This year’s Angels Project took place at the California Historical Society (CHS), a non-profit organization founded in 1871 to celebrate California’s rich history. Textile conservator Meg Geiss-Mooney and photograph conservator Gawain Weaver led the group of about 25 enthusiastic volunteers and had our project and supplies ready to go early Sunday morning.
Prior to the AIC meeting, Gawain had surveyed the CHS collection for approximately 200 photograph albums that were in need of treatment and/or re-housing. We divided up into teams based on specialty and skill set, and went to work to assess, surface clean, stabilize, and box each album. The library was organized into stations to help with workflow and I joined the group that was examining each album to identify the photographic processes and provide recommendations for treatment. Not only was this a great way for me to put my photo conservation skills to the test, but as a native Californian, it was a pleasure to look through these beautiful albums featuring historic images of local monuments and people. Using a pre-made single page survey form, we denoted all necessary identification and condition information to help with the following treatment steps and for later catalogers at CHS.
Station two began treatment, and was set up to vacuum, brush, and clean with eraser crumbs the dirtiest album covers and pages. A special table of volunteers was armed with the proper PPE to tackle any possible mold. Next, a group of expert conservators were completing treatment steps such as re-attaching loose photographs, mending torn pages, and tape removal, as needed on a case-by-case basis. Finally, the albums were whisked away to be housed in new archival-quality boxes that were labeled and placed on a cart to return to storage.
At the end of the day, all albums were assessed and boxed, and many received significant treatment steps that will no doubt prolong the life of these valuable objects. For those albums that did not receive treatment, they can be flagged by priority and sent out to a private conservator in the future. As with Angels Projects that I’ve participated in in the past, I appreciated the opportunity to meet, learn from, and work with many new conservation professionals, and I was especially happy that this project allowed me to directly benefit the photographic collection through treatment and re-housing.
Many thanks to Meg, Gawain, Ruth Seyler, and the rest of the AIC staff for organizing this year’s project, and to the CHS staff for generously providing the volunteers with ample working space and supplies, a delicious lunch, and a bonus free annual membership to the Society!
For more images from this and previous Angels Projects, please visit the AIC Angels Projects Flickr page.
Month: June 2014
Senior Conservation Librarian, Qatar National Library
Qatar National Library is recruiting a Senior Conservation Librarian to be based in Doha, Qatar. For more details about Qatar National Library, feel free to visit http://www.qnl.qa/
To apply for this position, please send your CV to Sandra Montesinos smontesinos@qf.org.qa
Job Purpose:
This senior position will be responsible for a program of conservation and preservation of a wide variety of heritage materials, including books, manuscripts, maps, prints, drawings, photographic materials, and other library/archive materials. Develops standards, policies, procedures, and selection of materials used in the repair and conservation of both rare and non-rare library materials. The position will plan, document, and perform complex conservation and preservation treatments on materials held in the library’s rare and special collections. Regularly scheduled evening and weekend work may be required
Responsibilities:
- Develops standards, policies, procedures, and selection of materials used in the repair and conservation of both rare and non-rare library materials. Researches specifications and sources of conservation materials or equipment.
- Plans, documents, and performs complex conservation and preservation treatments on materials held in the library’s rare and special collections, principally bound volumes on paper with additional expertise in related areas such as maps, prints, drawings, and manuscripts on paper, photographic materials, documents on vellum or papyrus, or other library/archive materials.
- Examines and executes analytical tests on collection materials and helps inform curatorial staff and researchers on their physical makeup or technology of production.
- Documents examinations and treatments in writing and by photography.
- Contributes to the maintenance of the conservation unit and lab: prepares materials used for conservation; monitors supply needs; maintains specialized equipment; maintains security for valuable library materials; understands, follows, and enforces safe laboratory practices.
- Trains, supervises, or coordinates the work of others such as conservation technicians, student assistants, interns, or staff from other units as needed either on a project basis or permanent staff.
- Advises library staff on the condition of collections, collection storage, handling, and exhibition; performs on-site inspections, recommends appropriate action, and assists with its implementation.
- Conducts condition surveys of collections.
- Designs and executes special conservation projects including grant-funded projects, conservation aspects of exhibits or digitization, and loan preparations.
