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6. Specialty Session [clear filter]
Thursday, May 31

2:00pm MDT

(Book and Paper) Washi: Understanding Japanese paper as a material of culture and conservation
Washi, or Japanese paper, is both a material of cultural heritage and a material used ubiquitously in conservation. Long before it became an amazing conservation material, washi had specific purposes tied to Japanese culture. Japanese papermaking is a historical craft that has experienced significant changes in the past few decades. Sadly, not all changes are for the better—the number of papermakers is dwindling and certain types of washi have become extinct due to closure of papermaking mills responding to various pressures. The accelerated changes in the world of washi compounded by potential language barriers for conservators who are not fluent in Japanese make it difficult for conservators to be certain of how these changes might be affecting washi used for treatment.  Seminal research has been conducted in the past about Japanese papermaking materials and techniques as well as technical analysis of handmade and machine made washi to determine its most appropriate use in conservation. However, these references may not be current enough for conservators to assess papers made in modern times.
By maintaining a current understanding of the history and process of Japanese papers we are respecting washi as both an object of cultural importance and as a conservation material that we use so commonly. This presentation seeks to review the history and technical process of Japanese papermaking. It will look at the methods and techniques of the papermakers represented by Hiromi Paper Inc., as well as some of the toolmakers, and raw materials involved in the papermaking process. Related conservation research published to date will be covered, and methods of extracting information through visual examination of washi for practical applications in conservation will be discussed.

avatar for Brook Prestowitz

Brook Prestowitz

Conservator, Williamstown Art Conservation Center
In her role as National Endowment for the Arts Fellow, Brook Prestowitz prepares condition reports, treatment estimates, and proposals, and she carries out conservation treatment for works of art on paper and archival materials.Brook received her BA from the University of Delware... Read More →


Yuki Katayama

Director, Hiromi Paper Inc.
Yuki works for the California based Hiromi Paper Inc., the primary US importer of fine art Japanese papers for art and conservation. Their papers are used by notable artists, craftsmen, and conservators throughout the US. She helps to supply quality papers and other related materials... Read More →

Thursday May 31, 2018 2:00pm - 2:30pm MDT
Texas Ballroom D Marriott Marquis Houston
  6. Specialty Session, Book and Paper

2:30pm MDT

(Book and Paper) Optical Clearing of Repair Tissues for the Treatment of Translucent Papers
There are many types of translucent papers, each with its own set of conservation issues stemming from various manufacturing processes. The characteristic that makes them stand apart from other papers—transparency—can itself be at risk when there is a need for applying mending or lining tissues. This project explores the physical aspects of paper transparency, and investigates the concept of optical clearing (transparentizing) of repair tissues, with the goal of achieving appropriate repairs on translucent papers without dramatically increasing the opacity of treated areas. The term “optical clearing” is borrowed from the fields of biology and medical research; it refers to the process of rendering biological tissues transparent through the application of clearing agents, which minimize the scattering of light and allow greater visibility for microscopy and imaging. This is similar to some historical processes of transparentizing paper, in which oils, waxes and rosins were added to fill light-scattering interstices, allowing more light to travel unimpeded through the paper web. This concept is applied to conservation repair tissues, with the goal of determining a coating to serve dual functions: optical clearing agent and reactivatable adhesive.

A wide range of adhesives and coatings familiar to paper conservation was tested for their transparentizing effects on a variety of repair tissues, including more traditional Japanese papers and the recently developed nanocellulose papers. Opacity measurements were taken using a spectrophotometer and the contrast-ratio method. Acrylic polymer dispersions proved to be the most consistently successful clearing agents. The most substantial transparentizing effects occurred in gampi-fiber Japanese tissues, with some cleared by over 90% of their original opacity. This can be attributed to the superior film-formation qualities of the acrylic dispersions and their amorphous polymeric structure. The heat-reactivation capability of acrylic adhesives also proves advantageous for the treatment of translucent tissues, which tend to react dramatically to moisture.

A range of repair methods was applied to modern translucent tissue samples. These were measured for opacity before and after treatment to compare to repairs made with cleared tissues. SEM cross-sectional imaging was used to visualize adhesive penetration. Attempts at removing each repair were also made to characterize ease-of-reversibility. The long-term stability of optically cleared repair tissues is considered alongside an aging test that measures the yellowing and turbidity of acrylic transparentizing coatings under different light exposures.

The application of the optically cleared tissues is discussed via the treatment of two large objects possessing damaged transparent overlays: Atlas Photographique de la Lune (Observatoire de Paris, 1896–1910) and Frank Lloyd Wright’s “Wasmuth Portfolio” (1910). The suitability of different clearing agents in varying contexts is also considered, such as in the treatment of coated transparent papers.

avatar for Roger S. Williams

Roger S. Williams

Conservation Fellow, Northwestern University Library
Roger Williams is the current conservation fellow at Northwestern University Libraries. He earned his MA in Conservation Studies (Books & Library Materials) from West Dean College and the University of Sussex in 2015. He worked previously at the Rare Book School at the University... Read More →

Thursday May 31, 2018 2:30pm - 3:00pm MDT
Texas Ballroom D Marriott Marquis Houston

3:00pm MDT

(Book and Paper) Cocktails and mixers: Ethanol-modified treatments for iron-gall ink.
Cocktails and mixers: Ethanol-modified treatments for iron-gall ink.
The admixture of ethanol to aqueous treatment solutions is commonly used by conservators to mitigate the solubility of water-sensitive media. Prior research and direct observations by Library of Congress conservators have likewise indicated promising applications for the addition of ethanol to treat manuscripts with water-sensitive iron-gall ink. Building on the pioneering research initiated by the Netherlands Cultural Heritage Agency, which demonstrated the efficacy of calcium phytate and calcium bicarbonate to significantly slow the deteriorative mechanisms of iron-gall ink, a team of conservators and scientists at the Library of Congress sought the identify effective "cocktails", or ratios of ethanol and other components in the preparation of phytate and bicarbonate solutions.
This talk will present the results of a multi-year study comparing treatments on artificially-aged iron-gall ink, including washing in ethanol-water mixtures; varying proportions of ethanol in phytate and bicarbonate solutions; comparing ethanol-modified magnesium phytate with ethanol-modified calcium phytate; and ethanol-modified magnesium phytate at different pH values and solution concentrations. The presentation will also discuss the impact of the research on future treatment choices and procedures for iron-gall ink on paper.
Authors in Publication Order: Julie Biggs, Lynn Brostoff, Andrew Davis, Claire Dekle, Cyntia Karnes, Yasmeen Khan, Susan Peckham, and Cindy Connelly Ryan

