This three-year Save America’s Treasures project was presented in a three person tag-team. The project represented a collaboration between the Emory University Libraries Preservation Office, Digital Curation Center, and Manuscript, Archives, and Rare Book Library (MARBL). Emory University Libraries Conservator Ann Frellsen began the presentation with a project overview. The large scale of the project, combined with the diverse materials in the scrapbooks, required rigorous assessment and planning to fit the project schedule. The forty scrapbooks were narrowed to a group of 34 high-priority items. Then the scrapbooks were assigned to three treatment “levels,” roughly approximating the categories used in ARL (Association for Research Libraries) statistics, based on time and degree of difficulty. The past preservation approach for the collection had been to simply limit patron access by “boxing and forgetting.” For this collection of African American scrapbooks, the library intended to expand access through digitization.
The initial project proposal would have relied on a conservation technician, but the complex construction and fragile materials required a conservator’s skills. The project plan was adjusted, and the second presenter, Kim Norman, became the project conservator. The initial decision tree was quickly abandoned as the diverse scrapbooks were assigned unique treatment plans, corresponding to the specific preservation problems presented by each item. Common problems included folded items, detached components, and overlapping elements. Adhesive stains were generally left in place, where they provided useful evidence in positioning detached items.
In some instances, new support pages were created, but many of the album pages could be encapsulated or placed into unsealed Melinex sleeves to provide support at the page level.
The third presenter, Brian Methot, described the workflow for digitization. The reflectivity of the Melinex was a hindrance to photography, so the sequence of operations was adjusted to provide for encapsulation after digitization. Ehtafoam and binders’ board shims augmented cradles used during scanning. Custom-built platforms supported delicate fold-outs during photography. There was a vacuum table as a part of the photo studio, but the thickness of the materials made the vacuum ineffective. Instead, the photography used a sheet of Acrylite acrylic. Blank pages were also scanned to maintain the correct order and appearance of the pages.
Brian also described technical requirements for the project. The library needed a camera with a faster scanning back to capture details of these large and complex pages. Cool LED lights replaced hot tungsten studio lights as well. The Phase1 camera with Mamiya scanning back was tethered to a an Apple computer running Capture1 software, which handles both image processing and metadata. The process generated three file types: MOS native camera format files, Archival Master files (TIFF at 400 ppi with color target and ruler), and Production Master files (TIFF at 400 ppi, cropped to image).
The presenters further clarified the project details during the question and answer session. A major objective of the project was to make restricted items more accessible to the public. It is hoped that additional metadata can be crowdsourced through the open online repository with the digitized scrapbooks. There will be a digital-first access policy, so researchers will have to request special access to the originals. Regarding the conservation treatment, the paper was not deacidified prior to encapsulation. Pages were not necessarily sealed on all four edges, so this should not be a problem.
The project was successful in providing structural stabilization for the original copies, while also enhancing access to the scrapbooks’ contents. The project was discussed in Kim Norman’s blog and in the New York Times, increasing public awareness of the collection. The project has also begun to yield broader results by connecting community members with collection items.
Category: Book and Paper Conservation
42nd Annual Meeting – Book and Paper Session, May 29, “Conservation of Johannes Herolt’s Sermones de tempore, c. 1450” by Harry Campbell
The Thursday afternoon session of Book and Paper presentations was full of talks about challenging and innovative treatments, and Harry Campbell’s paper “Conservation of Johannes Herolt’s Sermones de tempore, c. 1450” was no exception. Mr. Campbell, Book and Paper Conservator at The Ohio State University Libraries, talked the audience through the steps in treating a newly-acquired manuscript with extensive damage.
Known as one of the most prolific sermon writers of his time, Johannes Herolt was a Dominican friar of Nuremberg and vicar of the Katharinekloster. There are approximately 500 known manuscript copies of his collected sermons, some of which are fragmentary. This copy was re-bound at some point in the 20th century in a less-than-sympathetic binding, and pressure sensitive tape had been applied over areas of badly degraded iron gall ink. Because the manuscript was anticipated to receive heavy use, the decision was made to completely rebind the manuscript in a 15th century German style.
The manuscript was disbound, and the tape was carefully removed from each page using a heated tool. After reducing adhesive residue and staining with acetone, Assistant Rare Book Conservator Molly Carlile worked with Mr. Campbell to line the damaged pages. A lining of very thin tengujo tissue was adhered to one side of each page with dilute paste, and then loose fragments were put back in place using before treatment photographs as a reference. Once all the fragments were replaced, the second side of the page was lined, forming a sandwich. In some places the ink was so highly acidic that nothing of the original letter forms remained.
