#preservationweek

Here are some frequently encountered DIY repairs that, while well-meaning, are, alas, misguided interventions that exacerbate damage and some alternative approaches that better promote ongoing usability.

While scotch tape is great for wrapping presents and many other tasks, when used on book pages and documents it typically creates problems. The adhesives in clear, pressure-sensitive adhesive tape tend to degrade and discolor over time, resulting in significant damage to the paper. A clear example of degraded tape damage is this 1862 letter from Confederate soldier M.A. Harvey to his wife, “My Dear Eva”.

While this letter would have been relatively straightforward to mend with kozo paper and paste, the tape caused permanent damage, and days of work were required to stabilize the letter so that it could be mended appropriately.

When the boards of a beloved volume become detached, simply applying duct tape to reattach them might seem like a swell solution.

Though duct tape can temporarily reattach book covers, it tends to create significant damage and shorten the book’s lifespan. Similarly, where the spine of a book has become loose or detached, at first glance it might seem that adhering a loose spine covering directly to its text block would be a simple fix.

However, the spines of most modern books are not actually glued to the spine of the text by functional design. Adhering the spine covering directly alters the book’s mechanical structure and impedes its functioning, resulting in stress points that create further damage as the book is used. 

In order to retain loose book covers or spines, consider tying the book with cotton twill tape, positioning the knot along the head, tail, or fore-edge of the book.

Even better, alkaline book boxes from a preservation supply vendor offer protection from further damage or loss while helping to moderate acidic degradation processes. The repair of books that one wishes to remain functional over time is best left to trained conservators or technicians. For further preservation resources, preservation supply vendors, and information on locating a conservator, see the Hesburgh Libraries Preserving Private Collections guide.

Applying leather dressings such as leather conditioner, neatsfoot oil, or shoe polish to leather books hampers their preservation. While one may enjoy the appearance of polished leather spines in a bookcase, in the short term, leather dressings may darken leather and over time tend to further dry out the skin as well as cause stickiness and/or significant discoloration to the leather, known as leather bloom. 

If a leather-bound book is exhibiting signs of leather decay such as red rot (crumbling leather that creates a dusty mess that can transfer to the book pages during use), consider ordering an archival alkaline box for the book or consulting a conservator for further advice on preservation and treatment options. 

Using books as a place to “preserve” newspaper clippings, flowers, etc.

Hello, I’m Alexa Machnik, a third-year graduate student at the Conservation Center, Institute of Fine Arts, NYU. I first came to the Barbara Goldsmith Preservation & Conservation Department in Fall 2022 as a student in the graduate course, Conservation in Context, taught by Laura McCann, Director of Preservation. During this course, we delved into the world of library conservation, exploring the value systems that guide preservation decision-making and treatment action in academic research libraries. One of my class projects involved rehousing delicate leaf paintings from an early 19th-century commonplace book, or friendship album, part of the Fales Library holdings in the Special Collections at NYU Libraries (figs. 1-2) [1]. In honor of Preservation Week, I will share the intriguing history of the book and discuss the decisions that were made to preserve the leaves.

Figure 1 [left]: Front cover of the commonplace book, bound in gold-tooled red morocco leather.   Figure 2 [right]: Ownership label of “Jane Harriet [Blechynden]” on front marbled pastedown.

The book in question was compiled by Jane Harriet Blechynden (1806-1827) in England between 1822 and 1825. It holds her personal collection of handwritten and acquired materials, with contributions from her sisters, Emma and Sarah, who wrote original poems about sisterhood, separation, and their Anglo-Indian ancestry. The three women were the daughters of a British merchant residing in Calcutta, and while born in India, they were educated in England [2]. There is not a great deal known about Jane Harriet’s life in England, but her impending return to India in 1825 is documented in an emotional verse by Emma (fig. 3):

“Thus in parting my sister we’re breaking a link / Which may ne’er be united again / And firm as that chain was ‘tis painful to think / That absence may send it twain.”

Figure 3: Excerpt from the original poem, “Parting and a Meeting,” signed by Emma.

Jane Harriet’s book offers insights into her personhood, social connections, and sensibilities as an artist and collector. In addition to written entries, she inserted a compendium of acquired materials–pressed flowers, her own original drawings, and numerous paintings–between pages of the book (figs. 4-6).