- May assume responsibility for managing project budgets.
- Assists in providing disaster recovery services for library materials; may assume primary responsibility for disaster recovery operations.
- Contributes to the conservation field in areas of specialization through service, research, writing, outreach, presentations, and/or teaching.
- Serve on designated committees throughout the library.
- Keep abreast of developments, trends and issues in all areas of responsibilities.
- Familiarize, understand and implement QF health, safety, and environment policy, procedures, legal regulations and objectives applicable to areas of responsibility. Ensures coordination with HSE department in implementing, monitoring and reviewing of HSE performance to ensure work under his/her control is performed in a safe, healthy and environmentally sound manner.
- This position includes, but is not limited to, other duties as required and defined by the scope, purpose, and spirit of the institution and are not always indicative of the title and grade of the position.
Knowledge, Skills & Experience:
- Master’s degree in Library or Information Science accredited by the American Library Association or foreign equivalent. A second master’s degree in conservation, or equivalent advanced degree and experience is required.
- 3 years of progressively responsible experience in Conservation and Preservation activities.
- Extensive experience and an advanced knowledge of the materials science and chemistry of paper and other writing materials; the history of binding, printing, and manuscripts; and current conservation theory and practice.
- Strong interpersonal, communication and presentation skills in both oral and written English. Arabic language skills will be an asset.
- Good interpersonal skills and the ability to work effectively both independently and within a team.m.
42nd Annual Meeting – Photographic Materials, May 31, “Technical Investigation of Environmental Concerns for the Exhibition of Diazotypes at the Metropolitan Museum of Art,” by Greta Glaser, Katie Sanderson, and Maggie Wessling
Greta Glaser and Maggie Wessling presented on diazotype research that was conducted in the Photograph Conservation Department at the Metropolitan Museum of Art between 1999-2012. One catalyst for this research was the 2012 display of Francesca Woodman’s Blueprint for a Temple, made up of 29 separate diazotype prints collaged together to form one image. The goal for research was to determine the best display and storage methods for the long-term preservation of diazotypes—generally through to be sensitive to deterioration caused by the environment.
As an overview of the process, Glaser described the nature of diazotypes as single layer direct positives often printed on paper supports of macerated cotton and purified wood pulp. The combination of diazo compounds with a phenol coupler and acid stabilizer produces the image, resulting in a range of possible colors, including the most common bluish-purple. Diazotypes were first marketed in the United States in the 1920s and could be used for photographic images as well as architectural drawings and other reproductions because of their ability to print with very little dimensional change from the original negative.
In order to make a thorough investigation of diazotypes and their response to the environmental, Glaser and Wessling set up light and relative humidity experiments on vintage as well as freshly processed sample papers, and Sanderson collected data on the Woodman print during installation. All experiments were calculated for roughly six months of display. Their combined spectrophotometer and microfade testing analysis produced the following summarized results:
- High humidity and light = yellowing and fading (reddening)
- All environments at or below 50% RH = same result
- In the dark, yellowing still occurs, but fading does not = greenish cast
- The rate of color change accelerates with age
- After 20 minutes of testing, samples fade between blue wool 2-3 (equivalent to approximately 1.2 million lux hours of exposure to cause noticeable fading)
Wessling summarized their conclusions from the study and highlighted the fact that environmental conditions were not controlled during analysis, which may have an affect on the data. Ultimately, diazotypes will fade with light exposure and will become yellowed in the dark, but if we can reduce the relative humidity, especially during display, the effects of exhibition will do less to alter the permanence of these photographs.
It seemed wrong and it was—just not the way I thought
On Wednesday June 18th, the day before David W. Dunlap’s article, “A Gilded Monument Is Mysteriously Shedding Its Brand-New Gold” appeared in The New York Times, I was riding in a bus down Fifth Avenue and passed the regilded William Tecumseh Sherman monument glittering in the sunlight. There was something wrong about it. It looked garish and harsh—not at all like the understated monument I had gotten used to seeing over the years. And there was something wrong with it—just not what I perceived. It was shedding its recently applied gilding. Something went terribly wrong in the gilding process and the gold leaf did not properly adhere to the sculpture.