The mended pages were resewn using the original sewing holes, and two-color endbands were sewn in a style appropriate to the period. New covers were made from hand-shaped American beech boards. The wood, along with the work of milling, drying, and delivering the boards, was donated by William “Bill” Bear, who has also done extensive work to preserve the Fort Salem Indian Mound in Lynchburg, OH. After the new boards were laced on, the spine was covered in alum-tawed leather, and the exposed boards were fitted with metal clasps. The finished product was housed in a custom box, along with binding fragments that were not re-used.
Such extensive treatment is not always possible, or even desirable. However, in this case treatment allowed for the manuscript to be safely handled by students and researchers, and prevented the loss that would have otherwise been inevitable as the tape deteriorated. Thank you to Mr. Campbell for a fascinating and well-presented paper!
Almost all the Way to Timbuktu: A Photograph Conservation Workshop and Re-housing Project in Mali
Almost all the Way to Timbuktu:
A Photograph Conservation Workshop and Re-housing Project in Mali
by Heida Q.S. Shoemaker
1. 
I visited Mali in the summer of 2011, and fell in love with the country. I knew I had to return, and had to do something that would mean something, that would be a contribution to the people of Mali, and enriching for my own career as a conservator. My plan was to visit the site of the ancient manuscript libraries of Timbuktu, many of which were recently consolidated in a new conservation center (IHERI-AB). I had been invited by Dr. Abdel Kader Haidara, a curator who is one of the initiators of the preservation of these invaluable medieval African manuscripts. I wanted to view the training and preservation efforts at this site, and discover a way in which I could become involved in this important work. Unfortunately, a few months after making my plans, a coup d’état, and subsequent rebel insurgency in Northern Mali, rendered this plan impossible.
I had to switch directions, literally. Being both a photograph and a paper conservator, I chose to concentrate on the subject of photograph conservation instead. Bamako, the bustling capital city of Mali, is an important center of contemporary photography in Africa. The African Photography Biennial (“Rencontres de Bamako”) is held in Bamako every two years. This collection of exhibitions highlights the current contemporary photographers working in Mali and the rest of Africa today. Photography as a profession has also become an important route for young Malians – both fine-art and commercial photography. There are also many collections of historical and ethnographic photography, housed in various institutions in Bamako. All of these collections of photography are very important, and it is known by those charged with their care, that their preservation for current and future study and cultural heritage is paramount. Yet there is a lack of vocabulary, knowledge of conservation techniques, and resources in Mali, which I believed could be addressed through international exchange, collaboration, and education.
I visited many institutions in Bamako, to gain an understanding of the environment in which collections of important historical and contemporary photos were being cared for. The strongest connection I made during this second trip in 2012, was with the private photography school, CFP (Cadre de Promotion pour la Formation en Photographie).
I decided that I would initiate my contribution to the preservation of photography in Mali by running a workshop, hosted by CFP.
2. 
The Workshop – “Preservation of Photography”
The workshop at CFP (Cadre de Promotion pour la Formation en Photographie) was planned for two days in October 2013. This setting was chosen because of the students background and training in digital photography, as well as in traditional darkroom techniques. The director of CFP, M. Sogodogo, was trained originally as an Art Conservator, at the Musée National in Bamako, and he has maintained an interest in the preservation of the photography that the students create, as well as the preservation of the work of well-known Malian photographers in his care. He also stresses the importance of learning about traditional black & white photography, both in terms of creation, and care. The students at CFP were the perfect candidates for studying how to save prints and negatives from the dangers of age, light, pollutants and natural and man-made emergencies that threaten them every day.
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The workshop, for 15 CFP students, consisted of both lectures and hands-on activities. In this way, the students could be introduced to both the theory and practice of art conservation. The unique combination of science, art history, knowledge of materials, and hand-skills would be demonstrated as being the fundamental aspects of photograph conservation. The first day, the emphasis was on the history of photographic processes and deterioration, from daguerreotypes to digital photography. Stress was placed on the importance of learning about historic processes – how they are made, how they deteriorate, and how they should be preserved – in order to preserve the history and patrimony and archives of Malian culture. Historic albumen prints of Mali from the early 19th century were presented as examples documenting history and the student’s heritage – important records of early colonial presence and architecture and commerce in Mali.
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The second day focused on the environment, storage and treatment of photographs. Along with a power-point presentation, most of the day was given over to hands-on activities, a time for the students to experiment with different treatment techniques for the first time. Prints were bathed in water-baths, paper and adhesive remnants were removed, tears were repaired, and mounting techniques were demonstrated and practiced. In bathing the prints, the students experienced the wide range of factors and consequences of conservation treatment. They witnessed the vulnerability of wet emulsions, and yet saw the stability of a photographic image exposed to water. They learned how water could be the destructive force in a flood, yet it could be the element which also saves the photograph, when a stack of photos adhered together can be separated, and saved.
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The students were amazing – absorbing so much new material, and demonstrating their interest with very complex, thought-out questions. They especially loved washing various types of photos, and observing the results. A few of them spoke of their new-found interest in continuing the study of photo conservation. This was one of the goals of the workshop – to begin to build interest in preservation, and equip students and art professionals in Mali with the vocabulary and basic understanding of photo preservation.
