, that were very helpful in the gathering of information for this post:

Matt McCoy, Conservation Specialist [CHPL]

Fish gelatin: Spreading the word about a book conservator’s new friend

Last year around this time, the lab was fortunate to bring in book conservator and toolmaker, Jeff Peachey for a week-long intensive workshop to learn leather rebacking. While I always expect to walk away with new anticipated skills as advertised by the workshop, I’m ALSO always pleasantly surprised by the tangential tips and tricks shared along the way.  In the case of Peachey’s workshop, there were many! One of my favorites was his use of a fish gelatin.

Introduction to Cold Fish Gelatin

While adhering spine linings to our text blocks, Peachey pulled out a small baggie of fish gelatin he brought with him to the workshop.  He poured the dry flaky powder into a small jar, added room temperature cold water, and mixed it until a liquid-y consistency.  He then added strained wheat starch paste to the gelatin and mixed with water until he was happy with the consistency.  He estimated it was a 40:60 ratio of gelatin to paste. 

Jeff Peachey taught a workshop at the Preservation Lab in Oct. 2022 where he first introduced us to a low-bloom fish gelatin for book conservation that didn’t require heat for use

If you’ve ever used gelatin before, you might be wondering – how is it possible to mix the gelatin without heating?  That’s the beauty of this product – it has a high molecular weight with low bloom strength and is produced from cold water fish which gives it this ability.  It might not be the strongest of the films with a 0-bloom strength, but for a book conservator doing paper repairs that need to be reversible yet strong, this combo still had an amazing tack when dry!

Peachey explained he first heard about the gelatin on a lab tour at the Weissman Center. He recalled Alan Puglia might have been the one who originally investigated the adhesive for pigment consolidation of hundreds of manuscripts for a show. The mention of a high molecular weight Norland fish gelatin was shared during a talk given at the American Institute for Conservation’s 44th annual meeting.  The talk was titled, The Challenge of Scale: Treatment of 160 Illuminated Manuscripts for Exhibition,” by Debora D. Mayer and Alan Puglia.

Peachey also doesn’t take credit for mixing the gelatin with wheat starch paste. He notes that even in Rene Matin Dudin’s 18th century manual, it discusses the “union” of paste and glue in the last paragraph below.

Peachey shares an excerpt by Rene Matin Dudin descripting his 18th century historic use of gelatin mixed with paste.

By the end of the week-long workshop, I had fallen in love with the properties of how well it adhered.  By itself, the fish gelatin had a long working time and didn’t stick until it was nearly dry – but when mixed with wheat starch paste, it combined the best of both worlds.  There was both the initial tack from the paste and a strong adhesion from the gelatin after dry.  I wasted no time in ordering my own sample supply.

Treatments Testing the HMW Fish Gelatin

Over the past year, I’ve slowly incorporated the fish gelatin in treatments and testing more applications. 

  • I first successfully used it to hinge-in heavy encapsulated sleeves into an album containing lung cross sections. After ultrasonically welding a paper hinge into an encapsulated sleeve, I applied the mix of wheat starch paste and fish gelatin to adhere the hinge to the scrapbook stubbing and had wonderful success.  I was able to adhere with confidence that the encapsulation would stay in place and was able to avoid disbinding and resewing.  At one point during treatment, I found I needed to reposition a hinge.  I am happy to report the mixture was as easily reversible as wheat starch paste alone!

Ashleigh Ferguson Schieszer uses the 40:60 mixture of fish gelatin and wheat starch paste to hinge encapsulations into an album, ensuring the heavy encapsulations with paper hinges stay adhered.

  • Most recently, I played around with using it for photographic emulsion consolidation. I used it first as a barrier layer before inpainting, and then to add sheen to in-painted photograph regions that were originally matte in comparison to the surrounding gelatin coating. It seemed extremely easy to apply and clean up was less messy than other photographic gelatins I’ve used in the past.  The sheen was just the right amount of gloss I needed without being overly shiny.  And, best of all, no heat required.
Before in-painting emulsion losses
After in-painting emulsion

Examples of photographic condition issues where the fish gelatin was tested: flaking emulsion was consolidated and a barrier layer was applied before inpainting

  • We’ve also used the gelatin to stabilze breaks in a wooden box originally used to house a Richter’s architecture game from the early 20th century.
Before Treatment
Inserting fish gelatin with syringe
Clamping box during the curing process
  • Jeff Peachey’ main use is to line spines. He’s found it not only has better adhesion than straight paste, but makes the spine feel slightly more solid and resistant to torsional forces
Applying fish gelatin to adhere spine linings
  • In the future, I imagine this gelatin would have excellent potential in media consolidation.