Figures 4-6 [left to right]: A small sampling of the ephemeral treasures found in the book, including a dried pressed flower, a drawing on pith possibly by Jane Harriet, and a cut-paper silhouette.

Notably, six of these paintings are executed on the dried leaves of the Bodhi tree, a sacred plant indigenous to Asia with distinct spade-shaped, long-tipped leaves (fig. 7) [3]. Although leaf painting has origins in Buddhist traditions, by the time Jane Harriet collected her leaf paintings, it had already evolved into a form of Chinese export art in Europe. Her leaves depict secular scenes of contemporary life in China and botanical subjects, which are typical of the export genre (fig. 8). Their inclusion in the book implies that Jane was among the many people who partook in the avid collecting of China trade goods during the first few decades of the 19th century, a time when European fascination for Chinese culture and art was at its peak. 

Figure 7: A leaf painting, as found loose in the book and partially lifted to show the thin, translucent nature of the leaf support.

Figure 8: Another leaf painting from the book, oriented with the leaf tip at the bottom of the image, depicting flowers and a butterfly.

The initial rush of excitement that I felt at finding the leaf paintings soon turned to concern as I gave thought to their long-term preservation at NYU Libraries, where researchers are expected to handle the book. The leaf paintings were loose in between the pages, which raised a series of “what ifs” about the potential dangers they could encounter. What if the leaves slip from the book? What if they bend or break as the pages are turned? What if the painted surfaces become abraded? The paintings were made with opaque pigment-based watercolors on exceptionally delicate, skeletonized leaves that have been primed with a thin organic coating. Despite being intact, their inherent fragility means that they are vulnerable to even the slightest touch. After considerable discussion, the Conservation Unit decided that in order for the leaf paintings to be preserved and safely accessed by researchers, they should be housed separately from the book. 

I thoroughly examined the condition of the leaves and the painted surfaces in order to make a housing recommendation. Despite some minor damage, all were in stable condition. Thus, the ideal housing would provide support to prevent any further damage, such as paint loss and leaf breakage, and at the same time allow the leaves to maintain their translucency. To achieve this, I opted to mount them in double-sided window mats with a support made from clear polyester film, or Mylar® [4]. The addition of the Mylar® would not only create a stable surface for the leaf paintings but also enable the viewing of both sides (fig. 9).

Figure 9: View of the double-sided window mat with a Mylar® support.

My next challenge was to figure out how to mount the leaves onto the Mylar® support without the use of adhesive [5]. After consulting with conservation staff and creating mock-ups, short, discreet Mylar® tabs were selected as the best option to secure them into place (figs. 10-11). For this process, I positioned a single leaf painting onto the support and selectively placed the tabs around its perimeter, making sure the tabs did not overlap any areas of paint. I then used a handheld spot-welding pen to fuse the tabs to the support. Since this process was done in-situ, near the leaf, it required lots of precision practice and encouragement from colleagues before I felt confident enough for the task.

Figure 10: Detail of a mounted leaf painting. Notice that the Mylar® tabs are welded just outside the leaf and extend minimally over the edges, holding it in place with gentle pressure.

Figure 11: The backside of a mounted leaf painting viewed through the Mylar® support. This gives researchers access to the painting’s verso, where an underdrawing and other signs of artistic process can be discerned.

At the time of writing this post, I successfully housed the six leaf paintings in their double-sided window mats (figs. 12-13). This housing project, while complete, is just one part of the ongoing effort to preserve the commonplace book, and the Conservation Unit is continuing work on other elements of the book to ensure its safe return to Special Collections.

Figure 12: Example of the completed housing, showing the front of a leaf painting.

Figure 13: Back of a leaf painting.

Though my involvement in the project has come to an end, I have gained a very special appreciation for the commonplace book and the preservation challenges it presents. The experience of learning directly from NYU Libraries Special Collections was especially invaluable, providing me with opportunities to participate in complex decision-making processes unique to large research libraries driven by user needs. Before signing off, I’d like to extend my gratitude to my supervisors, Laura McCann, Director, and Lindsey Tyne, Conservation Librarian, and the entire team at the Barbara Goldsmith Conservation Lab for their unwavering support and enthusiasm throughout this project. Thank you all very much!