42nd Annual Meeting, Objects Session, May 30, "Collaborative study and preservation of coastal Alaskan Native material culture with university students, museum staff, Alutiiq scholars and artists, and the visiting public"
T. Rose Holdcraft presented a decade-long collaborative project between Harvard University’s Peabody Museum of Archaeology and Ethnology (Cambridge, MA) and the Alutiiq Museum and Archaeological Repository (Kodiak, AK). The joint initiative, funded by a IMLS Save America’s Treasures grant in 2011, sought to conserve and enhance access to an at-risk Alaska Native collection in the Peabody Museum.
The collection includes four Alutiiq kayaks and over 100 associated objects, including harpoons, kayak models, and skin-constructed parkas, pouches, boots, among others. Items of particular import include a rare warrior’s kayak identified as Alutiiq by its bifurcated bow, as well as the only known example of a full-sized double bladed paddle*. Many of the collection items were acquired from a US Army surveyor working in Alaska circa 1867. At that time, ocean going watercraft remained the primary means of transportation. Alutiiq kayaks are thus culturally and historically significant, yet knowledge of their manufacture method had nearly been lost because their use was formerly preserved largely through oral history.
Alutiiq consultants included Sven Haakanson, former director of the Alutiiq Museum, Alutiiq elder Ronnie Lind, Alutiiq skin-sewer Susan Malutin, and traditionally-trained Kodiak Alutiiq kayak-maker Alfred Naumoff. Workshops taught at the Peabody included skin sewing techniques by Susan Malutin, and kayak model building by Alfred Naumoff. In addition to two site visits, video conferencing and camera scopes enabled communication with consultants so that sampling requests, treatment, and housing decisions could collaboratively advance from afar.
A publicly accessible work space was created in the Peabody galleries, in which the treatment of the kayaks and other objects was undertaken. Conservators were available to answer questions from museum visitors three afternoons per week. Meanwhile, a dedicated Facebook page provided project updates and highlights. Related educational programs included an object-centered Museum Anthropology course, which was conducted within the gallery work space as well as the lab.
Additionally, PMF-MALDI-TOF was used to characterize skin and sinew thread types. Humpback whale sinew was identified on one kayak, as well as bearded seal skin (formerly presumed to be sea lion skin)! The analytic results enable comparisons between current and historical material use. Study and stabilization of the collection will enable its long-term loan to the Alutiiq Museum, thereby preserving and repatriating traditional knowledge to the Alutiiq community.
*According to Sven Haakanson, a contemporary Alutiiq artist carved a new paddle from a sketch of the double-bladed original in the Peabody’s collection. After testing it in Kodiak, he reports that his paddle’s exit from the water is silent as compared to plastic versions. For those interested, Haakanson plans to teach double-bladed kayak making in Seattle.
42nd Annual Meeting – Objects Session, May 31, "Conserving Stringed Sculpture: The Treatment of Henry Moore's Mother and Child" by Nicole Ledoux
Nicole Ladoux, a Samuel H. Kress Fellow at the Straus Center for Conservation and Technical Studies, Harvard Art Museum, presented her talk entitled “Conserving Stringed Sculpture: Treatment of Henry Moore’s Mother and Child.” She described the complicated decisions surrounding whether or not to replace or preserve degraded linen strings used on a cast lead sculpture. The treatment illustrated innovative techniques that could be incredibly useful for others with similar stringed challenges. Having been confronted with an almost identical bronze sculpture at the Baltimore Museum of Art, I was eager to hear how she had overcome the challenges that I worried about with my own project.
Moore is well known for his Mother and Child sculptures and for working with a variety of materials but you might not have seen his stringed sculptures. Harvard’s Mother and Child was part of series from 1939. An edition of seven bronze and string sculptures were made but Harvard’s is the only known lead sculpture from the series. He made several other lead sculptures in different forms between 1938-40.
When Nicole first encountered Mother and Child, it had seen better days. The lead sculpture was abraded and gouged in areas with a white haze, while the loose, frayed, and broken strings had changed from yellow to brown. Working from an older photo, she was able to create a diagram documenting what was there and how it all went back together. This diagram was crucial and developing the treatment. The treatment centered around one question: to repair or restring?