9.
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The students received “Diplomas of Participation in the Workshop on the Conservation of Photography”. They were very proud of these, and I was also proud of their interest, hard work and concentration on a subject matter so new to them.
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12. 
Re-housing project for the negatives of Malick Sidibé
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The second part of the project was to begin re-housing the negatives of the Malian photographer, Malick Sidibé. Sidibé opened “Studio Malick”, his photography studio in the Bamako neighborhood of Bagadadji, in 1962. He set up studio shots here – of friends, athletes, engaged couples, professionals – and also went to and recorded dance parties of the 60’s, and street scenes of everyday youth in the thriving capital. His personal collection of negatives and contact sheets (glued onto paper folders, “chemises”, and labeled and numbered in his hand-writing) fill one room of his home. His most precious negatives are stored on an open shelf – floor to ceiling – against one wall. Each roll was cut into strips, placed all together in an acidic paper folder, labeled with the date, and stacked in original yellow Kodak film boxes. Red dust, ubiquitous and unstoppable in Mali, covered every surface, and had made its way into the boxes and acidic paper enclosures.
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Having visited Malick the previous year, I decided to concentrate on this collection when I returned the following year. I purchased supplies ahead of time, which I carried in my luggage, arriving at the photographer’s home on the back of another ubiquitous sight in Bamako – a small motorcycle called a Jakarta – which was driven by Malick’s nephew.
17. 
We discussed the project, and I began cleaning a small selection of his medium format b/w negatives, and re-housing them in mylar envelopes and archival boxes. Each envelop was labeled with the same information that Malick had been so careful over the years to mark his negative envelops with. In contemplating the issues involved in this re-housing project, I had considered whether it was more appropriate to leave the original negative housing as Malick had designed it. Yet the stacking of the negatives all together, causing abrasion, and the ever-present heavy dust gathered through the years in the porous boxes, convinced me that a more “archival” protective system was necessary. I also made the choice of mylar over paper enclosures due to the significant consideration of handling. The negatives were handled often, both by the photographer, his sons, and clients. Mylar would protect each negative strip, while providing visibility. Mylar would also render them impervious to dust and pollution, whereas the porous and less-sealed nature of a paper envelop would allow dust to again settle on the negs. Although mylar is not considered ideal in a hot climate, the lack of high humidity made the choice of mylar reasonable in this case, due especially to the high volume of handling predicted. The original paper envelops with the photographer’s hand-writing will be preserved in the new boxes as well.
I was only able to complete a small amount of this work, but hope to continue the project on a larger scale very soon.
18. 
Lastly, to come full circle, I finally met M. Abdel Kader Haidara! During the invasion of Timbuktu in the spring of 2012, it was thought that many of the ancient manuscripts had been destroyed. But thanks to Drs. Abdel Kader Haidara and Stephanie Diakité and others who helped, 300,000 manuscripts were packed in metal crates, and whisked off to safety. They are now biding their time in Bamako, waiting until it is safe enough to go home to Timbuktu. I was fortunate to be able to visit one of the safe-houses where a large group of archivists and technicians are painstakingly archiving and making boxes for each manuscript, storing them in environments controlled by silica gel and de-humidifiers, to mimic the much drier conditions of the desert from which they came. To learn more about this amazing effort, visit the site of T160K (Timbuktu Libraries in Exile) at http://t160k.org
With all of the turmoil of the coup, the invasion by insurgent rebels, and the destruction of monuments in many northern Malian cities, it was amazing to see these beautiful, hugely significant books safely protected from harm.
My experience designing, planning, and implementing this project was extremely thought-provoking, stimulating, and satisfying. Each step was led by my long-held dedication to conservation, and my new-found connection to Mali. I would never have guessed that a touristic visit to Mali with my mother three years ago would lead me to standing in front of a group of young eager-to-learn Malian students, or to dusting the surface of the negatives of one of the most important living Malian photographers. I plan to continue this work, broadening my scope by working with other professionals who are interested in the outreach of photograph conservation to Africa. I have joined, as a consultant, a larger project for the preservation and digitization of the archives of multiple Malian photographers, and hope to train the group on the ground who will be implementing this project. And, I hope to finally make it to Timbuktu, to visit the ancient African manuscripts when they have been returned to their rightful home.
I want to thank:
The American Institute for Conservation Photographic Materials Group (AIC-PMG) for the 2013 Professional Development Stipend Award
The Winterthur Museum and University of Delaware Program in Art Conservation for the 2013 Betty Fiske Professional Development Award in Contemporary Art Preservation
My contributors to my Indiegogo campaign, “Save Photographs in Mali” for their generous contributions and support. See my Indiegogo page at: http://igg.me/at/savemaliphotos/x/2688784
The Foundation of the American Institute for Conservation for the 2012 Carolyn Horton Grant, which was used for my preliminary trip to Mali for research and making connections, in preparation for the workshop and re-housing project.