Notes:

[1] A commonplace book is a centralized place for an individual to record information, whether it be their personal thoughts or quotes from outside literary sources. Friendship albums, by contrast, contain handwritten entries from the family, friends, or acquaintances of the owner (often female). Both forms of commonplacing sustained popularity in Europe and America throughout the 19th century. To learn more about this fascinating literary genre, see Jenifer Blouin, “Eternal Perspectives in Nineteenth-Century Friendship Albums,” The Hilltop Review, Vol. 9, Issue 1 (2016) and Victoria E. Burke, “Recent Studies in Commonplace Books,” English Literary Renaissance, Vol. 43, No. 1 (2013), 153-177.

[2] Much of what is known about Jane Harriet (also known in her family as Harriet) comes from the Blechynden papers in the British Library (Add. Mss. 45578-663). This large holding contains the diaries of her father, Richard (Add. Mss. 45581-653), and older brother, Arthur (Add. Mss. 45654-61). For a secondary account of the Blechynden household, see Peter Robb, Sentiment and Self: Richard Blechynden’s Calcutta Diaries, 1791-1822 (New Delhi: Oxford University Press, 2011).

[3] Michele Matteini, “Written on a Bodhi tree leaf,” Anthropology and Aesthetics, Vol. 75-76 (2021), 45-58. 

[4] The design of the double-sided mats is based on an instructional guide made available by the Library of Congress. “Double-Sided Mat,” Library of Congress, accessed 1 February 2023. 

[5] We chose not to use adhesives or traditional paper-hinging techniques to mount the leaf paintings for several reasons. As noted, the paintings are on fragile, non-paper-based supports that have an organic coating, which may be derived from plant gum. The leaf supports are thin, translucent, and highly vulnerable to breakage, so applying hinges directly with adhesive might permanently alter their appearance or risk further damage to the leaves over time, especially if they need to be removed from the housing in the future.

We are loving the dentelles surrounding these bright and shimmery #endoftheweekendpapers, found in a binding by the Brooklyn bindery Frank J. Herzog & Co. The volume, an 1836 edition of the Charter of the City of New-York, was bound by Herzog for Dr. George R. Brush in February of 1888. Luckily, Dr. Brush saved the receipt, which not only identifies the binder, but also shows that he paid $3.00 for the binding - full red morocco, with the top edge gilt.

A wooden box, bound in leather--The Care and Feeding of Books (1950)

This book repair kit was owned by writer and book collector, Hunter Stagg. Over 1,000 volumes of Stagg’s personal library are held in Special Collections and Archives, along with his papers, manuscripts and correspondence with writers as diverse as Ellen Glasgow, Langston Hughes, and Gertrude Stein. 

Preservation through Poetry:

Tape is Evil

STOP Book Abuse for Preservation Week!

Did you know that it’s against the law to damage library books here in Michigan?  I was clueless until I found this bookmark inside a book from Special Collections. 

With proper care, handling, and storage, you can extend the life of your books and preserve them for years of enjoyment. When considering places to house your books, avoid attics, basements, and any other place where humidity and heat can fluctuate wildly. These locations can encourage mold growth, harbor unseen insects and pests, speed up the degradation of acidic paper, and encourage some adhesives used in books to fail. If you wouldn’t be comfortable living in a certain space, neither will your books! Avoid placing your books in bathrooms or kitchens where they will be exposed to increased humidity and water splashes, and avoid locations near radiators and vents where they will be subjected to rapid blasts of heat or cold. 

Likewise, while we might like to live with the blinds open and bask in the glow of the afternoon sun, the covers of some books are easily damaged by regular exposure to sunlight and some types of artificial light.

Consider placing your books on shelves in hallways, bedrooms, and other areas where light exposure is minimal and temperature and humidity are controlled. 

Store books on shelves off the ground in case of a leak. Avoid shelving books on their fore-edge with their spines facing up as this encourages text blocks to sag and pull away from their covers.

Average-sized books are best stored upright on shelves alongside similarly sized volumes. If a book is too large to be shelved vertically, place it on its side on a separate shelf with similarly sized books. Avoid placing a very tall tome next to a short book as the larger book will not be well supported and can distort and damage smaller books that it is next to and in some scenarios could possibly tip over. Similarly, fill shelves or use bookends to ensure that books are stored snugly upright rather than leaning, as leaning books are subject to distortion and damage.