The strings were threaded through holes in the sculpture that were then covered over with lead solder making the restringing difficult. If she were to restring, the solder would have to be removed to complete the task. To repair the strings, she would be challenged to reattach and secure what was there without much flexibility. In the end, she and the curator decided to preserve what was there, partially because the color of the stings was considered acceptable in light of the overall patina that the lead had taken on over the years.
Nicole reached out to the Objects Specialty Group distlist for suggestions and researched treatment options. She created mockups by stretching modern linen thread, slicing them, and testing repairs. Adhesives tested included 50% B-72 in acetone, Lascaux 498HV, and wheat starch paste in conjunction with Stabiltex threads and twisted rolls of Japanese tissue paper. In the end, the best option proved to be the wheat starch paste and Japanese tissue paper. The tissue gripped and held the tension better.
The next challenge was how to hold and align the threads so she could perform her repairs and have precise alignment. Realizing that this was a known challenge for a ship model restorer, she consulted one who suggested using electric wire test clamps. She was then able to construct a jig using the clamps, twill tape, foam blocks, and a magnifying glass (among other items) to do the repairs. You’ll have to wait on the OSG postprints to see how this all works together because I even need to see it again. The key seemed to be the clamps. Her strategy depended on the situation including where the string was attached and what had to happen. For instance, a string that had pulled out of its original socket could be covered with a protective tissue sleeve and secured in the hole with B-72, and held with a clamp padded with volara. Other more complicated breaks, such as a one that broke that near the hole where it was threaded in the center of the sculpture, could be reattached using multiple twists that were used to hold tension and then others that were used to secure two broken ends together. The clamping jig was key to holding everything together. If there was a gap, more twists could be added to bulk up the missing area and better secure the string. Again, you’ll have to use your imagination but just wait until you see Nicole’s images because it will all be clear!
Nicole acknowledged that these repairs will likely weaken with age. She mentioned that restringing could become necessary in the future but that treatment works well for the moment. Overall, it was a great in depth look into a complicated problem. I can’t wait to take another look at my museum’s Mother and Child and digest these excellent tips and suggestions.
42nd Annual Meeting – Architecture + Objects Session, May 29, “Modern Preservation for a Modernist City: Developing a District-Wide Preservation Plan for Columbus, Indiana”
If you are a fan of mid-century modern architecture, Columbus, Indiana, is not to be missed. I drove straight there after hearing this NPR story about the “The Midwest Mecca of Architecture” in 2012, and was thus thrilled to attend Richard McCoy’s presentation on the subject. The town of 44,000 residents boasts 7 of Indiana’s 35 National Historic Landmarks. 6 were designed between 1942 – 1965, when Cummins Inc. elected to pay all architect fees for new civic structures, attracting the likes of Eliel and Eero Saarinen, Richard Meier, I.M. Pei, Harry Weese, Henry Moore, and Dale Chihuly, to name a few. Construction of schools, churches, parks, and office buildings was founded on the principle that the built environment is crucial to a quality community.
McCoy has been tasked with forming a preservation plan to preserve Columbus’ architectural wealth, while not restricting the town’s ability to grow and thrive within its historic landscape. His talk, retitled “The Columbus Challenge”, discussed the initial stages of guiding the town- and its residents- into a new way of caring for its cultural heritage.
What is the goal? To create a preservation process for historic architecture, landscaping, and public art located within the Columbus Arts District. The plan should be: useful and fun, foster community, educate, raise and distribute funds, and provide for a sustainable future.
How? First, put information in highly visible places. As McCoy states: “If you can’t Google it and get back good information, then it doesn’t exist”.
Actions: Wikipedia inventories of landmarks, modern and historic buildings, public art, as well as architect biographies were published. Public artworks were also made accessible on The Public Art Archive and CultureNOW’s Museum Without Walls. Several previously undocumented artworks were ‘discovered’, and a total of 440 building entries were recorded during the inventory process.
Next steps: Develop stakeholder support and engagement, as well as connect with allied organizations, understanding that all answers to a preservation policy must originate from- and be sustained by- the community itself.
Your next step: Visit Columbus. Take a tour and then eat ice cream at Zaharakos’ (est. 1900) marble counter.