avatar for Julie Biggs

Julie Biggs

Conservator, Library of Congress
Julie Biggs is a Senior Paper Conservator at the Library of Congress, where she has focused on treatment of manuscripts and works on paper, led iron-gall ink treatment research, and managed large-scale collection stabilization and re-housing projects. She previously worked as a senior... Read More →

avatar for Lynn Brostoff

Lynn Brostoff

Research Chemist, Library of Congress
Lynn B. Brostoff holds a Masters Degree in Polymer Materials Science and a Ph.D. in Chemistry. In addition, Lynn holds a Masters Degree in Art History and a Certificate of Conservation with emphasis in Paper Conservation. For the last 25 years, Lynn has worked as a conservation scientist... Read More →
avatar for Andrew Davis

Andrew Davis

Chemist, Library of Congress
Dr. Andrew Davis is a chemist and polymer scientist in Library of Congress’s Preservation Research and Testing Division. He is currently focused on collections preservation by studying the fundamental degradation science of polymer-based materials, including paper, film, and modern... Read More →
avatar for Claire Dekle

Claire Dekle

Senior Book Conservator, Library of Congress
Claire Dekle is a Senior Book Conservator at the Library of Congress. Her experience as a conservation liaison to the Manuscript Division of the Library, as well as her treatment responsibilities, rekindled an early interest in the conservation of iron-gall ink. She was a member of... Read More →
avatar for Cyntia Karnes-[PA]

Cyntia Karnes-[PA]

Paper Conservator, Art Gallery of Ontario
Cyntia Karnes is a Paper Conservator at the Art Gallery of Ontario in Toronto, Canada, where she also has a private conservation practice. Previously she was a Senior Paper Conservator at the Library of Congress, following positions at the National Gallery of Art in D.C., and the... Read More →
avatar for Yasmeen Khan

Yasmeen Khan

Head of Paper Conservation, Library of Congress
Yasmeen Khan is Head of Paper Conservation at the Library of Congress. She has a BA in Middle Eastern Studies from Barnard College, and an MLIS from the University of Texas with an Advanced Certificate in Conservation. In 1996 she began working for the Library of Congress, initially... Read More →
avatar for Susan Peckham-[PA]

Susan Peckham-[PA]

Senior Paper Conservator, Library of Congress
Susan Peckham is a Senior Paper Conservator at the Library of Congress where she has worked for twelve years and enjoys acting as conservation liaison to the Prints and Photographs and Music Divisions. Previously, she worked for the National Archives and Records Administration, Smithsonian... Read More →
avatar for Cindy Connelly Ryan

Cindy Connelly Ryan

Preservation Science Specialist, Library of Congress
Cindy Connelly Ryan is a conservation scientist and specialist in art technology source research at the Library of Congress Preservation Research and Testing Division in Washington, DC. Her research areas at LC have included accelerated aging methods, iron gall ink stabilization... Read More →

Thursday May 31, 2018 3:00pm - 3:30pm MDT
Texas Ballroom D Marriott Marquis Houston
  6. Specialty Session, Book and Paper
  • Specialty Tracks Book and Paper
  • Cost Type Included with registration
  • Abstract ID 13678
  • Authors (in order) Julie Biggs, Lynn Brostroff, Cindy Connelly Ryan, Claire Dekle, Cyntia Karnes, Yasmeen Khan, Susan Peckham, Andrew Davis

4:00pm MDT

(Book and Paper) Chancery Master Exhibits - piecing it back together
The focus of this paper is the conservation of a17th c. map damaged by water and iron gall ink. Triggered by a document request for the Victoria County History project, archivist Amanda Bevan discovered the bad condition of a 17th c. map, which is of great historical interest. The map is part of a group of objects (C 110 64-67) dating from the mid-15th c. to the 18th c., which all had been evidence material in a court case: In his will, Samuel Travers dedicated the proceeds from the sale of his land to the establishment of a foundation for poor naval lieutenants. Travers’ will became the subject of much dispute and litigation and the trust relating to the Naval Knights was not validated until 26 July 1793, almost seventy years after his death. The map appears to have been worked with to the extent of its material failing, which led to the production of an 18th c. copy. The transfer process of the ink drawings involved pricking through the paper onto the new support. The map also shows staining from water damage, which would have contributed to the breakdown and removal of the adhesive holding the lining to the paper and exacerbated the iron gall ink damage. The three factors together, the iron gall ink degradation, the pricking and the water damage, led to the paper delaminating in fragments like a jigsaw. New treatment approaches for iron gall ink damage included the use of gels and a heat mat. This conservation project is a reflexion of recent developments in paper and book conservation at TNA's Collection Care Department. It included the identification of materials and the development of tailored conservation treatments with the help of the conservation scientists. It required historical research provided by the archivists and non-TNA historians. As a result, the map is being used as a case study for in-house training and for various outreach events. In the newly created position of the Senior Conservation Manager for Single Object Treatments I have been focussing on high profile documents and conservation challenges and directing the development and adaptation of new treatment methods. The present conservation project lent itself to contribute to TNA’s conservation skill development programme and to improve the organisation’s conservation methodology for single objects.

avatar for Sonja Schwoll-[ACR]

Sonja Schwoll-[ACR]

Senior Conservation Manager - Treatment Single Objects, The National Archives
Sonja Schwoll ACR (Icon, UK) is Senior Conservation Manager – Treatment Single Objects at The National Archives. Previously, Sonja was Subject Leader for the Conservation of Books and Library Materials Programme at West Dean College and Associate Lecturer on the MA Conservation... Read More →

avatar for Dr. Lora Angelova

Dr. Lora Angelova

Conservation Scientist, The National Archives, Kew
Lora Angelova is a Conservation Scientist at The National Archives, Kew. She obtained a PhD in chemistry from Georgetown University in conjunction with the scientific research department of National Gallery of Art, Washington, DC and has carried out research into gel cleaning of a... Read More →

Rose Mitchell

Map Archivist, The National Archives
Rose Mitchell has for many years been map archivist at The National Archives of the United Kingdom and an historian of cartography.  She is co-author of Maps: their untold stories (Bloomsbury, 2014) and has written and given talks on a broad range of map-related topics based on the... Read More →