In all these uses, I couldn’t be more thrilled to not have to pull out my baby bottle warmer to set a beaker of gelatin on.  As a result, there was no fuss in worrying about how long the gelatin was heated and if it was losing its properties due to heat.

Example of using a baby bottle or coffee warmer to re-heat pre-made gelatin during typical use

In terms of shelf life, the dried granules can be kept indefinitely like unmixed wheat starch paste.  Once mixed, Jeff suggests that he’s found the adhesive properties hold up for about a week in the fridge; however, it does begin to smell fishy after just a day. So unlike wheat starch paste, if you’re adverse to the fishy odor, you’ll only want to make up as much as you’re planning to use for one day. 

Supplier Info

Interested in getting your hands on some?

I found the product used at Weisman is no longer supplied by Norland – but I was able to track down what appears to be the same product through AJINOMOTO NORTH AMERICA, INC.  If you’re interested in trying a sample, message Henry Havey, the Business Development Manager of Collagen & Gelatin at haveyh@ajiusa.com to request a sample of High Molecular Weight (HMW) dried fish gelatin. 

Fish gelatin sample acquired by the lab in a 500 gram sample bag

They provided me with a 500- gram sample at no cost and confirmed it was a Type A fish gelatin with a 0-bloom strength. Henry Harvey can also provide a pricing quote should you be interested in ordering a full supply which comes in 25 kg packs. They also provided the following product data info sheets:

HMWD-Tech-SheetDownload

While I still covet my isinglass cast films I created from boiling dried fish bladders, as well as our mammalian photographic grade type B gelatin, this HMW fish gelatin is a welcome addition I’ve added to my tool kit.

Ashleigh Ferguson Schieszer [CHPL] – Special Collections Conservator, Co-Lab Manager

Bibliography:

Interested in starting a career in conservation? Join us!

The Preservation Lab, a partnership to preserve and conserve the collections of the Cincinnati & Hamilton County Public Library and the University of Cincinnati Libraries, seeks applicants for a Conservation Assistant position.

The Conservation Assistant is a technician level position with on-the-job training that may appeal to emerging conservation professionals. This position will join a collaborative team of 7 full-time staff members, including conservators, a preservation librarian, technicians, student workers and volunteers to preserve collections from both institutions. The Preservation Lab staff consists of both Cincinnati Public Library and the University Library members. This position is a Cincinnati and Hamilton County Public Library position but is stationed at the University of Cincinnati West campus.

The successful candidate will demonstrate the ability to execute hands-on work with skill.

Founded in 1853, the Cincinnati and Hamilton County Public Library today is one of the busiest and most highly acclaimed library systems in the United States, providing service to over 800,000 residents through a network of 40 branch libraries, a major downtown Main Library, and a Distribution Center.  CHPL holds one of the largest genealogical collections in the United States and many other specialized collections, most of which are housed in the Main library.

Pay rate begins at $15.87/hour. 

Deadline to Apply: Dec 1, 2023

For more information about job duties and how to apply, please visit the Cincinnati and Hamilton County Public Library website.

Ashleigh Ferguson Schieszer, Special Collections Conservator [CHPL]

Facing Anyone?!

Back in October of 2022, The Preservation Lab had the pleasure of hosting Book Conservator, Jeff Peachey, for a week-long workshop on Conservation of Leather Bindings. One of the topics that was mentioned, but not discuss in depth, was leather facing.

No one in the lab had ever faced leather before, so Sr. Conservation Specialist, Jessica Ebert, and I decided to conduct some tests to understand the process, the best materials, and tools. With the research available, Jessica and I focused primarily on two sources, Conservation of Leather and Related Materials by Marion Kite and Roy Thomson and an article written by James Reid-Cunningham entitled Leather Rebacking, for the Seminar in Standards of Excellence in Hand Bookbinding, The Guild of Book Workers, 2013.  

The primary reasons for testing out this technique was the fact that there were leather books from UC’s Archives and Rare Books Library here in the Lab for treatment and they could potentially be good candidates for leather facing.

Let the tests begin!!

Both Jessica and I chose two different withdrawn leather books to test on:

  • A tight back leather book
  • A leather book with false raised bands and a hollow tube
A book in a press
Catarina’s test model (tight back) before facing.
A book in a press
Catarina’s test book model (tight back) after facing.
Book in press awaiting treatment
Jessica’s test book model (tight back) before facing.
Book in press awaiting treatment
Jessica’s test book model (tight back) after facing.
Catarina’s test model (hollow tube with false raised bands) before facing.
Catarina’s test model after the leather facing.
Jessica’s test model (hollow tube with false raised bands) before facing.
Jessica’s test model after the leather facing treatment.