Library Conservator, Missouri Botanical Garden
Missouri Botanical Garden Job Vacancy Announcement
An Equal Opportunity/Affirmative Action Employer
Applications remain current for 90 days. Reapplication required thereafter. All resumes and applications are reviewed by a Human Resource Management Division representative before interviews are scheduled. If accommodation assistance is needed for completion of the application and/or with the interviewing process, please contact any member of the Human Resource Management Division.
EMPLOYEE REFERRAL PROGRAM – DON’T DELAY, REFER TODAY!
SALARIED:
Job # N033
Library Conservator Apply Now!
Classification: Full time, Regular
Dept/Div: Library
Application Deadline: June 26, 2014
Summary:
The Conservator of rare and general collections at the Peter H. Raven Library will be responsible for the care and conservation of collections material, preventive conservation, public engagement and outreach, coordination of volunteers and interns, and connecting to the conservation and cultural heritage fields.
Essential Duties and Responsibilities:
The Conservator will be responsible for performing item-level conservation treatment on rare and general collections materials. The Conservator must have knowledge of materials science and deterioration mechanisms and be able to recognize various types of damage and their causes. Treatments will include such techniques as mending, washing, deacidifying, board reattachment, attachment removal, encapsulation, rebinding, and others. Many treatment situations will require the modification of “standard” techniques, or the development of new solutions. Therefore, the Conservator must possess strong problem solving skills, as well as a firm knowledge of materials and potential treatment options. The goal of all treatment work will be to return the object to a stable and usable condition while minimizing interference with and damage to original information.
Conservation treatments must be performed according to current best practice standards as understood by the Conservator and the field of library and archives conservation. All treatment work must be done in accordance with the Code of Ethics of the American Institute for Conservation (AIC). All treatments must be thoroughly documented through digital photography and detailed reports, as in accordance with the Guidelines for Practice as stated by the AIC.
Preventive Conservation:
The Conservator will assist with the design, establishment, and maintenance of various collections care and preventive conservation activities in cooperation with relevant staff and departments. These activities will include, but will not be limited to:
Integrated Pest Management: The careful monitoring of pest levels and swift intervention should an issue arise is essential to the prevention of damage caused by insects, mice, and other pests. The Conservator will be responsible for the implementation and monitoring of glue traps and general pest management activities throughout collections storage areas. The Conservator will also be responsible for the inspection of new acquisitions for signs of pest activity. If signs of pest problems are identified, the Conservator will perform appropriate intervention.
Disaster Plan: Disasters such as floods, fires, weather events, etc. should be anticipated, and a comprehensive and effective plan of action will help to prevent unnecessary damage to collections material should such events arise. The Conservator will work with the Director and other staff members to develop a disaster plan for the Library. The Conservator will also be responsible for the establishment, coordination, and training of a disaster response team, which will provide a previously determined list of people who will respond in the case of an emergency. The disaster plan will focus on the protection of collections material in the event of a disaster, but will stress that the primary concern in all such events is the safety of the staff, patrons, and other people involved, and will include parameters to ensure that safety.
Environmental Conditions: The Conservator will be responsible for implementing and maintaining a program to monitor temperature and relative humidity levels in collections storage areas.
Exhibition and Loan: The Conservator will be responsible for preparing materials for exhibition or loan. If necessary, the Conservator will be responsible for supervision during the installation and deinstallation of exhibits.
Grant Writing
The Conservator will be responsible for working with the Library Curator and other staff to identify future projects and to write proposals for grants that will provide funds necessary to complete those projects. The Conservator will also be responsible for monitoring grant opportunities and applying for any that are appropriate for the Library’s work.
Public Engagement and Outreach:
As one of the few institutions in the St. Louis metro area with a conservation facility, the Peter H. Raven Library at the Missouri Botanical Garden will be instrumental in the efforts to inform the public of the nature and importance of the conservation of cultural heritage. The Conservator may be required to engage in public outreach through lab tours, public demonstrations, media presentations (television, radio, newspapers, etc.), or the creation of didactic or exhibition material that demonstrates conservation techniques and philosophies.
Coordination of Volunteers and Interns:
Volunteers: The Peter H. Raven Library has relied on a group of dedicated volunteers who perform basic preservation activities for many years. The Conservator will work to coordinate, train, and supervise volunteers in the performance of basic preservation techniques such as the creation of basic housings, simple repairs, and other tasks.
