EMG Wiki Day 9/27

AIC’s Electronic Media Group announces our upcoming EMG Wiki Day on Thursday, 9/27, from 1 to 5 PM Eastern Time.  EMG members and allied professionals are invited to write and edit for this valuable online resource.  We actively seek contributions on topics including film, digital audio and video, optical audio and moving image formats, and digital storage.

Log onto the EMG wiki during the afternoon of 9/27 to join other EMG members in writing and editing content.  The event offers collaboration and support for experienced wiki authors and novices alike.

Still need a wiki account?  View the AIC wiki training video and then contact AIC e-Editor Rachael Arenstein to get your login.  If you have content to contribute but can’t train in time, please contact EMG Webmaster Sarah Norris.

Visit the EMG wiki to learn more.

Mark your calendars for the afternoon of 9/27 and join your colleagues as we enhance this valuable wiki resource for the field.

-Sarah Norris
EMG Webmaster
www.facebook.com/ElectronicMediaGroup
http://twitter.com/EMG_AIC
http://cool.conservation-us.org/coolaic/sg/emg/

Baker Fellowships in Paper Conservation awarded

The University of Michigan (U-M) Library is delighted to announce the first Cathleen A. Baker Fellows in Paper Conservation. Lauren Calcote and Aisha Wahab started their fellowships in early September and will remain in residence with the U-M Library Conservation Lab through August 2013.

Lauren Calcote is a September 2012 graduate of the New York State College, Buffalo, master’s degree program in art conservation, specializing in book conservation. During her fellowship she will be focusing on historical binding structures and book conservation treatments ranging from batch treatment of nineteenth-century cloth bindings to individual treatment of complex vellum books.

Aisha Wahab is starting her final year in the Buffalo program. The Baker Fellowship is helping to support her third-year internship at the University of Michigan Library Conservation Lab. Specializing in paper conservation, she has particular interest in the conservation of Islamic and Middle Eastern manuscripts.

The Cathleen A. Baker Fellowship in Paper Conservation was established in 2011 by a gift from Dr. Baker, Conservation Librarian in the Department of Preservation and Conservation at the University of Michigan Library. The fellowship provides financial support for conservators at various levels in their careers to enable them to spend time in the U-M Library’s Conservation Lab to increase their knowledge about the conservation of paper-based collections.

Applications for fellowship projects starting in Fall 2013 are due January 31, 2013. Information about the fellowship and application forms are available at www.lib.umich.edu/preservation-and-conservation/cathleen-baker-fellowship-conservation-2013-2014

Shannon Zachary
Head, Dept. of Preservation and Conservation
University of Michigan Library
Ann Arbor, Michigan

New ICON Ceramics and Glass Group Forum

Feel free to ask questions about materials and techniques that you’re encountering for the first time, or for advice on specific objects

If you’re struggling to locate a specific material or piece of equipment and want to know where other conservators go shopping, just ask.

Or if you know about job opportunities, student placements or internships that you feel would be interesting to the members feel

free to share them here.

iconcgg.proboards.com/index.cgi

Seinajoki University of Applied Sciences Building Conservation Program Faces Closure

The building conservation-program at Seinajoki University of Applied Sciences in Finland is threatened to be terminated. The program is the only one of its kind in Finland.  Please sign a petition in which the Finnish section of the Nordic Association of Conservators pleads the decision-makers at Seinajoki University of Applied Sciences for reconsidering closure of the study program.

Read more: http://www.petitions24.com/vetoomus_suomalaisen_rakennuskulttuuriperinnon_puolesta

Job Posting: Conservator of Photographs, Williamstown Art Conservation Center

The Williamstown Art Conservation Center is seeking a full-time, photograph conservator to manage and run the photograph conservation division within the paper conservation department. The conservator will participate in all departmental activities including documentation, analysis and treatment for the photograph collections of the WACC’s and the AACC’s (Atlanta Art Conservation Center) member institutions and will assist with projects in the paper conservation lab as work load and deadlines fluctuate.

The candidate should have a degree in graduate-level studies with a specialization in photographic materials or equivalent education and work/life experience demonstrating expertise in the analysis, documentation, conservation treatment and preventive care for all types of photographic materials. The conservator should demonstrate knowledge of the history of photography, the evolution of historic and contemporary photographic techniques and skill in the use of non-destructive analytical examination techniques for photographs.