Thursday May 31, 2018 4:00pm - 4:30pm MDT
Texas Ballroom D Marriott Marquis Houston

4:30pm MDT

(Book and Paper) Peregrinations of an 18th-Century Armenian Prayer Scroll
Armenian prayer scrolls are Christian talismans used to protect bearers from harm, to promote healing of illness, and to ensure good fortune. Hmayil, the Armenian name for these scrolls, means “enchantment ” in Old Armenian. Early examples were manuscripts, but printed scrolls became common with the advent of movable type. There are three printed Armenian prayer scrolls in the collections of the Library of Congress. All were printed at about the same date, in the same city. All are illustrated, but the individual palettes used for coloring the woodcuts are very different. This presentation will focus on the recent conservation treatment of a severely damaged hmayil, and will highlight the complicated and precise procedures of the treatment and housing as well as the scientific analysis of the scroll. The hmayil was printed in Constantinople in 1729; the text was printed on European paper with movable type and the illustrations added as woodcuts. It is about 3.5 inches wide, but 15 feet long. When the Library received the scroll, it was broken into fourteen fragments of varying lengths despite evidence of several efforts to restore and repair it. Stains and surface dirt disfigured the paper and obscured the hand-colored illustrations. Given the size of the object and the labor intensive treatment needed, the conservators considered treatment materials and methods to determine a treatment process that would be both efficient and sustainable. In addition, they carefully organized the project to maintain consistency in procedures while retaining flexibility to respond to new challenges that might arise. The treatment employed materials relatively new to conservation and blended Western and Eastern conservation techniques. For example, fragments were washed on layers of non-woven polyester-cellulose cloth (Tekwipe®), chosen for its strong vertical capillary action and reusability. To stabilize fragments and reconstruct the original sequence of the scroll, primary and secondary linings of two different Asian papers were applied using a combination of traditional Asian and Western lining techniques. To dry the linings, conservators used both Japanese materials and methods for tensioned drying, as well as Western papermakers’ felts. Since the strength and flexibility of the paper did not permit returning the scroll into its original format, a Western method of storage and presentation - window mats – was used, but their structure was tailored to meet the special needs of the curator and researchers. The conservators investigated the colorants used in the scroll by non-destructive analytical techniques: multi-spectral imaging and X-ray fluorescence spectrometer. The findings will be discussed in the presentation. The characterization also establishes a future direction for research by a multidisplinary team to compare different color palettes from the Library’s hmayils and the reference collection of Armenian pigments available to the Library, with the goal of contributing to the knowledge of historical Armenian artist’s materials.

avatar for Xiaoping Cai

Xiaoping Cai

Pine Tree Foundation Fellow, The Morgan Library & Museum
Xiaoping Cai is currently the Pine Tree Foundation Rare Book Conservation fellow in the Thaw Conservation Center of the Morgan Library & Museum. Prior to the fellowship, she completed an Advanced Internship in Book Conservation at the Library of Congress in Washington D.C. During... Read More →
avatar for Emily Williams

Emily Williams

Conservator, Conservation Center for Art & Historic Artifacts
Emily obtained her bachelor’s degree in conservation from Camberwell College of Art before receiving a  postgraduate diploma in Art History from Courtauld Institute of Art and a Master of Arts in conservation from University College London. She is currently undertaking a two-year... Read More →

avatar for Sylvia Albro-[PA]

Sylvia Albro-[PA]

Senior Paper Conservator, Library of Congress
Sylvia Albro was graduated from the New York State University Graduate Program in the Conservation of Historic and Artistic Works in Cooperstown New York in 1982. She completed a graduate internship in conservation of works of art on paper at the Fine Arts Museums of San Francisco... Read More →
avatar for Levon Avdoyan

Levon Avdoyan

Area Specialist for Armenia and Georgia, Library of Congress
Levon Avdoyan earned his MA, MPhil and PhD in Ancient History with a Minor in Armenian History and Civilization from Columbia University. After spending a year as a fellow at Dumbarton Oaks Center for Byzantine Studies in Georgetown, he joined the Library of Congress in 1977, first... Read More →
avatar for Lynn Brostoff

Lynn Brostoff

Research Chemist, Library of Congress
Lynn B. Brostoff holds a Masters Degree in Polymer Materials Science and a Ph.D. in Chemistry. In addition, Lynn holds a Masters Degree in Art History and a Certificate of Conservation with emphasis in Paper Conservation. For the last 25 years, Lynn has worked as a conservation scientist... Read More →
avatar for Claire Dekle

Claire Dekle

Senior Book Conservator, Library of Congress
Claire Dekle is a Senior Book Conservator at the Library of Congress. Her experience as a conservation liaison to the Manuscript Division of the Library, as well as her treatment responsibilities, rekindled an early interest in the conservation of iron-gall ink. She was a member of... Read More →

Thursday May 31, 2018 4:30pm - 5:00pm MDT
Texas Ballroom D Marriott Marquis Houston
  6. Specialty Session, Book and Paper

5:00pm MDT

(Book and Paper) Looking Back and Taking Stock – A Journey through Past Projects
Since this year’s AIC’s Annual Meeting theme has been expanded for the Book and Paper Group session to include re-evaluation of materials used in historical conservation treatments, the speaker would like to reflect back on more than 30 years of training and working in the conservation field and publically review some cases that provided great anxiety at the time or give pause upon reflection today. He will in fact review his own – by now – historic conservation treatments. The cases range from unintended immediate physical and chemical modifications, to unexpected long-term changes that have an impact on the use of collection items. The speaker will review a number of conservation treatments and evaluate how they have stood the test of time. He will also recount his experience as a conservation student, damaging a 16th century Albrecht Dürer print during a conservation approach that he has since then no longer used. He will discuss his experience with light bleaching a 19th century drawing by Joseph Keppler, an action that created unanticipated chemical changes in the paper. And he will delve into mechanical paper splitting and the unexpected long-term effects of this technique on 19th century US newspapers. The speaker ends with an observation made using Russell-effect photography and wonders whether the wide-spread use of the mat window as storage container should receive closer scrutiny in case in certain circumstances this type of housing unintentionally creates an environment that will give rise to a higher oxidation rate within the confines of the window.

avatar for Elmer Eusman-[Fellow]

Elmer Eusman-[Fellow]