Interns: The Library Conservator will assist in the education of emerging conservation professionals through the development of an internship program. Interns will work with the Conservator to perform various conservation techniques according to their skill and experience level. The development of an internship program at the Peter H. Raven Library will benefit the Library by providing connections to the rest of the conservation community and bringing in talented emerging professionals whose work will benefit the collection.
Connecting to the Field:
The Library Conservator must stay current with developing techniques and philosophies in the field to ensure that they will be able to perform treatments in accordance with current best practice. The Conservator will be expected to be an active member in the conservation community through participation in professional organizations and meetings in order to maintain a professional network.
Qualifications/Experience:
• Minimum of three (3) to five (5) years’ directly related experience working in a book conservation laboratory or private practice under the direction of a professional conservator.
• Demonstrated knowledge of the fundamentals, techniques, and history of book-binding, paper treatment, and conservation. A portfolio of successful relevant work and documentation examples is required.
• Knowledge of a wide range of conservation treatments and experience working with a variety of binding materials including fragile and rare and/or high value books and other special collections materials.
• Demonstrated experience working in exhibition preparation of book materials.
• Excellent manual dexterity and sustained concentration with delicate and occasionally repetitive tasks.
• Demonstrated ability to initiate and adapt to change, to analyze and solve problems, to be flexible and work well collaboratively and collegially in a small, but dynamic organizational setting, as well as independently.
• Strong organizational skills, including the ability to establish priorities and achieve goals.
• Experience working collaboratively in a research library and/or archives.
• Demonstrated ability to create various reports and write business correspondence and procedure manuals.
• Exceptional ability to communicate effectively at all levels; must enjoy and feel comfortable interacting and working in close proximity to general public, in a safe and friendly manner, answering questions.
• Scheduling flexibility that allows working some evenings and weekends may be required.
• Occasional travel required (local and domestic).
Education:
• Bachelor’s degree including significant coursework in related fields such as history, art history, library science, museum studies, chemistry, materials science, and/or studio art is required.
• Extensive education in the physical and chemical nature of books and paper, as evidenced by (i) a preferred graduate degree in conservation, or (ii) the completion of a conservation apprenticeship with an established conservator, or (iii) other verifiable certification of advanced training and education.
• An equivalent combination of skills, education and experience may be considered.
Computer Skills:
• General computer skills for basic work functions, including communication, documentation etc. is expected.
• Requires a strong background in computer applications with experience in database management including Microsoft Office products.
• Solid Internet research skills required.
Language Skills:
Ability to communicate effectively in English (oral/written).
Mathematical Skills:
Proficient H.S. math aptitude – Requires ability to perform addition, subtraction, multiplication and division; calculate percentages and decimals, etc.
Reasoning Ability:
Requires ability to exercise independent judgment to apply facts and principles for developing approaches and techniques to problem resolution.
Physical Demands:
• Physical ability to undertake collection care duties such as moving books and materials weighing up to 40 lbs., operating lab machinery and working in sometimes dusty and moldy environments.
• Ability to stand and move about entire facility for extended periods of time; frequent standing, reaching and bending – 50% or more of the workday, at times, may be spent standing on feet.
• Ability to utilize computer keyboard (typing).
• Must be able to work both indoors and out.
• May be required to perform tasks at varying heights (i.e., climb step stools, ladders, etc.).
• Principally operates standard office equipment to include computers, copiers, files, fax machines.
Work Environment:
• Indoor office setting, shared by multiple staff; noise level is usually moderate.
• Some travel to off-site meetings is required.
• At times, required to work in dusty and moldy environments.
The requirements and duties listed are representative and not exhaustive of the knowledge, skill, and/or abilities required.
42nd Annual Meeting – Book and Paper Group, May 31, “Indian Coloured Drawings: Modern Repair Techniques for an Album of 19th Century Paintings on Mica by Sarah Reidell”
In this talk, Sarah Reidell gave a detailed description of her treatment of an album of 19th century paintings on mica from the New York Public Library collection.