Excellent oral, written and interpersonal communication skills, computer proficiency and strong organizational abilities will be required. The candidate should be willing to travel periodically to carry out site work for member institutions.

The WACC offers a full benefits package including an annual research stipend. Title and salary will be commensurate with the successful applicant’s qualifications and experience.

For further information contact: Leslie Paisley, Paper Conservator/Department Head at lpaisley [at] williamstownart__org.  To apply, please submit a cover letter and contact information for three references to

Thomas Branchick
Director, Williamstown Art Conservation Center
227 South Street
Williamstown MA 01267
413-458-5741

Conference: “International Conference on the History of Records and Archives (ICHORA 6),” Austin, Texas, USA, August 2-4, 2012

International Conference on the History of Records and Archives (ICHORA 6)

“Exploring Shared Heritage in the History of Archives with Libraries, Information Science/Documentation, Preservation/Conservation, and Museums”
Austin, Texas, USA
August 2-4, 2012

Early bird registration ends July 1, 2012

Further information: http://www.ischool.utexas.edu/~ichora6/

Twenty-first century archivists and librarians, information scientists and documentalists, preservation administrators and conservators, and museum professionals share a common rich enterprise of managing information. Yet the fields of each through time have included work that others stake as their province. Consequently through the centuries this shared heritage often has been honored in rivalry grounded:

  • in the different purposes archivists and librarians, museum curators and administrators, information scientists and documentalists, and preservation administrators and conservators have claimed as their work
  • in the different traditions of practice grown up to deliver the special contribution of each field to society
  • in the education appropriate to practicing in each tradition

The papers gathered for this sixth ICHORA meeting address these questions and contextualize them by including a strong set of archival history papers. We anticipate a rich opportunity for scholarly discussion around the papers and the opportunities offered by our venues.

Abstracts of papers to be presented are now available:

<URL:http://www.ischool.utexas.edu/~ichora6/program.htm>

Meeting location and local archives: Most of the paper sessions will be held in the Prothro Theater in the Harry Ransom Center, home of a world-class archives of literature and publishing. Attendees will be hosted at a reception with tours at the Briscoe Center for American History, known for its broad holdings of historical manuscripts pertaining to the history of the United States. Other significant archival institutions exist on campus (the Lyndon Baines Johnson Presidential Library, the Benson Center for Latin American History, the Alexander Architectural Archives) and all are prepared to welcome researchers who may have a few additional days to spend in Austin. All of these institutions can be reached through their websites, all of which are listed at:

<URL:http://www.lib.utexas.edu/help/librarylist.html>

This list does not exhaust the archival wealth of Austin, which is also the home of the Texas State Library and Archives, the Austin History Center (the city archives), the Catholic Archives of Texas, the Presbyterian Archives, the Texas General Land Office, and the Texas Archive of the Moving Image, to name a few within easy reach of the campus.

Registration rates:

Full Registration (Early Bird until July 1, 2012): US $200
Full Registration: US $250
Student Registration: US $100
Day Registration: US $100

Dinner only (for banquet guests; must accompany a participant in the conference and should be included in a participant’s

registration): US $55

To register by credit card see

<URL:http://utdirect.utexas.edu/txshop/list.WBX?component=0&application_name=GLINFOST&cat_seq_chosen=01>

Professor Patricia Galloway
School of Information
University of Texas at Austin
1616 Guadalupe, Suite 5.202
Austin, Texas 78701-1213
512-232-9220

Artists’ Colourmen Database

Paintings conservators at the  National Gallery of Victoria (NGV), Australia, have compiled a database of Artists’ Colourmen stamps, stencils, labels and marks found on artworks in the NGV Collection as a resource for study and interest.

The database can be viewed online at: http://www.ngv.vic.gov.au/explore/conservation/artists-colourmen

Companies manufacturing and supplying artist’s materials, from the late Eighteenth Century onward, are known as Artists’ Colourmen. They marked their products, canvases, stretchers, and boards, for instance, with individual and characteristic stamps, stencils, labels and embossed marks. These often carry the company name and address, which can be used to indicate the source and general date of manufacture of the canvas, board or stretcher associated with an artwork.

This online resource has been made possible by the generous support of the Telematics Course Development Fund.  We are also indebted to Jacob Simon for allowing us to reference the rich on-line archive of historical information on artist’s colourmen provided by the National Portrait Gallery, London.