Chief, Conservation Division, Library of Congress
Elmer Eusman received his diploma in book and paper conservation in 1989 from the Dutch National School for Conservation, a four-year program now integrated with the University of Amsterdam. After completing his studies, he completed internships in a private conservation studio in... Read More →

Thursday May 31, 2018 5:00pm - 5:30pm MDT
Texas Ballroom D Marriott Marquis Houston
Friday, June 1

8:30am MDT

(Book and Paper) Small but bulky: a study on the rebinding of a portable 15th century book of hours
Book conservation treatment rarely calls for the full rebinding of a book. Where possible, conservators preserve the material nature of a book by keeping its original components and performing minimal intervention. At times, more interventive treatments are necessary to prepare the book for safe handling. HRC 10, a 15th-century Flemish book of hours from the Ransom Center’s Medieval and Early Modern Manuscripts Collection, presents a case-study where rebinding became essential, allowing an in-depth examination into combinations of different binding components suitable for small, bulky manuscript formats. Prior to treatment at the Ransom Center, HRC 10 was in a 19th-century stiff board, laced-in binding sewn on recessed cords. While the manuscript is small enough to fit into the palm of a user’s hands, its 226-folio text block makes the volume very thick. The opening of the volume’s parchment leaves was restricted by the binding and the text block’s heavily lined spine. To access the book’s contents, users had to exert pressure to open the text block, often with their fingers touching the fragile illuminations and writing that is close to the edges of the pages. As the manuscript is often studied for its illuminations, curators and conservators determined that treatment was necessary to increase the openability of the text block. Multiple conservators worked on HRC 10 over the course of its treatment, and the treatment plan changed greatly from its initial development to completion. When a decision to resew and rebind a text block is made, conservators usually attempt to create a new binding structure that is sympathetic to the period of the text block. For HRC 10, this would have meant resewing on raised supports. While this is a strong sewing structure, it is not optimal for small, bulky text blocks, where the sewing supports tend to restrict the movement of the spine. Resewing HRC 10 in such a structure were therefore not successful in increasing the openability of the volume. Several models with various sewing structures were made to determine the best structure for HRC 10, using different combinations of components such as sewing style, sewing support materials, lining materials and methods of attachment, and endbands. An unsupported link stitch, similar to the sewing used for earlier Byzantine and Coptic bindings, was finally selected. It greatly improved the openability. The binding was then covered in an alum-tawed skin, a conservationally-sound material. The treatment project of HRC 10 presented an opportunity to trace the thought-process of different conservators throughout the treatment of one manuscript, culminating in an in-depth examination of the structural complications of working with small, bulky text blocks to provide a satisfactory treatment solution.

avatar for Kimberly Kwan

Kimberly Kwan

Bollinger Conservation Fellow, Harry Ransom Center
Kimberly Kwan is the Bollinger Conservation Fellow, Book Lab at the Harry Ransom Center, University of Texas at Austin. She received her MA in Conservation at Camberwell College of Arts, London, UK with a specialization in books and archival materials. Prior to working at the Ransom... Read More →

Friday June 1, 2018 8:30am - 9:00am MDT
Texas Ballroom D Marriott Marquis Houston

9:00am MDT

(Book and Paper) Branded by Fire: Treatment of los Primeros Libros
The Texas A&M University Libraries collections contains twenty examples of volumes designated as "primeros libros" and form the basis of international collaboration of nearly thirty institutions to build a digital humanities collections of these volumes available for research (http://www.primeroslibros.org). These Texas A&M University volumes are previously untreated at the libraries and several are in need of intense conservation treatment to bring them back as functional research tools. This presentation will review the unique characteristics of volumes of primeros libros selected for conservation, such as the marcas de fuegos (burned in brand) that is on several foredges of the books, and how those characteristics informed the treatment decisions while preserving the significance as unique artifacts.

Item Background: “Primeros libros” are books first printed in the Americas from approximately 1539 to 1605 in colonial Mexico and Peru. They are part of the Colonial Mexican Collection, which contains thousands of works either produced in Mexico or European imprints concerning Mexico during the Age of Exploration, Colonial, and early National periods and is a significant collecting area for the library as well as resource for the scholarly community in this area. The collection offers a significant number of examples of Mexican colonial bindings, woodcuts, illustrations, illuminated and decorated manuscripts, types, publishers, marginalia, and other information.

avatar for Jeanne Goodman

Jeanne Goodman

Conservator, TAMU Libraries
Conservator for the University Libraries at Texas A&M University. Received MLIS from Simmons College with a concentration in Preservation and undergraduate work with University of Delaware in Collections Care. Completed the full-time Bookbinding program at North Bennet Street School... Read More →

Friday June 1, 2018 9:00am - 9:30am MDT
Texas Ballroom D Marriott Marquis Houston

9:30am MDT

(Book and Paper) The unintended effects of some book treatments on original or early binding structures and materials
The treatment of bound materials in special collections has become more conservative over the past half century. Today, book conservators choose treatments that safeguard physical information intrinsic to early bindings. The treatments focus on mending and stabilizing book structures, which lessen the need for invasive treatments such as rebinding or rebacking covers. However, in repairing rather than replacing older structures and materials, the book conservator is often challenged by the binding's deteriorated condition, which can range from slight to considerable. At the Ransom Center, we have found that the repair of one binding structure can stress and, in some cases, break adjacent deteriorated binding components. This presentation will discuss problems that typical repairs can cause such as a new break in the sewing structure or stiffness in the spine, which changes how a book opens and how the pages turn. Techniques used by Ransom Center conservators to minimize stress to older components in order to preserve early structures and materials will be described using case studies.

avatar for Olivia Primanis

Olivia Primanis

Senior Book Conservator, Harry Ransom Center
Olivia Primanis is the Senior Book Conservator at the Harry Ransom Center, University of Texas, where she performs conservation treatments and manages the book lab and special projects. She is interested in general conservation and preservation subjects relating to library and museum... Read More →

Friday June 1, 2018 9:30am - 10:00am MDT
Texas Ballroom D Marriott Marquis Houston

10:30am MDT

(Book and Paper) Transparent Liquid Colors: "Not Just For Ornament"
Today, transparent graphic effects can be made with the click of a mouse. However, in the 18th century, a specific type of colorant was commercially manufactured to render clear, brilliant, transparent effects. These colorants were called transparent liquid colors. They are little mentioned in the conservation literature and in the history of watercolor. These liquids are very different from water-based media used for other types of objects, such as miniatures and even other types of popular prints. The transparent liquids were commonly used for coloring maps, plans, prints, and even painting on velvet. This paper will examine the history and development of the transparent liquids and will include observations from recreations based on recipes found in historic manuals. The identification of transparent liquids, visually and analytically, may help to answer one of the vexing questions regarding hand coloring – that is “who put the color on the map or print?” The use of the transparent colors may suggest a professional or technical hand, versus amateur, particularly after the invention of watercolor in cake form.