Debbie Hess Norris, for providing most of the images used in the workshop presentation. This was an invaluable contribution to my workshop.
Karen Zukor, for providing advice on giving workshops in foreign lands, and for the contribution of supplies to the workshop.
Amadou Ouologuem, for his inspiration for my project, and help with my travels to Mali.
Captions for images:
1. Admin. Minga Siddick (left), H. Shoemaker, CFP students, Director Sogodogo (right), photo by CFP, 2013
2. CFP students bathing photos, photo by H. Shoemaker, 2013
3.& 4. Left: CFP students bathing photos Right: Heida demonstrating surface cleaning of negs, photos by CFP, 2013
5. & 6. Left: 19th c. Albumen print of Bamako Market Right: Contemporary photo of same market, re-built after a fire
7. & 8. Inpainting exercises, photos by CFP, 2013
9. & 10. Left: Student Bintou Diarra showing photo-corners exercise, Right: Zoumana Sidibé with photo-corners exercise, photos by H. Shoemaker, 2013
11. & 12. Left: Heida (left), CFP students, M. Sogodogo (right) Right: Heida with student Ousmane, photos by CFP, 2103
13. & 14. Left: © Malick Sidibé , “Nuit de Noel” 1963; Right: © Malick Sidibé “Jeune homme” 1977
15. & 16. Left: M. Sidibé examining his negatives Right: M. Sidibé’s storage system, photos by H. Shoemaker, 2013
17. Re-housing M. Sidibé’s negatives, photo by A. Cissé, 2013
18. M. Haidara with a Timbuktu manuscript, photo by H. Shoemaker, 2013
About the Author:
Heida Shoemaker is a professional paper and photograph conservator. She received her Masters in Science from the University of Delaware and Winterthur Museum Master’s Program in Art Conservation in 1996. Since starting her private practice in Berkeley in 1998, she has worked with the general public, framers, and museums to care for their fine art on paper and photographs, family photographs, and archival material. She does contract work for institutions such as the Cantor Art Center, Stanford University; The San Francisco Museum of Modern Art; The Berkeley Art Museum; and The DeYoung Museum, SF. Heida has also held a Getty Advanced Fellowship in Paper Conservation at the San Francisco Museum of Modern Art, 1997 – 1999, and a yearlong fellowship at the Palace of the Legion of Honor, Fine Arts Museums of San Francisco. Heida has traveled to Mali three times between 2011-2013 to perform research, teach on photograph conservation, and care for Malian photography collections.
Contemporary Print Identification Workshop
I was very happy to be part of the group of paper conservators gathered in Washington, DC from October 16th- 19th, 2013 for an in-depth study of print identification.
On day 1 and the first part of day 2, the workshop hosts Scott Homolka and Stephanie Lussier, led us through the different categories of print processes, starting with traditional, familiar techniques; then looking at examples of variations and recent developments that might be harder to identify unless you know what you are looking for. We also had several guest lecturers on day 2. Shelley Langdale, Associate Curator of Prints and Drawings at the Philadelphia Museum of Art, gave a lecture on the history of American printmaking studios in the 20th century. Keith Howard, Head of Printmaking and Research at the Rochester Institute of Technology, and Bernice Cross, master printmaker and owner of White Cross Press, brought in examples of contemporary prints created by them and their students in a variety of techniques for us to examine closely. Keith Howard invented the field of non-toxic printmaking with a process he named Intaglio-Type. He has published several books about his techniques and kindly gave each participant a copy of his most recent one, entitled The Contemporary Printmaker: Intaglio-Type & Acrylic Resist Etching, which is considered an essential manual by many people in the field of printmaking today. Lastly, the three printmakers behind the printmaking website Printeresting; Amze Emmons, R.L. Tillman and Jason Urban, gave a talk about the world of printmaking today.
Scott Homolka explains Richard Serra’s process of applying paintstick through silkscreen
Day 3 was spent at the National Gallery of Art. Lucky for us, the government shutdown ended just in time to spend our final day at our planned venue. Our first exercise in the morning was to identify the processes behind some prints in their collection. Some of the prints were particularly tricky, while others were deceptively easy. Then we went to the galleries for a tour of the exhibit Yes, No, Maybe: Artists Working at Crown Point Press given first by the curators Judith Brodie, head of modern prints and drawings, and Adam Greenhalgh, Andrew W. Mellon Postdoctoral Curatorial Fellow; then by one of Crown Point Press’ Master Printers, Emily York. This show features both working proofs and final prints in order to show the process that goes into making a print. Not all of the projects resulted in a print that the artist considered exhibitable, but all showed the creative and technical process behind the creation of prints and in some cases expanded what was possible in printmaking by pushing at the boundaries of the techniques.