6th Helen Warren DeGolyer Triennial Competition and Exhibition Winners

The 6th Helen Warren DeGolyer Triennial Competition and Exhibition for American Bookbinding took place Friday, June 8, 2012 at Bridwell Library, Southern Methodist University and it was a great day!

There were 31 entrants in the competition (almost a doubling from last Triennial’s participation); great workshops by Karen Hanmer, Shanna Leino, and Chela Metzger; a superb and personal luncheon presentation by Priscilla Spitler on her design and realization of the binding from that 2009 award-winning design; many moving memorials to Jan Sobota; and a wonderful awards ceremony and exhibition opening–the Bridwell Library staff did a fantastic job of everything!

The winners at this Triennial’s competition are:

Jana Pullman
2012 Award for Design

Eleanore Edwards Ramsey
2012 Award for Excellence in Fine Binding

David John Lawrence
2012 DeGolyer Award for American Bookbinding

See www.smu.edu/Bridwell/Collections/SpecialCollectionsandArchives/Exhibitions/DeGolyer2012.

AIC’s 40th Annual Meeting – Photographic Materials Session, May 11, “The Photograph Information Record” by Erin Murphy and Nora Kennedy

At last month’s AIC meeting, I had the pleasure of attending several of the PMG sessions, including this one on the Photograph Information Record, or “PIR” for short.  The form was introduced in 2009 following several years of collaboration between the Photographic Materials Research Group, photograph conservators, and colleagues in conservation science, collections management, and curatorial.  The goal was to create an international standard for an artist’s questionnaire, to collect essential information to aid in preservation efforts. The result was a concise, two-page form.  A completed PIR covers the history and context of creation, ownership, exhibition, conservation, and publication of a photograph, and provides information about the tools and processes of image creation, printing, and finishing.  It asks artists to discuss what aspects of the work they consider integral, and gives them an opportunity to provide a statement about the creation and preservation of the work.

In this session Erin Murphy, photograph conservator at the New York Public Library, reviewed the history of the PIR and discussed its present stage of development.  Many institutions around the world have formally adopted the PIR, and now plans are underway to collect feedback from users in order to develop the next generation – a new and improved form.

French, Spanish, and Japanese versions are available, with more translations in the works.  For some committees working on translations, it poses a real challenge to agree on terminology or create terms in the language that didn’t exist before.  Some mentioned that those discussions may be suitable for the wiki, and for the glossary project.

Future goals include expanding the visibility and availability of the PIR on the web.  Right now, the form is available in several languages as a free download on the AIC website at www.conservation-us.org/PIR.  ICOM-CC-PM members can access it on the ICOM-CC website.  The form can also be found on a few other sites, such as a gallery or library here and there. A secondary PR campaign will also help raise awareness and encourage more institutions, galleries, and photographers themselves to adopt this valuable tool.  Some attendees suggested potential audiences, including photography curators, and the registrars’ groups of AAM and ICOM.

Another goal is to see if improvements can be made to the PDF format.  Form fields in the PDF make it easy to complete the form, but the information is not easy to import into museum databases.  The PIR’s creators would also like to see access to the PIR expand within institutions to reach more departments and researchers.

It’ll be exciting to see the new directions that the PIR form takes in the coming months.

AIC’s 40th Annual Meeting-May 11, 2012 Joint Session: Book and Paper Group/Research and Technical Studies, with the Archives Conservation Discussion Group and the Library Collections Conservation Discussion Group “Mass De-Acidification Today”

The session was a series of short presentations by the panelists followed by a question and answer session that was open to the floor as well as pre-submitted questions from the AIC membership.

The panelists were: James Burd, President and CEO of Preservation Technologies, LP; Michael Ramin, Project Manager Research/Analytics, Nitrochemie; Dick Smith, owner Wei T’o Associates; Fenella France, Chief, Preservation of Research and Testing Division, Library of Congress; Nora Lockshin, Smithsonian Institution Archive on behalf of Anna Friedman, Conservator, National Archives and Records Administration.