avatar for Joan Irving

Joan Irving

Conservator, Winterthur Museum, Garden & Library
Joan received a B.A. in Art History from the University of Pennsylvania, graduating Summa Cum Laude in 1982. From 1985 to 1988, Joan coordinated the exhibition, catalogue, and conservation for “Legacies of Genius,” an exhibition of over 200 rare books, manuscripts, and works of... Read More →

Friday June 1, 2018 10:30am - 11:00am MDT
Texas Ballroom D Marriott Marquis Houston

11:00am MDT

(Book and Paper) John Singer Sargent: New insights into his watercolor materials and techniques
As imaging technology continues to be developed in the service of material identification and mapping, long-standing assumptions about artists’ media and processes can finally be tested. Analytical methods such as GC-MS, SERS, XRF mapping, and hyperspectral imaging represent opportunities to breath exciting new life into exhibitions of works by artists who have become perennial favorites. John Singer Sargent is one such artist on whom numerous tomes have been written and about whom it may seem there is nothing more to say. This talk will contradict that notion by presenting new insights into Sargent’s materials based on the coordination of close visual observation, scholarship, and material analysis using established scientific technqiues as well as techniques that have only recently become available such as hyperspectral imaging and macro-XRF mapping. The present exhibition John Singer Sargent and Chicago’s Gilded Age afforded the opportunity to conduct a technical study of eleven of Sargent’s watercolors at the Art Institute of Chicago. Though the sample set is small for such a prolific artist, the works span nearly forty years of the artist’s watercolor production. He sustained passion for the medium throughout his life and, as analysis revealed, he sometimes experimented by altering his media. These discoveries were made possible through collaboration between curators, conservators, and scientists who are innovators in fields ranging from computer science to spectroscopy. They stress the importance of establishing a scientific basis for claims made about artists’ processes, even if they originate from primary and secondary sources. This information adds to the extensive body of technical work that has already been published on the largest American collections of Sargent’s watercolors, namely those at the Museum of Fine Arts, Boston, the Brooklyn Museum of Art, and the Worcester Museum.

avatar for Francesca Casadio

Francesca Casadio

Andrew W. Mellon Senior Conservation Scientist and Co-director NU-ACCESS, The Art Institute of Chicago and Northwestern University
Francesca Casadio joined the Art Institute of Chicago in 2003 to establish and direct a state of the art conservation science laboratory. In January 2018, she will assume the post of Executive Director of Conservation and Science in the same institution. Dr. Casadio has also established... Read More →

avatar for Agnese Babini

Agnese Babini

Visiting Graduate Student, NU-ACCESS, Northwestern University
Agnese Babini is a graduate student in Science for Conservation from the University of Bologna. She received her B.S in Technologies for Conservation of Cultural Heritage at the University of Bologna, with a thesis on the proposal of analytical protocols for the authentication... Read More →
avatar for Veronica Biolcati

Veronica Biolcati

intern, Technical Studies Research Laboratory, Getty Conservation Institute
Veronica Biolcati is an intern at the Technical Studies Research Laboratory of the Getty Conservation Institute. Her research interests include the investigation of the materials and techniques used for painting, the application of new methods and technologies for the scientific study... Read More →
avatar for Mary Broadway

Mary Broadway

Associate Paper Conservator, Art Institute of Chicago
Mary Broadway is the Associate paper conservator at the Art Institute of Chicago Additional Co-authors include: Mary Broadway, Veronica Biolcati, Ken Sutherland, Francesca Casadio, Emeline Pouyet, Agnese Babini, Gianluca Pastorelli, Danielle Duggins, Marc Walton

Danielle Duggins

Graduate Student, Materials Science and Engineering, NU-ACCESS, Northwestern University
Danielle is a PhD student in Materials Science & Engineering at Northwestern and joined NU-ACCESS in August of 2017. Her research is focused on coupling optical coherence tomography and hyperspectral measurements for the identification of paint pigments. She received her BS in Physics... Read More →
avatar for Gianluca Pastorelli

Gianluca Pastorelli

Postdoctoral Fellow, Northwestern/ARTIC Center for Scientific Studies in the Arts
avatar for Emeline Pouyet

Emeline Pouyet

Post doctoral fellow, Northwestern University/Art Institute of Chicago
Emeline Pouyet is a post-doctoral fellow at the NU-ACCESS center (Chicago, U.S.A). She received her M.S. degree in Archaeometry in 2010 and completed her Ph.D. studies in 2014 at the ID21 beamline at the European Synchrotron Radiation Facility (Grenoble, France). Her activities focused... Read More →

Ken Sutherland

Conservation Scientist, Art Institute of Chicago
Ken Sutherland is a scientist in the Department of Conservation and Science at the Art Institute of Chicago. He held previous positions as scientist in the Conservation Department of the Philadelphia Museum of Art and Research Fellow in the Scientific Research Department of the National... Read More →
avatar for Marc Sebastian Walton

Marc Sebastian Walton

Co-Director, Research Professor, Center for Scientific Studies in the Arts
Marc Walton joined the Northwestern University / Art Institute of Chicago Center for Scientific Studies in the Arts in 2013 as its inaugural Senior Scientist and as a Research Professor of Materials Science and Engineering at Northwestern University. In January of 2018, he was appointed... Read More →

Friday June 1, 2018 11:00am - 11:30am MDT
Texas Ballroom D Marriott Marquis Houston
  6. Specialty Session, Book and Paper
  • Specialty Tracks Book and Paper
  • Cost Type Included with registration
  • Abstract ID 13827
  • Authors (in order) Mary Broadway, Veronica Biolcati, Ken Sutherland, Francesca Casadio, Emeline Pouyet, Agnese Babini, Gianluca Pastorelli, Danielle Duggins, Marc Walton