The first step was to consolidate the leather on all the withdrawn books we were using as models. The leather was consolidated with 3% Klucel G in isopropanol. Since there were different methods shown in the available resources regarding leather facing, we decided to use two different methods for facing: facing with Japanese tissue adhered with Klucel G and facing with a Crompton heat-set tissue activated with ethanol. Trying out these two different methods would help us to understand which one of these materials would work best and cause less damage/staining to the leather.

Catarina’s Test Models

After having consolidated the leather, the spine was “divided” in two sections, top and bottom, with a small portion of the spine in between. The reason the spine wasn’t fully faced was because I wanted to see if there were any changes in the leather after being faced, removed, and reattached.

Leather consolidated with 3% Klucel G in isopropanol.
For this model, since the leather was so degraded, it wasn’t possible to get the Japanese tissue to adhere with klucel G. Therefore, only the Crompton heat-set tissue was used.

For this book, the leather was very degraded, and I couldn’t get the Japanese tissue to adhere to the leather spine with Klucel G. As a result, for this model I only used the Crompton heat-set tissue method.

The adhesive on the heat-set tissue was activated by brushing on a thin layer of ethanol. Once it was activated, the heat-set tissue was placed on the spine, and with a tamping brush pressed on the leather. Using a lifting knife, I was able to remove the leather spine, leaving the middle portion still adhered to the text block for comparison.

Two portions of the spine fully removed.
Leather spine removed, and two portions of the spine faced.

Once the leather spine was removed, I relined the text block spine with a reversible layer of Japanese tissue and wheat starch paste. The two portions of the leather spine were lined from the back with Japanese kozo fiber tissue and wheat starch paste.

At this point, there were two different ways to follow, I could adhere the faced spines to the text block and then remove the heat-set tissue, or I could remove to heat-set tissue first and then adhere the leather spine to the text block. I decided to first remove the heat-set tissue by activating the adhesive again with ethanol and gently removing it with a Caselli spatula. Once the heat-set tissue was fully removed and the leather was dry, I reattached each portion of the leather spine to the text block with wheat starch paste.

Completed book in press
Two portions of the leather spine adhered to the text block spine.

For the leather book with false raised bands and hollow tube, the process was very similar. However, for this model I was able to try out both the Japanese tissue adhered with Klucel G as a facing method and the Crompton heat-set tissue.

Book in press and the spine being removed with a lifting knife.
Test book model with false raised bands and hollow tube.

The spine was “divided” in two sections: top portion was faced with Crompton heat-set tissue activated with ethanol and the bottom portion of the spine was faced with Japanese kozo fiber tissue adhered with Klucel G.

Using a Peachey lifting knife, I was able to remove both portions of the spine. On the top portion of the spine, I ended up not removing the previous hollow tube, but removed it completely on the bottom portion of the spine.

book in press with the spine removed
Leather spine was removed. The hollow tube was not removed on the top portion of the spine and removed completely on the bottom portion of the spine.
Leather spine removed and facing intact
Two sections of the leather spine faced with different methods.

Once the two portions of the spine were removed, a new hollow tube was created to adhered to the bottom portion of the text block spine. The hollow tube was mode of Griffin Mill Broadsheet 60 gm/115 gm paper. The new hollow tube was adhered with wheat starch paste.

Again, I decided to remove the facing tissue before adhering the leather spine back on. With ethanol, I was able to remove the facing tissue from both pieces of the spine. As seen in the pictures below, while removing the Crompton heat-set tissue there was some loss of the leather along the edges and where the leather was most degraded already.

  • New hollow tube adhere to the bottom section of the spine.
  • Removing the Crompton heat-set tissue with a Caselli spatula and ethanol.
  • Removing the Crompton heat-set tissue with a Caselli spatula and ethanol.

Each spine piece was lined on the verso with a Tengujo tissue and wheat starch paste. This provided some support to the fragile leather spines. The two pieces of the spine were then adhered back on with wheat starch paste.

  • Leather spine after being faced, removed, and reattached.
  • Leather spine after being faced, removed, and reattached.

Jessica’s Test Models

Here are a few of Jessica’s test models (she has a better eye for taking good photographs throughout the process).