Then it was back to the lab to look at Marian Dirda’s collection of printmaking papers from the late 20th and early 21st century. She is a great resource for information about fine art paper mills, and the papers that particular artists or printmaking studios prefer. In fact, I should emphasize that all of the lecturers of this workshop are very accessible and happy to share their knowledge with the conservation community. I recommend reaching out if you have questions about contemporary prints.
Rosemary Fallon practices a non-toxic version of the ‘spit bite’ technique
On day 4, we travelled to Pyramid Atlantic in Silver Spring, MD, where we got to try out Intaglio-Type printmaking for ourselves. Keith Howard and Bernice Cross led us through plate preparation, exposure, development, and printing. After 4 hours, we each had 1-2 prints to keep as references. Day 4 was absolutely my favorite part of the entire workshop. I learned that many studios offer summer weeklong intensive courses in printmaking. I hope to take one someday.
Thanks again to everyone who worked behind the scenes to make this workshop possible despite the government shutdown.
Contemporary Print ID Workshop Begins Despite Government Shutdown
We were all looking forward to spending three days at the National Gallery and one day at Pyramid Atlantic looking at prints, but just as the start of the workshop approached, the government shutdown began. With the National Gallery closed indefinitely, the workshop organizers had to scramble to make alternate arrangements.
As one of the participants, I am happy to report that they were successful. The Corcoran Gallery of Art was able to provide space for us, and we had a great first day. We reviewed familiar print techniques and terminology, and learned some new ones (for me, anyway), such as CNC, or computer numerical control- using a computer to achieve detail and precision that would be difficult or impossible by hand; soap ground, or white ground- a technique using a mixture of soap flakes, linseed oil, and water to create painterly white areas; and water bite- using an acid/water mixture on a tilted plate to create subtle gradations in depth.
We have begun day two and will be going more in-depth on contemporary print processes and hear from some guest lecturers, including: Marian Dirda from the National Gallery; Shelley Langdale, of the Philadelphia Museum of Art; and Amze Emmons, R.L. Tillman and Jason Urban from the website Printeresting.
Thanks to Stephanie Lussier, Scott Homolka, Abigail Choudry, and everyone from AIC and the Corcoran that made this workshop possible despite the shutdown.
AIC's 41st Annual Meeting, Book and Paper Session, June 1, "Tips Session: Contemporary Treatment Tips and Techniques" by Moderator Sarah Reidell
This year’s Book and Paper Group tips session was truly impressive. The whole session was jam-packed with helpful hints and I found myself in frantic note taking mode, trying to record all of the great advice. In just over an hour, eleven “tippers” presented an array of useful descriptions of experiences, treatment methods, housing projects, and emergency preparedness information. Everyone had great visuals with photos and diagrams, physical examples to examine, and even take-away samples.
Several tips had emergency preparedness and response in mind. First, we learned of Laura McCann’s experience with the flooding in NYC as a result of Hurricane Sandy. When the East River overflowed and completely submerged a medical library’s records storage, the materials were not accessible for weeks! The importance of prior planning was highlighted. When power is lacking, it is extremely useful to have headlamps and absolutely necessary to have your emergency plans accessible at home. Consideration of priority collections, BEFORE the stress of an emergency situation, was emphasized. Those in attendance were able to collect a sample of a TEK wipe, which is absorbent and reusable. Also on the topic of emergencies, Emily Rainwater explained how Karen Pavelka tested the effectiveness of polypropylene fiber pads for absorbing oil, a common contaminant in flood water. These pads attract oil, but repel water. Finally, Roberta Woodrick showed us how to creatively use hairpins to attach Colorplast awnings as a shield for library shelving in areas with recurring leaks. She had also built a mobile humidity chamber of ¼”acrylic sheet and furniture movers with wheels, in order to humidify large architectural drawings.
There was a presentation on lead white reversion by Amy Hughes, which lead to some interesting commentary and discussion of the mixed results several conservators had experienced when trying to reduce the discoloration of lead white pigments. As might be expected of an oxidation-reduction reaction, hydrogen peroxide treatment to improve discolored lead pigment may be temporary. There was suggestion that inpainting over discolored lead white is a viable option that should be considered. In any case, it seems important that conservators communicate the reactivity of lead white to clients and curators to warn of possible changes after treatment.
For reducing mineral deposits on paper, Karen Dabney demonstrated how “huffing” into a beaker of deionized water produced an effective solution of carbonic acid (pH 4). Her before and after images revealed just how effective this could be, but be careful not to hyperventilate if you try this yourself!
Judy Walsh was not present, but she created some impressive diagrams of a method of creating a cheap and effective suction disk for treating individual book pages, while still bound.
