Kenneth Spencer Research Library

(Part 1 in a series on the treatment of Summerfield D544)

The great majority of the items that we treat here in the conservation lab are in and out of the lab relatively quickly*. (*I use this word in a most qualified and highly subjective way! That usually means anywhere from a few minutes to a few hours to a couple of weeks.) A treatment need not be time-consuming or highly invasive in order to be effective; because there are so very many items in our collections that need treatment, and because we conservators try to take a conservative approach to treatments, we design most treatments to employ our resources – time and materials – as economically as possible while achieving the maximum benefit for the items being treated.

On occasion, however, we encounter items that need extra care and a fuller application of the tools available to us. These treatments are nursed along gradually and in stages, the work carried out alongside and in between shorter-term treatments, and sometimes put away for days or weeks at a time to let more immediate priorities take precedence. I currently have one such treatment on my bench, the Polish printed book, Kazania na niedziele calego roku [i.e., Sermons for Sundays of the Whole Year] by Pawel Kaczyński, published in 1683 (call number: Summerfield D544).

Summerfield D544 before treatment. Special Collections, Spencer Research Library. Click image to enlarge.

The catalog record notes that Spencer Library’s copy of this title is “imperfect;” indeed, we have only volume 1 of a three-volume set, our volume is missing one page, it has significant losses and edge damage throughout the text block, and not least of all, it is missing its binding. What remains of the volume is dirty and worn, and its sewing is rather carelessly executed, which limits the volume’s opening and has resulted in damage along the spine where sloppily-inserted thread has torn through the paper. In addition, the spine is coated with a thick waxy substance that is causing discoloration and breakage along the spine folds.

Example of damage caused by poor sewing. Click image to enlarge.

Damage caused by waxy spine coating. Click image to enlarge.

This poor volume had been housed in a simple envelope, and was at the very least in need of better housing, but one interesting feature drew our attention: a fragment of manuscript binder’s waste still adhered to the frayed cords on the back of the volume. It is not unusual to see repurposed manuscripts in books from this time, and the Summerfield Collection has many other examples of binder’s waste in its books. The fragment on Kazania is a bit different, however, because the language in which it is written appears to be Old Church Slavonic (while most of the manuscript fragments we see tend to be in Latin) and because the material it is written on is paper, rather than parchment.

Manuscript binder’s waste on the back of the volume. Click image to enlarge.

The fragment was dirty, torn, and completely obscured on one side by the pasted-down cords and layers of delaminated board from the missing binding. Normally we would attempt to preserve binder’s waste on the volume itself, but in this case, absent a binding and with the fragment at risk for further damage, we consulted with the collection curator and opted to release the fragment from the cords, clean it to the extent possible in order to reveal the concealed manuscript, and house it with the volume, including photographs of its original condition, as a teaching tool.

But what about the rest of the volume? In its present condition it is not suitable for use, and its sewing is causing damage to the text block, so we decided that the volume should be disbound, cleaned, mended, sewn up again, and placed into a limp paper conservation case binding. A paper case, similar to the one shown here at left, has many benefits: it will protect the text block and allow for safer and easier handling of the volume; it can be easily removed from the volume if its conservation or binding needs ever change in the future; and it will have an aesthetically appealing appearance that will integrate well on the shelf with other volumes in the collection.

This treatment, then, is one of those exceptions to our generally conservative practice – some items just need more help than others. Now that you’ve been introduced to this volume in its before-treatment condition, stay tuned to this blog for updates as the treatment progresses. The next installment in this series will cover the removal of the manuscript fragment, dismantling of the sewing, and the cleaning and preparation of the text block for re-sewing.

Angela Andres
Special Collections Conservator
Conservation Services

Captain Dangerous, A Brother to Dragons, Romance of the Seas, and Somebody Else’s Wife: The History of a Heartless Woman! Where can one find such gripping book titles? Why at the Spencer Research Library, of course! Deep within the Spencer’s stacks is a series of shelves filled with a set of 459 volumes with eye-catching bindings of a style of book called the yellowback.