Conversely, avoid packing bookshelves so tightly that force is required when removing them from the shelves, as this too can damage bindings. 

When removing books from their shelves, gently grip the spine at the middle of the book (pushing neighboring books backwards slightly as necessary to allow a grip), instead of tugging at the top of the spine, known as the “headcap”, which is especially vulnerable to damage.

Do this:

Not this:

Headcap damage:

Handle books with clean dry hands, avoiding or being especially careful if eating or drinking while handling books. When reading, it is best to cradle books with the hand or support with other props, as many books are not designed to be opened all the way flat to 180° and can suffer stress and damage if forced to open to a wide angle. Avoid “dog-earing" i.e. fold the corners of pages to mark your spot, highlighting, or writing in books that you wish to preserve. Instead use bookmarks to temporarily hold your place and make sure to remove them when finished reading or doing research, especially when using a library book. Sticky notes, paper clips, or rubber bands can all result in damage: paperclips can rust and leave an indentation on the page; sticky notes can leave a residue; and rubber bands can cause tearing of the pages. Transport books safely by limiting the amount you carry by hand. Support them close to your body in order to avoid dropping the books, which can result in significant damage. 

This blog post for Preservation Week was contributed by media preservation graduate assistant Adrianne Lundy about her work on the Roland Legiardi-Laura and Joanna Kiernan Collection on the Azul Documentary (TAM.814).

Azul was directed by Roland Legiardi-Laura in 1988. The film focuses on Nicaraguan poetry and culture, celebrating the 100th anniversary of Ruben Dario’s published book of the same title. In 2022, NYU Special Collections acquired Azul’s many production materials, including raw footage and audio recordings.

Included in these acquired materials were nine separate prints of the film. All were assumed to be exhibition prints, based on their labeling and because they were housed in travel carriers used to ship prints to exhibitors. It’s not uncommon for duplicate materials to exist in a collection. However, maintaining duplicates means committing storage, funds, and resources that could otherwise be devoted to original elements of other collections. Exhibition prints also tend to have high rates of damage from projectors, abundant handling, and travel wear and tear. It was decided that these prints should be inspected and assessed to identify the best quality prints of the bunch.

The inspection of all nine prints took place in March and April of this year. The film is 105 minutes, and each print consisted of three reels. I made notes on key condition points, including the number of splices and level of shrinkage. A common form of damage across many of the prints came from misloading projectors or from DIY-ed projection marks. On two different occasions, the first ~100 feet of image on the first reel were heavily scratched, contained damaged perforations, and edge damage, but contained very little damage going forward. This is as if a projectionist had improperly loaded the film, stopped, corrected, and reloaded. 

On other occasions, the projection marks varied in how they were implemented. Oftentimes individual projectionists/venues would have their own systems for indicating that a reel change was needed. On a number of prints, the heads and tails of the reels were painted white, presumably to indicate this.

On other occasions, one or two frames were cut and re-spliced into the film. This was likely a result of the three reels being edited together onto one reel for easier projection, and then separated again when the print was returned.

Another common issue across almost all prints were high levels of shrinkage. Most prints were found to have shrunk by 0.3% or more. Prints with 0.5% or higher shrinkage were noted as unsuitable for projection. 

In inspecting the films, it was found that some prints were subtitled in English, while others were not. For this reason, a “best copy” was sought of each of these two versions. The two unsubtitled copies had the most vibrant colors of all the nine prints. Both were printed on Eastman 7243 Safety Stock, a stock used for color master positives. The stock type, plus the lack of subtitles, indicates that they may be of an earlier generation than the rest of the prints in the collection. One was in excellent condition, while the other suffered from projector damage and shrinkage over 0.5%, making the choice of “best copy” simple.

The remaining seven prints all had subtitles and were all marked as “Low-Fade Positive Prints” (LPP). Though this stock was created to prevent color fading (in response to earlier color stocks that were susceptible to fading to a magenta color), the colors of these prints often appeared a bit duller in comparison to the 7243 prints. Despite this, there was one film that registered as having 0% shrinkage, along with a minimal number of splices.