11:30am MDT

(Book and Paper) Multi Spectral Imaging and the Digitization of the Dead Sea Scrolls
The discovery of the Dead Sea Scrolls (DSS)in the Judean seventy years ago, is considered one of the greatest archaeological discoveries in modern times. The scrolls were either written or copied in the Land of Israel between 250 BCE and 68 CE. They represent the oldest written record of the Old Testament, and contain the earliest copies of every book of the Bible, except one. This “Ancient Library” allows us to peer into a period, 2000 years ago, pivotal to both Judaism and Christianity. Thanks to these remarkable texts, our knowledge concerning the origins of Judaism and early Christianity has been greatly enriched. Issues of publication, conservation, preservation and documentation of the DSS have concerned both scholars and conservators ever since the scrolls’ discovery. The Israel Antiquities Authority (IAA), first embarked on this ambitious project of multi spectral imaging as yet another conservation effort, but it very soon it evolved into an overall project that is gradually changing DSS research environment and methodology. I will begin with a general overview presenting a short historical assessment of the state of preservation and documentation of the scrolls and their availability to the public and to the scholarly community before this project began. The presentation will discuss in depth the technology and sciences involved in the imaging, the development of a noninvasive monitoring system based on the multi spectral images for following the state of preservation of the scrolls; the creation of highest-quality color images and advanced near infra-red images for public and scholarly use; the online digital library, open access, computer generated tools, algorithms, virtual work-spaces, and new studies resulting from these best possible images. Finally, I shall briefly survey future objectives and challenges we still face. The Dead Sea Scrolls are a universal cultural heritage. As such, it is our duty to safeguard and preserve them for future generations while sharing them with the public and scholarly community worldwide.

avatar for Ashlyn Oprescu

Ashlyn Oprescu

Conservator, Israel Antiquities Authority

Friday June 1, 2018 11:30am - 12:00pm MDT
Texas Ballroom D Marriott Marquis Houston

12:00pm MDT

(Book and Paper) 2018 Book and Paper Wiki Discussion Session
The Book and Paper Wiki is a collaborative knowledge base of conservation techniques that belongs to all of us. Please come to the 2018 Book and Paper Wiki Discussion Session to keep updated about its progress. We will acknowledge the people who have made contributions, demonstrate new and improved Wiki pages, and gather suggestions for improvement on the Drying and Flattening chapter. Attendees will be invited to comment what the Wiki should focus on in 2018-2019.

The 2017 Book and Paper Wiki Discussion Session in Chicago provided energy, inclusion, and focus to the continuing effort to make the Wiki as relevant as possible. We discussed reformatting and updating chapters; how to deal with outdated (historical) treatments, materials, and terminology; and the importance of including images and videos. With the help of a group of volunteers, we have been following through on your input with great success.

This has been the best year yet for the Book and Paper Wiki.  Let's keep the momentum going. The feedback that we receive during these sessions is invaluable in planning for the future of the Book and Paper Wiki and maintaining an engaged and active membership.

avatar for Katherine Kelly-[PA]

Katherine Kelly-[PA]

Senior Book Conservator, Library of Congress
Katherine Kelly is a Senior Book Conservator at the Library of Congress in Washington, DC. Previously, she has worked at the Smithsonian Institution Libraries, the National Archives, Iowa State University, Harvard University, and Cornell University. She received her MS in Information... Read More →
avatar for Denise Stockman

Denise Stockman

Associate Conservator of Paper, New York Public Library
Prior to coming to NYPL, Denise was a fellow at the Morgan Library and the Metropolitan Museum of Art. She interned at a variety of institutions including the Museum of Modern Art, the Brooklyn Museum, the Barnes Foundation, and the National Galleries of Scotland; and was a technician... Read More →

Friday June 1, 2018 12:00pm - 12:45pm MDT
Texas Ballroom D Marriott Marquis Houston
Saturday, June 2

10:00am MDT

(Book and Paper) Stone Paper: Examination of Géricault’s Lion Devouring a Horse Lithographic Printing Matrix
As lithography gained popularity during the beginning of the 19th century, Alois Senefelder, the inventor of lithography, marketed stone paper as a cheaper, more accessible alternative to the cumbersome limestones most commonly used for printing. Between 1820 and 1821, Théodore Géricault, one of the early proponents of lithography, experimented with the use of stone paper. The Lion Devouring a Horse stone paper matrix is in the collection of the Harvard Art Museums and is the focus of this study. Stone paper is a lithographic printing matrix made of a heavy weight paper prepared with a special coating. Like other lithographic processes, the image is drawn on the prepared surface with a greasy material and the surface is then processed and printed from. The stone paper matrix for Lion Devouring a Horse sustained numerous losses to the coating, and during printing the losses in the image area transferred to the prints as voids. Through examination and comparison between the stone paper matrix and various impressions of the print, it is evident that some prints exhibit more voids than others. This variation is an indication that the coating deteriorated as the impressions were being printed and these voids helped build a chronology of this coating deterioration. Earlier impressions of prints are typically considered to have stronger impression quality but based on the developed chronology, earlier impressions of Lion Devouring a Horse do not necessarily relate to stronger impressions.
Senefelder described stone paper coatings as compositions of clay, chalk and metallic oxides. X-ray fluorescence (XRF) analysis of the stone paper coating revealed only the presence of lead. Small samples were taken for analysis by Fourier transform infrared spectroscopy (FTIR), gas chromatography mass spectrometry (GCMS), scanning electron microscopy with energy dispersive analysis (SEM-EDX) and matrix assisted laser desorption/ionization (MALDI). Analysis confirmed that the material was dominated by lead white (basic lead carbonate) combined with a drying oil binder, casein and gum. Lead soaps are thought to be present within the medium.
The results of these careful comparisons, the instrumental analysis, and tests carried out on modern examples of stone paper will illustrate the practical challenges Géricault faced when printing from stone papers and the reason for their limited commercial success. 

avatar for Christina Taylor

Christina Taylor

Assistant Paper Conservator, Straus Center for Conservation and Technical Studies/Harvard Art Museums
Christina Taylor is the Assistant Paper Conservator at the Straus Center for Conservation and Technical Studies/Harvard Art Museums. She is a graduate of SUNY Buffalo State where she earned her MA in Art Conservation in 2015. She has held positions at the Museum of Fine Arts, Houston... Read More →


Katherine Eremin

Patricia Cornwell Senior Conservation Scientist, Harvard Art Museums
Katherine Eremin is the Patricia Cornwell Senior Conservation Scientist at the Straus Center for Conservation and Technical Studies/Harvard Art Museums. She previously worked as an inorganic scientist at the National Museums of Scotland and received her PhD in 1994 from the University... Read More →
avatar for Georgina Rayner