Renate Mesmer provided some examples of neatly engineered storage enclosures for a hanging wax seal and a sliding tray for a vellum manuscript broken in half, inspired by the mechanics of a pop-up book. She also had a video of how a hot air gun can magically correct errors in folds and angles when making book exhibit supports of Vivak (clear thermoplastic sheet of polyethylene terephthalate). http://www.professionalplastics.com/VIVAKPETGSHEET
These were some, but not all, of the tips we heard this year from BPG members. Thanks to all of the tips contributors; Shelly Smith, Beth Doyle, Renate Mesmer, Karen Dabney, Deborah Rohan, Judy Walsh, Jamye Jamison, Karen Pavelka, Roberta Woodrick, Amy Hughes, and Laura McCann, and many thanks to Sarah Reidell for moderating.
Look for these tips and more, to be published in the next BPG Annual.
AIC's 41st Annual Meeting- Art on Paper Discussion Group
The inaugural meeting for this group took place on May 31, 2013 at the AIC Annual Meeting in Indianapolis, ID. Organized by Nancy Ash, Scott Homolka, Stephanie Lussier and Eliza Spaulding, the session presented the Draft Guidelines for Descriptive Terminology for Works of Art on Paper which is a project under way at the Philadelphia Museum of Art and supported by an IMLS 21st Century Museum Professionals Grant.
Continue reading “AIC's 41st Annual Meeting- Art on Paper Discussion Group”
41st Annual Meeting – Book and Paper Session, June 1, "Conservation and Encasement: 1297 Magna Carta" by Morgan Zinsmeister and Terry Boone
In 2011, senior conservators Morgan Zinsmeister and Terry Boone of the National Archives and Records Administration (NARA), thoroughly documented, conserved, and encased a copy of Magna Carta that dates to 1297. During his presentation at AIC’s 41st Annual Meeting in Indianapolis, Zinsmeister recounted the project. His presentation, which I’ve summarized in this post, beautifully illustrated the measures taken by NARA conservators to preserve documents and artifacts so essential to the history of our nation.
First drafted by a gang of rebellious barons in 1215, Magna Carta asserted the individual and property rights of its authors in opposition to the tyranny of King John of England (1166-1216). This document also addressed the fundamental principles of majority rule and due process that would prove essential to later charters. Magna Carta served as a precedent to the British Constitution, the Bill of Rights, Declaration of Independence, and U.S. Constitution.
Magna Carta, 1297 after treatment
Between 1216 and 1297, Magna Carta was reissued four times and copied many more. Today, 17 extant copies are known: 15 in the United Kingdom, one in Australia, and one in the United States, that is the copy conserved and exhibited at NARA courtesy of its current owner, David M. Rubenstein.
Magna Carta, 1297 is written Latin with iron gall ink and metal-point ruling on parchment. A sur double queue wax seal with parchment tag served as a closure. When the document was removed from its previous encasement–an anoxic acrylic case designed by Dr. Nathan Stolow at the Harry Ransom Center at the University of Texas at Austin–it was closely monitored for change as parchment is extremely sensitive to moisture and fluctuations in relative humidity. Once removed, Magna Carta was examined closely and its condition documented. It was during this examination period that conservators made the happy discovery that a portion of the text previously obliterated by water damage was made legible again through photography using ultraviolet radiation. To learn more about this discovery, see a past blog post by AIC’s own E-editor Rachael Perkins Arenstein.
Following thorough examination and documentation, a three-step treatment was devised that included removal of previous mends, reduction of adhesive residues, and humidification and flattening of the document in preparation for re-encasement. Magna Carta was first selectively surface cleaned. Next, adhesive residues were carefully reduced, old repairs removed, and acrylic-toned, handmade kozo (long-fibered mulberry paper) used to create new fills and repair tears. Prior to humidification and flattening, transparent polyester film was used to make outline tracings of Magna Carta to document any dimensional changes that might occur during treatment. Humidification was carried out using the damp-pack method and the document was dried under tension for several months to allow the moisture content of the parchment to reach equilibrium.
The tight environmental control required to preserve Magna Carta lead NARA staff to partner with the National Institute of Standards and Technology (NIST) in designing the new encasement. Together, NARA and NIST developed an anoxic (without oxygen) display that inhibits oxidative degradation to preserve the document as long as possible. A perfect collaboration!
Installation of Magna Carta, 1297 in its new encasement at NARA
To create the new encasement, NARA drew upon past experiences housing important documents and applied lessons learned from encasement of the Charters of Freedom: the Bill of Rights, the Declaration of Independence, and the U.S. Constitution. Magna Carta was scanned and its exact profile obtained to produce a custom support that would eliminate any strain to the document and protect it from damaging vibrations. A special paper with high alpha-cellulose content created by Timothy Barrett was used as a barrier between the document and the encasement’s metal support. Ultimately, this paper serves two functions: it works as a buffer to help maintain the desired relative humidity within the encasement and as a sort of non-invasive optical brightener. The whiteness of the paper barrier combined with the parchment’s translucency actually caused the document appear more luminous! Polyester film tabs with rounded edges hold the document in place. The encasement is fitted with o-rings to create a tight seal and a leak-detection system. Once sealed, the air trapped inside the case was flushed out using the inert, humidified argon gas to create an oxygen-free environment.