Her treatment steps included:
- Hows and whys – background research
- Stabilize – consolidation
- Digitize – high quality files
- Accessorize – new archival mats and housings
- Publicize – increase awareness to researchers/public/staff
The albums had red buckram, generally indicating NYPL bindery work, and perhaps also associated with the WPA. There were two volumes of albums, Volume I was opaque watercolors on mica, and Volume II was watercolor on European and Indian papers. Mica is a material that is used in make-up and the mining industry. It is chemically inert, stable, and somewhat flammable. It is a cheap substitute for colored glass and lanterns.
They started the project in 2007 by removing the papers from the acidic album paper using traditional paper conservation techniques. This revealed ink inscriptions on the verso of the watercolors. Once digitized, these were encapsulated and housed in boxes and also on the NYPL online gallery. There were 29 pages total with 135 mica paintings. The full extent of the damage was now clear.
Reidell stated that since she is not a paintings conservator or an objects conservator, her aim was stabilization for future exhibition. The mica paintings were marketed for westerners, and the Victoria and Albert Museum and British Library have large holdings of mica paintings. The NYPL mica paintings had catastrophic media condition because the mica was damaged. None of the conventional paper techniques were suitable. Reidell used PLM and known McCrone samples to confirm that it was mica and not cellulose nitrate.
Relative humidity and temperature fluctuations were apparent in the albums and mica paintings. There was paint on the verso to create shadows and there was major media loss and damage to the lining and mica. Reidell tried cast fills using B-72, which didn’t work because it was not even and trapped dust. In-painting was also not an option because there was too much damage and loss. Consolidation with an ultrasonic mister did not work because everything was water-soluble. The damage was extensively documented and the works were put in temporary mats. Due to a previous mounting, the versos had even more damage. After testing JunFunori, Isinglass, methyl cellulose, Paraloid B-72, and Aquazol, Aquazol was chosen. Aquazol’s refractive index was the closest to the mica and various types of Aquazol were used for consolidation of large flakes, wetting out cupped or lifted flakes, and general consolidation and cohesion. B-72 was used for adhering large flakes of mica together.
The work flow consisted of using Excel for notes, copies of slides to color-map (using different colors for different adhesives, and silicon shapers to hold down flakes. After consolidation, the paper linings were removed and worked under the microscope on a Teflon-coated board. To repair the mica, BEVA 371 was used for fills and B-72 was used for complex tears.
After treatment, the paintings were digitized before mounting. Mounting was a challenge because Reidell needed to determine how to mount the paintings without messing up the micas but still enabling access. BEVA 371 film was attached Mylar-to-Mylar. BEVA 371 was used because it is pre-made, has a consistent thickness, and is fast. A silicone-coated Mylar barrier was used because it left no cloudy surface, unlike silicone-release paper barrier.
Finally, the project was publicized on social media and reached over 550,000 people through twitter, Instagram, Vine vidoes, and much more!
42nd Annual Meeting – Collections Care + HVAC Session, May 31, "The Road to Sustainable Environmental Management of Storage Conditions at the National Archives by Kostas Ntanos"
The National Archives is the official government archives of the UK and Wales. The Archives has two buildings: Q1, a building built in 1978 with three main repositories in three floors, and Q2, a newer building built in 1996 with twelve repositories over four floors.
Ntanos started by looking into records from 1973-75 to see the decision-making of how the Q1 building was designed. During this time from 1973-75, the staff discussed the requirements of environmental control and determined that temperature was more important than relative humidity and felt that if you kept temperature at mid-range, the RH would be controlled, too! Seven to eight years of mold growth prompted investigation into this building. Intensive climate-mapping was done using data loggers to determine the differences in the environment, and they saw a big difference between the center of the room (50-55%) and the ends of the room (70%).
Ntanos also used environmental assessment permanence maps to demonstrate how the environment changes through the year (he gave a poster at this AIC meeting on the mapping of material types). Once they had collected 1-2 years of information, they started making changes.
They used Energy Plus Software and put in as much information as possible about the environment and the building. They also used HAMT (Humidity and Moisture Transfer) and saw a difference with and without HAMT because of the large collection of hygroscopic material. The aim of the model was to examine options in maintaining a sustainable preservation environment for the collection. They were able to reduce energy consumption in line with sustainability targets, build resilience in light of climate change predictions, and inform ongoing capital investment. Powering down the HVAC over the weekend saved up 22% without affecting the preservation environment.