Georgina Rayner

Associate Conservation Scientist, Straus Center for Conservation and Technical Studies
Georgina Rayner is the Associate Conservation Scientist at the Straus Center for Conservation and Technical Studies, Harvard Art Museums. Prior to this role Georgina was the Andrew W. Mellon Postdoctoral Fellow in Conservation Science at the same institution. Georgina holds a Masters... Read More →

Christopher Wallace

Christopher Wallace is an artist, lithographer and educator based in Cambridge, MA. He received his MFA in printmaking from the University of North Texas in 2013, and his BFA in printmaking from the Kansas City Art Institute in 2010. He has held teaching positions at the University... Read More →

Saturday June 2, 2018 10:00am - 10:30am MDT
Texas Ballroom D Marriott Marquis Houston
  6. Specialty Session, Book and Paper

10:30am MDT

(Book and Paper) Édouard Manet’s Pastels on Canvas Supports
Édouard Manet (1832 – 1883) is celebrated as an accomplished painter and draughtsman, equally conversant with canvas, oil paint and brush as he was pen and ink. From the perspective of materiality, his pastels, particularly those executed on primed canvases, stand at the intersection of these two disciplines. Relying on analysis carried out for an ambitious online scholarly catalogue, this talk compares and contrasts two of these works, Man with a Dog and Portrait of Alphonse Maureau, and discusses the adoption of paintings conservation techniques to stabilize the artworks for storage and display. Both works are portraits in the collection of the Prints and Drawings Department at the Art Institute of Chicago. Although dissimilar as portraits, the works are strikingly similar in terms of materials and techniques. Examination of the works indicates that Manet borrowed heavily from his knowledge of painting practice. Notable technical analysis included thread count and weave match analysis, which demonstrate that the supports were cut from the same bolt of cloth, likely a commercially prepared canvas. Unfortunately, the canvases are significantly undulated and the ground does not provide adequate purchase for the layers of unfixed pastel, and thus there is media loss throughout both artworks. The second part of this lecture details how paper conservation staff have used padded inserts, similar to those used for oil paintings, to fill the recesses created by the stretcher from the verso to provide an even support and cushioning to the slack canvases, and to reduce or eliminate vibration. The Édouard Manet online scholarly catalogue is available through the Art Institute of Chicago’s Conservation web page or through the following address: https://publications.artic.edu/manet/reader/manetart/section/140020.

avatar for Christine Conniff-O'Shea

Christine Conniff-O'Shea

Assistant Conservator for Preparation and Framing, The Art Institute of Chicago
Christine (Chris) Conniff-O'Shea holds a B.A in Fine Arts from the University of New Mexico where she studied drawing and printmaking. Chris is known for her specialized knowledge of historic mounting practices and modes for works of art on paper and the creative adaption of the same... Read More →
avatar for Rachel Freeman

Rachel Freeman

Associate Paper Conservator, The Art Institute of Chicago
Rachel Freeman graduated with a BA from Randolph-Macon Woman’s College (1991) and an MA with a certificate in advanced study in conservation from Buffalo State, SUNY (2004). Rachel's conservation training internships and fellowships include time spent at Heugh-Edmondson Conservation... Read More →

avatar for Don Johnson

Don Johnson

Professor, Rice University
Don H. Johnson is the J.S. Abercrombie Professor Emeritus of Electrical and Computer Engineering at Rice University, Houston, Texas. He received his undergraduate and graduate degrees in electrical engineering, all from the Massachusetts Institute of Technology. He joined M.I.T. Lincoln... Read More →

Saturday June 2, 2018 10:30am - 11:00am MDT
Texas Ballroom D Marriott Marquis Houston
  6. Specialty Session, Book and Paper

11:00am MDT

(Book and Paper) Think Outside of the Box: Displaying Paper Objects Without Using Classic Method
Toilet paper is one of our daily necessities. However, when it is becomes a museum object that needs to carefully be treated and stored, it takes a lot of efforts for its light, thin and soft property. This essay targets on making preventive conservation of toilet tissue object by utilizing friction and static electricity. Unlike other paper objects, the toilet paper has same special properties; for example, it is thinner to be torn apart, lighter to be blown away, and more sensitive to moisture. For those reasons, we need to preserve and display this kind of object in different ways instead of expected paper conservation ideas. We focus on how to preserve and display this kind of object by choosing suitable materials and trying different methods of fixing museum objects. Due to its vulnerable structure and hygroscopic feature, we avoid using any adhesive on the object directly. Instead, we try to use friction and static electricity testing the stability of storage method. First of all, we made use of the storage method of textiles and fiber objects- to fix the paper and the textile via friction. Through friction tests, we found the object could be sit steadily on textile. Then, we made a deep window with inner tray for each toilet paper. Last, we fixed the object with imperceptible strips to preserve sliding and falling. Therefore, we found the static electricity is another function to hold the toilet tissue object, not only the friction but the static electricity became ideal way to house and display object at the same time. The object is a manuscript written by Lu Hsiu-lien on toilet paper with a ballpoint pen when she was imprisoned for a political event known as “Kaohsiung Incident” back in 1979. This manuscript focus on New Feminism and the political issue she has long concerned with, which is quite important in the development of both society and politics in Taiwan. The manuscript used to be displayed on a poster by sticking on copying paper with double-side tape, which resulted in deterioration. As a result, it had been did treatment when it was housed in National Museum of Taiwan Literature. The discussion aims at the conservation of object made of toilet paper. Besides coming up with a measure to conserve object made of toilet paper preventive conservation for toilet paper object with the minimal intervention and reversibility, it is also important for us to think how to display this kind of object.

avatar for Hsuan-Yu Chen

Hsuan-Yu Chen

Conservator, National Museum of Taiwan Literature
Hsuan-Yu Chen is a conservator working at National Museum of Taiwan Literature (NMTL). He received his MA degree in paper conservation from Tainan National University of the Art, Taiwan. Tracing his working experiences, Hsuan-Yu had been an intern at Harry Ransom Center in Texas and... Read More →
avatar for Chi-Chun Lin

Chi-Chun Lin

Object conservator, YL Conservation Studio
Chi-Chun Lin has worked an assistant conservator at National Museum of Taiwan Literature (NMTL) since 2015. She has managed three projects assisting museum staffs in NMTL to do object catalogue and management. In 2013, the Staffordshire Hoard Conservation team at the Birmingham Museum... Read More →