What are yellowbacks? They were a type of book printed from the 1840s through the early 1900s. They were often sold at railway stations. Much like the paperbacks we buy in the airport today, these mass-produced books were purchased by those boarding trains seeking entertainment during their travels. This cheap literature for the masses was produced in an equally cheap manner. Straw boards were covered in a glazed paper—usually, though not always, yellow in color—and the textblock constructed of roughly sewn or stapled, lower-quality paper. Although inexpensive in production, these books were not lacking in decorative creativity. Publishing companies hired artists to create tri-colored wood-block printed covers that correlated to the stories’ subject matter, and boy, are these covers spectacular. The back cover, and front and back endpapers, were often printed with advertisements, including some for the bath product Pears Soap, featuring a somewhat disturbed looking baby as the spokesmodel.

Left: Front Cover, From Jest to Earnest, B1505.
Right: Back cover (featuring disturbed baby), Behind Closed Doors, B1577, Special Collections

The inexpensive production methods of yellowbacks might have proved profitable for publishing companies, but in terms of longevity for the books such poor construction came at a cost. After years of use, it was determined that the majority of the yellowback collection was in need of treatment. Many had loose or detached boards and spines, split hinges, abraded and flaking covers, and detached corners. It also appeared that some of the books had undergone previous conservation treatment involving a nasty hide-glue to reattach boards and spines. Over time, this treatment had proven to be more injurious than helpful. Luckily for the books, the conservation department had just the right summer intern up for the challenge of these little fixer-uppers.

Example of detached board and extra adhesive in hinge area, Tancred, B1346, Special Collections.

After conducting an in-depth survey of the entire collection, thirty-five books were determined to be the most in need of treatment. Once treatment options were discussed with the collection’s curator, work commenced. To remedy the failing hinges, a strip of kozo Japanese tissue was adhered using wheat starch paste and then dried beneath a weight. In more severe cases where the boards and spines were detached, the textblock was cleaned of any previous lining and glue using a methylcellulose poultice. If needed, the textblock was shaped with a backing hammer to create a rounder spine. A new spine lining was adhered using kizukishi Japanese paper and wheat starch paste, cut to allow for two one-inch flanges on either side of the spine. The boards were then attached using the flanges, adhering them to the interior of the cover.

Left: Spine before cleaning, Moths, B1481
Right: Spine after cleaning and lining with kizukishi paper, Moths, B1481, Special Collections.

If the spine was also missing, a modified hollow was created from a rectangular piece of tinted moriki Japanese paper, cut to the length of the book, folded three times in accordance with the book’s spine width, creating a tube-like hollow. This allows for both strength and flex in the book when patrons wish to comb through the pages. The treatments performed were minimally invasive. It was important to keep in mind that the “cure” could not be more than the book could handle, and also that the treatments not be visually distracting. After treatment, a custom-fitted Mylar wrapper was made for each volume for added protection. During my internship, thirty-five books were treated in four weeks.

Left: Example of detached spine.
Right: Same book after spine reattachment. Moths, B1481, Special Collections.

These simple but sturdy fixes extend the life span of these books and allow for easier patron use. I implore you to go visit the Spencer Research Library, not only to view my handiwork, but to admire, and also find humor, in these wonderful books.

Left: Before treatment image featuring previously repaired spine, The Mariner’s Compass: a Novel, B1433.
Right: After treatment, with newly repaired spine, The Mariner’s Compass: a Novel, B1433, Special Collections.

Allison Brewer
2015 Ringle Conservation Intern
Conservation Services

Recently, this book came into the conservation lab with a detaching spine and separated boards. It is volume 2 of a version of The Headless Horseman: A Strange Tale in Texas by Captain Mayne Reid. The gold-stamped cover caught my eye. It features this curious gentleman, minus head, but with boots and spurs.

Left: The Headless Horseman, before treatment. Right: A detail of the cover.
Call number C3400, Special Collections. Click images to enlarge.

To bring the book back to a usable condition, first I removed the previous paper spine lining with a softener called methylcellulose.

Application of methylcellulose to the spine lining to soften it. Click image to enlarge.

A layer of thick Japanese paper, applied with paste, served as a method for consolidating the spine and reattaching the boards, all at once. The Japanese paper extended onto the boards, under the lifted cloth.

Next I applied a lining that included a tube of paper (called a “hollow”), used to keep the fragile original spine pieces from bending inward when the book is opened. Finally, I dyed some red Moriki Japanese paper to match the cover cloth, and applied that over the tube and under the lifted cloth.