  • Tight back leather binding before facing.
  • Spine faced with Japanese tissue adhered with Klucel G and with Crompton heat-set tissue.
  • Mid process, spine fully detached.
  • Two sections of the spine faced with different materials.
  • Tight back test model after facing.
  • Leather book before treatment
  • leather book with facing attached
  • Spine being lifted with a knife
  • Leather spine removed and placed next to the book
  • portion of leather spine with facing removed
  • completed book in press

Final Thoughts…

This was a great project that Jessica and I worked together. It was useful to test out different methods using different types of books with leathers in various stages of deterioration. We learned that Japanese tissue may not be able to be used as a facing material when coated with Klucel G, since in one of the tests I did, it did not adhere to the leather. This could lead to further testing, perhaps working with a Klucel G of a different concentration since we only used a 3% concentration for these tests. In addition, depending on how degraded the leather is, using a Crompton heat-set tissue may not be an ideal good solution for every item as it created some damage on the surface layer of the leather spine of our of the test books. Finally, at least in one of my models, the leather became darker than it was originally. There is still more testing and practice to do before we use this technique on a collection item, but this was a great place to start.

Catarina Figueirinhas [UCL] —- Assistant Conservator

Online Treatment Presentation: Join us April 10th!

To celebrate the upcoming festival of Passover, please join Hebrew Union College and the Preservation Lab for a virtual presentation about the treatment of one of the earliest printed illustrated Haggadot in the rare book collection of the Klau Library.

Tzafun: The Behind the Scenes Work of Repairing the 1526 Prague Haggadah

  • Overall of opening before treatment
  • View of broken sewing and poorly aging repairs before treatment
  • Overall view of leather binding before treatment

Dr. Jordan Finkin, Rare Book and Manuscript Librarian and Co-Director at Hebrew Union College Press will kick off the talk with a discussion about the significance and history of the Haggadah in the greater context of Haggadot Jewish book printing.

Ashleigh N. Ferguson Schieszer, Rare Book and Paper Conservator, will follow by describing the intricate process required to restore the binding and its contents. In this session, Ashleigh will discuss how she met the challenges facing her with this amazing historical work to reverse earlier poorly-done repairs. These treatments were conducted over several years, and included preservation of handwritten songs later added to the Klau’s copy.

Please join us at 11 am on April 10th, 2023 for the hour-long session by registering for the event here.

Check out the recorded session, now available on the HUC-JIR YouTube channel here.

This project was funded by the generous donations of Dr. Valerie Hotchkiss and Dr. David Price.

To learn more about Hebrew Union College (HUC) and to check out their ongoing events, please visit HUC’s website at https://huc.edu/libraries/library-events/.

Ashleigh Ferguson Schieszer, Conservator [CHPL]

A New Home For the Madisonville Scrapbook

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:

Scrapbook & cradle in room empty of books
Cradle in prior location
Scrapbook cover
B

For transport, the oversized book was stored in a lightweight (but strong!) custom enclosure:

Two flaps of foam were first sandwiched under a flap of board
Chris Voynovich closes all flaps
Flaps were secured with integrated cloth ties

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:

Cradle hand delivered next door by Terry Barnum and Chris Voynovich
Bottom view of cradle
Book strapped to dolly
Book is oriented spine edge down for safe transport

The book now awaits the re-opening event while staff continue unpacking the rest of collections!

Boxes being unpacked in new space
Children’s area is coming together!

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.

ScrapbookOnePgWonder_CV_withInteriorDownload

Challenge of a Millennia: How to Store an Oversized Clay Tablet?

The University of Cincinnati’s Archives and Rare Books Library owns a few cuneiform tablets that date around the 1st century BCE.  Most are small enough to fit within the palm of your hand.  However, the clay tablet in question measures 14 inches (W) by 14 inches (T) x 4.5 inches (D) and weighs roughly 40-50 lbs.

Assyrian cornerstone during surface cleaning

More accurately, it is thought to be an Assyrian cornerstone that dates between 860 and 824 BCE.  It is described in the catalog record to be from the ruins of Calah (near Ninevah) on the Tigris River.  It is likely the cornerstone of a temple or palace erected by Salmanser III, king of Assyria. The provenance of how the University acquired the tablet is uncertain.

A translation of the cuneiform writing reads, ““Salmaneser, the great king, the mighty king, king of the universe, king of Assyria, son of Asurnaserpal, the great king, the mighty king, the king of Assyria, son of Tukulbi-Ninib, king of the universe, king of Assyria, and indeed builder of the temple-tower of the city of Calah.”

  • Front, Raking Illumination with Reflectance Transformation Imaging (RTI) by Jessica Ebert
  • Front, Normal Illumination by Jessica Ebert
  • Back, Raking Illumination by Jessica Ebert
  • Back, Normal Illumination by Jessica Ebert

After surface cleaning and digitizing the cornerstone, finding suitable storage for an Assyrian cornerstone tablet seemed like a straightforward task in the beginning.  I thought, “Let’s get it off the floor, house it, and protect it from dust!”  No problem, right?