The first presentation by James Burd “Bookkeeper Deacidification: The Chemistry Behind the Process” began with a review of Preservation Technologies’ twenty years in business, including an overview of their products and services as well as the scope of their operations.  Mr. Burd spent the most time describing the Bookkeeper process, that it is a non-toxic, non-flammable, non-VOC, odorless process that does not use solvents or produce effluents.  The alkaline agent is magnesium oxide (MgO) and in the mass-process it is delivered in an inert suspension liquid in which the books are immersed, relying on an electrostatic attraction to cellulose to deposit the MgO in the paper.  Mr. Burd referenced recent research at the Canadian Conservation Institute and assorted technical studies at the Library of Congress in support of the effectiveness of the Bookkeeper process and reminded the audience that whatever the challenges presented by brittle collections, the greatest risk is doing nothing.

Michael Ramin followed with his talk “Durability, Quality Control, and Ink Corrosion Treatment with the Papersave Swiss Mass De-Acidification Process”.  Papersave is a solvent based process using hexamethylene disiloxane (HMDO) as the solvent and magnesium as the alkaline agent.  For treatment, the books are placed in metal baskets, which are then placed in a chamber for pre-drying, treatment, post drying and re-conditioning.  Papers, books and drawings can be treated by this process.  The items are treated in a vacuum chamber which ensures saturation by the treatment solution followed by the reconditioning process which allows moisture back into the chamber and the moisture in the air activates the deposited alkaline reserve.  The company performs regular quality control in line with the German Institute for Standardization (DIN) and has retained 12 years’ worth of data including surface pH and XRF measurements to determine distribution of alkaline reserve.  Papersave also has sample sets for real time ageing at five and ten year intervals.  According to Mr. Ramin, the Papersave process is alos safe for paper that has iron gall ink corrosion since “through the treatment the acid is neutralized without removal or migration of the ions, on the contrary some of the iron is bound and neutralized.”

Dick Smith’s talk “Wei T’o Paperguard: Comprehensively De-acidifying, Stabilizing and Strengthening Paper” was third in the line-up although all the presenters acknowledged Mr. Smith as a foundation researcher and advocate for the mass de-acidification of paper.  The original Wei T’o product was one of the first on the market for the treatment of acidic paper and Mr. Smith spent a portion of his talk describing how he became interested in the science of paper de-acidification, explaining that even though a piece of paper is thin, penetrating the surface with an even distribution of an alkaline agent is not an easy task to accomplish, especially 30-40 years ago when the technology was not very advanced.  Mr. Smith then went on to profile a new Wei T’o product, still in the development phase, called Paperguard which not only de-acidifies, but also protects paper from fungal growth and pests.  It is a zinc-based process that is environmentally sustainable since the by-products of the process are recoverable.

The fourth presentation was by Fenella France “Taking the Measure: Treatment and Testing in Mass Deacidification” and started with a review of the Library of Congress’ research into the mass de-acidification process which began in the 1970’s and expanded in the 1990’s.  While the Library of Congress has vast historical collections, they are also still taking in acidic collections from all over the world and their current mass de-acidification treats more late 20th and early 21st century books from India, Spain, USA, etc. than 19th century material.  The initial goal for the Library’s research was to establish a process that would deposit an alkaline reserve that tripled the longevity of an item, Bookkeeper was selected and a treatment facility was installed on-site at the Madison building.  Testing and quality control is ongoing, but Ms. France sees a real need for the library research community to do more independent testing and not rely on vendor sources since there is too much variation in test methods to allow for meaningful comparison of data.  A single measure that could be applied across the different mass de-acidification processes would enhance the assessment process and allow for agreement on the definition of progress.

The final presentation was Nora Lockshin on behalf of Anna Friedman “Evaluating De-Acidification After 20 Years of Natural Aging”.  Ms. Friedman’s research focused on a treatment group from a 1989-1991 project at the Smithsonian Institution Archives where over 500 architectural drawings out of a record group of over 2,000 were sent out for de-acidification with Wei T’o Soft Spray or an aqueous bath with Magnesium Bicarbonate.  Ms. Friedman used surface pH testing and colorimetric measurements at 5 points across the front of a drawing to evaluate the long term effectiveness of the de-acidification treatments.  The colorimetric evaluation did not show any trends, but the surface pH showed that the application of Wei T’o was very uneven across the surface of the document.  This would make sense given the application process of Soft Spray.  However, comparison with a control group showed that documents that had been treated for mass de-acidification did have a higher pH after 20 years of natural aging.

The open discussion that followed began with a submitted question

SubQ: Is spraying of individual items as effective?

A: Papersave and Paperguard cannot be applied singly- mass only

Q: (Emily Rainwater) As a user of post-Bookkeeper treated items, she finds a lot of residue from handling the books, e.g. turning pages.