Left: Applying the hollow over the Japanese paper lining. Right: Applying dyed paper over the hollow.
Call number C3400, Special Collections. Click images to enlarge.

The final step was to reattach the loose spine pieces. The spine is still fragile, so I added a polyester dustjacket as a final precaution.

The finished conservation treatment (before the dustjacket).
Call number C3400, Special Collections

The Headless Horseman is ready to ride again!

Whitney Baker
Head, Conservation Services

This summer I was the Stannard Conservation Lab Intern at the University of Kansas. I worked on many projects, but the most challenging one was treating a large collection of architectural plans. University Archives already has many architectural plans of KU campus buildings, so it was a surprise when more original plans were found in the attic of Fraser Hall. The plans had been rolled up, tied with string, and left for years in the attic. They were stacked on top of each other and very dirty, some showing signs of bird droppings and cobwebs. Due to this rough storage environment, some of the plans were severely damaged, although most were in fairly stable condition. The plans were moved from Fraser’s attic to University Archives until a more appropriate and permanent storage situation could be found.

Rolled architectural plans temporarily stored in
University Archives. Click image to enlarge.

It is best for architectural plans to be stored flat, not only for their preservation but also to save space. Since the plans were stored rolled for so long, they needed to be humidified and flattened before they could be stored in horizontal files in the Archives. This required some creative thinking by the KU conservation team because a humidity chamber had to be specially made to accommodate these large plans.

The construction of the humidity chamber was finished when I started my internship, so I was able to start right in on developing the work procedure for humidifying and flattening the plans. I developed a documentation process to keep track of the plans that were treated and instituted an efficient work flow to keep the project rolling.

The specially-built humidity chamber at KU’s Conservation Lab.
Click image to enlarge.

The rolled plans were sorted by what building they depicted and then moved to the work room in their respective groups. Next, the drawings were prepared for humidification: staples were removed and important information about the plans – including title and date – were recorded in a database. The plans were then humidified and flattened. Lastly, the plans were placed in labeled folders and stored in the Archive’s new horizontal storage cases. The work procedure I developed allowed the other interns to continue the flattening and filing process even after my internship ended.

Summer Conservation Intern Erin Kraus removes
water from the humidity chamber with a wet vac.
Click image to enlarge.

New horizontal storage cases in University Archives.
Click image to enlarge.

These historic plans were an important discovery because they can still be useful to architects today when improvements are being made to buildings. The conservation of the plans so far turned out beautifully, so it was very satisfying to see the progress made on the project.

Architectural plans after humidification and flattening.
Click image to enlarge.

The conservation lab at KU was a great place to spend my summer and I learned a lot from this project. Having an internship in Kansas allowed me to not only spend time in my home state, but to also get to know all of the wonderful people at the Stannard Conservation Lab. Thanks for a great summer!

Erin Kraus
2013 Conservation Summer Intern

We receive many rolled posters, maps, photographs, and other paper items in the conservation lab. Oftentimes the cataloger or processor hasn’t been able to open the item to determine what it is. For most of these items, humidification and flattenting is the standard treatment.

Image of a rolled photograph before dehumidification.

High humidity environments can be deleterious to paper if not closely monitored. However, sometimes we use humidity to our advantage: to relax rolled paper in order to flatten it. I often use the sink in the conservation lab to create a humidity chamber. On the bottom is the water. We use rubber stoppers with a layer of plastic eggcrate sheeting to make a platform above the water level. On top of that is a blotter paper to protect the collection item from the grid of the eggrate. The rolled item is placed on the blotter and the lid is put on the chamber.

Humidity chamber created in a sink.

I closely watch the rolled item to determine when I might begin to gently unroll it or when it’s ready to come out of the chamber. Especially for photographs, this step has to be done with utmost care.

Unrolling a humidified photograph.

Once it is completely unrolled or very relaxed, I remove the item from the chamber and press it between blotters and a spun polyester cloth called Hollytex, with a Plexiglas sheet and weight on top.

Finished photograph after humidification treatment.

Sometimes items aren’t 100% flat after treatment. In this case, the photograph is flat enough for a patron to use it, without overstressing the layers comprising the photograph.

Whitney Baker
Head, Conservation Services