But once we got the item back in the lab, the weight of the object combined with its fragility proved more of a challenge after Chris, Holly and I began thinking about how the object would be retrieved from storage and how it would be handled.  Rather than being stored in specialty shelving (such as items might be in a museum), this item was a library item.  We needed to fit the tablet amongst archival book shelving.  We were also faced with the prospect of transporting the cornerstone up and down a flight of stairs from the secure rare book storage. There is no easy elevator access!  And finally, once it was put in an enclosure, how would a librarian get it out to show researchers and students?

We decided on an industrial case with wheels that could be transported and stored anywhere. I knew I wanted a device with handles to pull the object in and out of the case, but immediately decided against the idea of ratchet straps. The threat of fracturing would be too great if the ratchet straps were over-tightened.

After careful thought (and the creation of mock up solutions!) the following custom design was created in five stages:

1. A waterproof, shock-proof rolling Nanuk 950 case (similar to a Pelican case) was purchased.  

Nanuk case open
Nanuk case closed
Labeled Nanuk case

2. The interior was customized with foam and supports.

Tyvek covered base
Bottom foam cutouts
Upper foam cutouts

3. The lid was fashioned with a Tyvek pillow screwed to the top with an interior Coroplast sheet.

Marking screw holes
Coroplast screwed to lid inside pillowcase
Sealing pillow filled with polyester

4. The cornerstone was wrapped around all sides in a foam sheet with four flaps.

Foam flaps secured with Velcro
Unfolded flas

5. A cloth wrapper with custom handles was sewn to support the tablet during insertion into and retrieval from the case.

Sewing cloth wrapper
During creation of handles
Completed wrapper

In addition, life-size surrogate photographs were printed by Jessica Ebert and stored in a polyester sleeve within the case.  These images may prove even more useful during exhibition or teaching than seeing the actual tablet as they were captured with raking light that beautifully highlights the cuneiform writing.  They could even be used as an alternative to handling the heavy tablet.

To help guide future librarians on how to handle the cuneiform tablet in the future, handling instructions were provided, a handling video was created, and a QR code of the video was pasted onto the case. Check out the video below.

I was appreciative to have been able to hearken back to my object’s conservation experience working at the Musical Instrument Museum. My prior experience helped guide me to dust the tablet and store surface cleaning samples, however, this was a project that took me out of my library conservation comfort zone.  The knowledge required to house such an object (and the amount of textile sewing used to create the cloth wrapper!) gave me even more appreciation for the work objects and textile conservators do to preserve our oversized and heavy materials – especially when transporting and taking them on and off display!

Ashleigh Ferguson Schieszer [CHPL] – Rare book and paper conservator

Video by Jessica Ebert

Hidden Treasures in a 1791 English Bible

The lab received a heavy bible in exceptionally bad condition. The spine was almost nonexistent, with the leather fragments that were hanging on “by a thread.” There were many breaks in the sewing and the book block was in many pieces. The boards were also completely detached making it nearly impossible to handle. With pages that were water stained, the culmination of condition issues demonstrated how the bible had been around the block (a couple times!).

Bible as received
Hidden treasures discovered

While examining the book in preparation for constructing a housing solution, there within the pages I unexpectedly discovered plant specimens! There were quite a few different types. While impossible to know for sure, it seemed to me at one point these specimens were added to mark significant passages. For example, there is a passage in the Christian bible that reads, “And the leaves of the tree are for the healing of the nations,” Revelation 22:2. When I saw the added plant specimens near this passage, my mind immediately went there.

Before preservation
After rehousing

It’s funny how things can trigger thoughts and emotions. With a religious item such as a bible, the dried plant fragments made me imagine how a reader might be moved spiritually to express something they felt deeply in the text in a material way. I was also inspired and glanced at passages beneath the plant specimens seeking out hidden connections. My quest sometimes proved rewarding while others I was left to ponder the hidden meaning.

After rehousing, book is wrapped in foam with cloth ties

The unique plant specimens were retained and stored in polyester sleeves in the same position on each page as they were discovered.   Upon the completion of sleeving, I also consolidated and performed minor leather repair and care to prevent leather fragments from falling off. For long-term storage I created an archival blue corrugated clamshell and wrapped the fragile binding in a sheet of polyester foam.   

Chris Voynovich [CHPL] – Senior Conservation Assistant

Photography by Ashleigh Ferguson Schieszer