In March 2012, Magna Carta, 1297 was re-installed in NARA’s West Rotunda where it remains on view. When we take a moment to reflect upon the important role that historic documents like Magna Carta play in telling the story of a nation, their preservation becomes unquestionable and the essential nature of the conservator’s work is underscored. Thanks to the amazing work of NARA conservators Morgan Zinsmeister and Terry Boone, their collaborators at NIST, and David M. Rubenstein who brought the document to NARA and underwrote its treatment and encasement, the Magna Carta will be preserved for the education and enjoyment of many generations of visitors to come.
To learn more about the exciting story of Magna Carta’s preservation, visit NARA’s website or YouTube channel to view videos on the treatment and the encasement.
AIC 41st Annual Meeting – Contemporary Art Sessions, May 31, 2013, “When Conservation Means Stapling: Touring an Unsupported, Unglazed, 9ft x 21ft, Oil Paint Stick on Paper to Three Venues by Joan Weir”
Joan Weir, conservator at the Art Gallery of Ontario, gave an informative Contemporary Art Session talk about the exhibition of Richard Serra’s 9’ by 21’ oil paint stick on paper, Untitled, 1974. She presented information about Serra’s working methods, and discussed challenges that conservators may encounter when working with oversize contemporary works of art on paper. I was particularly interested in learning about the process she used to mount the two horizontal sections of the drawing directly onto the wall with staples, because I had experienced the more modest challenge of how to mount an unglazed, unframed 8’ by 6’ contemporary charcoal drawing on a gallery wall.
Untitled, 1974, predated Serra’s use of the “bricks” he created from the individual oil paint sticks to facilitate the application of his medium. In 1974, he was still using individual oil paint sticks. When Weir unrolled the drawing from the 7’ storage tube, she observed that the oil paint stick medium on the upper sheet of paper was still flexible and in good condition, but had milky areas that appeared to be bloom.
After 30 years of being rolled, the paper remained strong enough to exhibit. The recto of the bottom sheet was disfigured with yellow stains. Since it contained no drawing media, Weir obtained permission from Serra to display the unstained verso side of the bottom sheet instead of the recto.
Untitled, 1974 had been exhibited without glazing or a frame less than four times, and had staple holes along the edges from the prior installations. Weir explored alternative hanging methods and finally embraced the idea of using standard 3/8” staples applied with a manual stapler. Prior to exhibition, she mended preexisting staple holes with Japanese tissue and a dry starch paste as needed. Post exhibit, she removed the staples with a Bosch staple remover, after inserting a protective Mylar strip beneath them.
To establish a safe procedure for the installation process, Weir created mockups of the same size as the drawing and practiced installing them. She determined that a courier team of two people was required to install and de-install the drawing, and used the same team and procedures for each of the three venues. The installation process also required 16’ of clear floor space in front of the wall, two scissors lifts, eight technicians, and shutting down the HVAC openings. A collapsible, portable raised work surface composed of Gator-board on folding tables “went on tour” with the rolled drawing. The stapling process was entrusted to a member of the Serra Studio team.
The installers practiced the installation two or three times at each venue prior to attempting the actual mounting of the drawing. They used tape on the wall to guide the placement of the drawing.
Weir described the installation procedure to AIC meeting attendees while she showed a video clip of the drawing being mounted on the wall. Seeing the actual process was very helpful. I hope she will add the video clip to the electronic version of her article as a valuable resource for anyone with a similar installation project.
During the first exhibit, she said that a sagging pouch formed along the top edge of the paper. By acclimating the drawing in the exhibit space overnight and refining the installation technique, she was able to prevent gaping by the third venue. The staples held very well.
Weir noted that the exhibited drawing accumulated many dust fibers and hairs, which she attributed to the HVAC systems. The requirement for constant supervision by a security guard prevented all but one touch incident, which she found remarkable.
Weir stated that this project had a number of high risks, especially the possibility of permanent damage from improper handling during the installation and de-installation process. Using the same people and procedures reduced the risk. This consistency was supported by all of the museums, the artist, and his studio, and it helped ensure the safety of the drawing.
This cooperative spirit extended to the relationship between the artist and the conservator. Weir respected Serra’s intent for how his work should be viewed. Instead of trying to promote traditional conservation ideals of how paper should be displayed, she worked to find the safest way to display his art without glazing or a frame.