A: (Burd)- The particulates should go away as the treated book ages. (France)- Early in the development of the Bookkeeper process the particles were fairly large; they’re smaller now, so the white powder problem should go away.

Q: (Eric Hansen)- Italian conservators and others have complained that Bookkeeper changes the feel of the paper.  Will Bookkeper address this question in a direct way so that this issue can be settled?

A: (Burd)- People really shouldn’t be able to tell, he has spray with him and offered to let people spray samples of paper and feel for themselves.  The particle size is small and the quality control protocol of mass de-acidification is rigorous.  (Smith)- Is particle size really the issue? Are we measuring what we think we’re measuring in terms of quality control? The TAPPI tests that we generally use are a standard, but are not precise to our need.

Q: (John Batty)- What does Mr. Burd mean by “pure” alkaline reserve?

A: (Burd)The magnesium that Bookkeeper uses is of high purity, but also there is no residue of other treatment fluids after the process is completed since the Bookkeeper process is full recovery.

Q: (John Batty)- To Mr. Smith: are you planning to treat artist’s materials to a specific pH?

A:(Smith) Not just to a specific pH, but also using zinc to ensure fungal and pest prevention.

Q: (Johanna P) To M. Burd, how is the benefit to ink measured, given that iron gal ink is supposed to stay acidic? Also, what about the color change or yellowing of treated items?

A: (Burd) If you have an ink you want to stay acidic, don’t treat it with a de-acidification process.  If you want to stabilize iron gall ink and protect the substrate as well, then the Bookkeper process can be directed toward strengthening of paper.

A: (Ramin)- Non aqueous is better treatment since the paper is not as stressed.

A: (Smith): Commenting on paper yellowing after treatment by Wei T’o; he took yellowing as a sign of effectiveness since it demonstrated penetration of spray (this was in the early days) but don’t give up on de-acidification, work on delivery of the alkaline reserve.

A: (Burd)- Commenting on yellowing- Since the Bookkeeper process doesn’t use a solvent, there shouldn’t be any yellowing.  Some researchers have spotted yellowing due to aging of magnesium, but Burd thinks the books would probably have yellowed anyway, so the magnesium application just changes the characteristics of the yellowing. Burd went on to comment that yellowing is only present in artificially aged paper samples, and that 20 years is not long enough for real time aging to be conclusive.

A: (Ramin) Papersave tests show some yellowing in ground wood and to comment on mold remediation, the Papersave drying process kills mold, which is a side benefit.  Once treated, collections tend to have better storage conditions, so mold is less likely to grow again

A: (Smith)- Zinc has potential for mold and pest prevention in addition to mass de-acidification.

A: (Burd)- Alkalization does help with mold prevention

Q: (Ursula ?): Could there be more natural aging studies? To Ms. France, given ten years of using Bookkeeper, are you doing any studies? To Ms. Lockshin: were the treated papers stored differently?

A: (France)- Yes, the Library of Congress is initiating a long term study.

A: (Lockshin) all treated drawings were encapsulated and then opened for analysis but were otherwise stored together.

Q: (Cathleen Baker): the audience knows a lot about the complexity of paper, but the ads and trade lit is a little unsophisticated and implies that mass treatment should be readily applied, whereas selection is a more complex process.  What about the effect of mass de-acidification on lignin?

A: (Burd)- This has been reported in literature, but if you attack lignin you will make paper weaker, to prevent this effect, don’t select items that are brittle where the lignin or cellulose is already weak, they can’t be rebuilt by mass de-acidification.

A: (Lockshin) Commented that the Smithsonian receives many reference calls, people have seen an ad for a product and want information on its effectiveness.

Q: (Renate Mesmer) The Folger Library has just started a Bookkeeper project and wanted to comment that handling of books for the Bookkeeper process is extreme, given the fanning out and agitation.  They have also found very high amounts of white deposits, and given these high amounts of surface deposits, is anything going to the core of the paper?

A: (Burd)- Since we don’t use solvents we have to fan the books so that the alkaline particles can make their way into the paper.  If a book is too delicate for the mass process, then use the single item process. Distressed to hear that there are a lot of white deposits.  Porosity of the paper is the dependent factor on penetration, but acids migrate toward the alkaline particles so this shouldn’t ultimately be a problem.