Stapling art to the wall isn’t the first thought that comes to my mind when thinking about optimal exhibition methods. Contemporary art often requires unconventional approaches. Weir developed a workable solution that protected the drawing while allowing viewers to experience Untitled, 1974 as the artist intended.
AIC 41st Annual Meeting – Research and Technical Studies Session, May 31, “Artificial Aging of Paper-Based Cores Wrapped in Various Isolating Layers for use as Archival Storage Supports by Amy Williams and Catherine H. Stephens”
When faced with a budget dilemma for oversize mining maps storage, Amy Williams, project conservator at the University of Pittsburgh, asked herself “the $13,500 question:” Is there a benefit to using an archival 12” diameter storage tube core versus a non-archival 12” core wrapped with an isolating layer?
It would be easy to assume that archival cores were significantly better, well worth the extra $13,500. However, when faced with the substantial cost difference, Williams decided to conduct a scientific research project to determine the most cost-effective and preservation-friendly rolled storage system for the 5’ by 15’ maps of the Consol Energy Mine Map Preservation Project. She and her co-investigator, Dr. Catherine Stephens, presented their results on May 31, 2013 during the Research and Technical Studies Session of the AIC annual meeting.
If Williams and Stephens could prove that there was an acceptable, more affordable alternative to archival tubes, the news would be of great benefit to cultural institutions, collectors, and conservators. I was eager to hear their results.
Williams partnered with Stephens, Senior Research Scientist at the Art Conservation Research Center, Carnegie Mellow University (now at Yale University) for the investigation. They studied four types of tubes and six wrapping options suggested by conservators: no wrapping, polyester film, Tyvek, Marvelseal 360, heavy weight aluminum foil, and tissue paper buffered with 3.5% calcium carbonate. For the cores, they selected two archival tubes with different adhesives (sodium silicate versus a blend of polyvinyl alcohol and polyvinyl acetate), a non-archival core of kraft paper with an unidentified adhesive, and a Quik-Tube concrete pouring tube composed of recycled paper and a polyvinyl acetate/acrylic adhesive.
In the experiments, the maps were simulated by using Whatman #1 filter paper. The use of Whatman #1 paper versus historic papers was discussed in another 2013 RATS talk by Bill Minter and John Baty, “The Role of Polyester Film Encapsulation—With and Without Prior Deacidification—On Paper Degradation, Studied During Long-Term, Low Temperature Aging.” Minter and Baty chose historic papers for their research. I think it would add to our understanding if Williams and Stephens conducted a second phase of their research using commercially available papers or naturally aged historic papers to compare with the Whatman #1 results.
Their test samples, each consisting of a “map,” an isolating layer (or none), and a core, were aged at 90˚C and 50% relative humidity in an oven for up to 24 weeks.
The researchers’ first discovery was the unexpected impact of the adhesive, which caused staining on the tubes at the seam gaps between the narrow strips of paper comprising the tubes. This staining transferred onto the Whatman paper “maps.”
To prevent this problem, Williams recommended obtaining seamless tubes by asking the manufacturer to skive the edges of the paper. She also emphasized the importance of knowing the composition of both the paper and the glue of the cores.
I wonder how problematic the adhesive would be during a natural aging process or during a lower temperature artificial aging, and hope the researchers will consider exploring this in the future.
Williams and Stephens reported that the linen ties on the samples caused staining during the aging process. They switched to rare earth magnets, which caused no reported problems. Would a lower temperature during testing have prevented or reduced the problem with the linen ties? If this is a significant problem at all temperatures, linen ties may not be appropriate for rolled storage.
The experiment produced more unexpected results. The researchers evaluated the effects of the cores and isolating layers on the “maps” by measuring the chain scission of the cellulose, the yellowness, and the pH of the “maps.” I was surprised to learn that both the Tyvek and the Marvelseal 360 actively promoted degradation, yellowing, and a lower pH.
The aluminum foil, polyester film, and buffered tissue offered varying amounts of protection, depending on the type of core used. The best isolating layer overall was the heavy weight aluminum foil, and the best wrapper for the kraft tube was polyester film.
I wondered if the high temperature during aging might be responsible for the poor performance of the Marvelseal and the Tyvek, and whether the heat caused chemical changes within these two films. How much of the unexpected results overall was caused by the elevated temperature? Would similar results occur during natural aging at room temperature?
The researchers did speak about this issue. Stephens said that they chose the high temperature for artificial aging to ensure detectable changes, and stated that more research was needed lower temperatures.
From what I understood about the test results that Williams and Stephens presented, it seemed that wrapping a non-archival core with heavy weight aluminum foil could give comparable results to using an archival core. I would like to know more the amount of difference they saw, and hope they will offer a detailed discussion of this in their article about the research.
The results of their experiment have caused me to question my own assumptions about the storage materials we use. I hope Williams and Stephens will continue their valuable research, to determine what results are typical at lower temperatures and answer some of the other questions they raised during this first phase of the investigation.