Jen Jung Ku

Senior Paper Conservator, National Museum of Taiwan Literature
Jen Jung Ku received a MA in paper conservation from the Tainan National University of the Arts Tainan National University of the Arts (2010). She undertook advanced internships and additional training at the George Eastman House and Library and Archives Canada .She is presently senior... Read More →

Saturday June 2, 2018 11:00am - 11:30am MDT
Texas Ballroom D Marriott Marquis Houston
  6. Specialty Session, Book and Paper

11:30am MDT

(Book and Paper) Screenprint on Plastic (Some assembly required). A Case Study of Joe Tilson's "The Software Chart" 1968
By the beginning of the sixties, contemporary printmaking in the Americas and in Europe was already in the midst of a renaissance. Artists and printers actively began to collaborate to produce artworks which challenged traditional concepts of printmaking. The boundaries of size, materials, content and production were virtually obliterated and resulted in some of the most unique, affordable, and accessible art produced at the time. “The Software Chart”, 1968 by British artist Joe Tilson is a screenprint on plastic printed by the Kelpra Studio, leaders of the era in the production of artist's screen printing in London, England. The five colour screen printed image appropriated from print media and referencing a major international event, is printed on plastic (noted as Astrafoil) and backed with a reflective surfaced plastic (noted as Lumaline). Print and backing were adhered to each other with double sided masking tape, mounted to card and framed in a shallow metal frame. Printed and produced in an edition of 150, most known versions of this print assembly exhibit severe pressure related distortions and offgassing (vinegar odour). The print was not considered to be in exhibitable condition and came to the conservation department for review. This presentation will describe in detail the print history and concept, components, condition issues, material analysis, treatment stages, degree of treatment success, and the many issues relating to possible reconstruction, final presentation and long term prognosis.

avatar for Joan Weir

Joan Weir

Conservator, Works on Paper, Art Gallery of Ontario
Joan Weir has been Conservator, Works on Paper at the Art Gallery of Ontario, Toronto, Canada for the past fifteen years and is a graduate of the Queen's University Kingston, Ontario Art Conservation Program. She has an undergraduate degree in fine art practice from Nova Scotia College... Read More →

avatar for Vincent Dion

Vincent Dion

Conservator-Methodologist, ERM - Estonian National Museum
Vincent Dion graduated from the Master in Art Conservation program at Queen's University in 2016 with a specialization in works on paper and new media. Subsequently, his interest in modern materials and background studies in chemistry led him to join the Modern and Contemporary Art... Read More →
avatar for Eric Henderson

Eric Henderson

Conservation Scientist, Conservation Science Division, Canadian Conservation Institute
Eric Henderson earned a B.Sc. (Hons) in Chemistry from McGill University in 2004 and a Ph.D. in Inorganic Chemistry from the University of Alberta in 2009, specializing in the synthesis and characterization of nanomaterials. He then undertook a Natural Sciences and Engineering Research... Read More →

Saturday June 2, 2018 11:30am - 12:00pm MDT
Texas Ballroom D Marriott Marquis Houston
  6. Specialty Session, Book and Paper

2:00pm MDT

(Book and Paper + Electronic Media) Caring for Electrophotographic Art: A Case Study of the Pati Hill Archives at Arcadia University
This paper details a preservation strategy for the long-term care of electrophotographic art in museum and archival collections, using the Pati Hill Archives at Arcadia University as a case study. In 2016, Arcadia University was gifted copy artist Pati Hill’s archives and original prints - and along with them an interesting preservation challenge. Hill was one of the most prolific electrophotographic artists of the late 20th century, and her prints were almost exclusively produced using the black and white photocopiers manufactured for office use from the 1970s through the 1990s. Her working process pushed the mechanical capabilities of the copier; she overfed the machine with black powdered toner to produce what she called “stars,” areas where a very dense black toner layer was broken up by spots in which the toner particles did not fully adhere. Hill’s manipulation of the amount of toner applied to her prints is a trait which separates her from many other copy artists, and is also key to identifying the order in which multiple prints of the same object were produced. This makes it especially crucial that the toner layers of her prints are prevented from deteriorating over time. Electrophotographic prints (also known as photocopies, Xeroxes, and xerographs) are extremely common in archival document collections, where they are often considered secondary resources or copies of primary source material. However, there is a dearth of preservation literature providing a protocol for their care and preventive conservation as art objects. This paper will discuss the history and technology of the electrophotographic process, as well as risks and potential agents of deterioration to both the paper support and toner layer(s). Hill’s materials, working methods, presentation choices, and curatorial decisions are analyzed in the context of potential preservation challenges, including issues impacting future conservation treatment. The paper concludes with recommendations for practical steps toward the preservation of electrophotographic prints, including guidelines for housing and storage, environment, light exposure, conservation treatment, and exhibition.

avatar for Gillian Marcus

Gillian Marcus

Preservation Specialist, Documentary Heritage and Preservation Services for New York (CCAHA)
Gillian received her MA in Conservation of Art on Paper from Camberwell College of Arts in London, UK. Prior to joining the staff of DHPSNY, she was the National Endowment for the Humanities Preventive Conservation Fellow at CCAHA. She has worked in several private conservation workshops... Read More →

Saturday June 2, 2018 2:00pm - 2:30pm MDT
Texas Ballroom E Marriott Marquis Houston

2:00pm MDT

(Book and Paper) Improved methods of authentication and the resulting shifts in decision-making in parchment conservation
Shifts in decision-making in the conservation of cultural heritage can be understood by browsing the old instructions in conservation and comparing them with our current perception of the results of older conservation treatment and the current ideas of what a conservation measure should be like. Through understanding old methods and material we can estimate the objectives set by conservators in the past and get a better insight into the complex environment of conservation. Technical changes, including better analytical methods and changes in society accompanying them, lead to a different perspective of cultural heritage and to continuous emergence of innovative treatments being adopted to our new objectives and vice versa. One very recent example of technical development relevant to conservation of cultural heritage items is the decoding of proteomes and genomes that helps understand the sources of the skins and use manuscripts as a stock of information. To demonstrate the above we started out with the analysis of Otto Wächter’s ”Restaurierung und Erhaltung von Büchern, Archivalien und Graphiken,” 1982. We narrowed the topic further down to parchment conservation, as new molecular research applies to this area. The question was: which old conservation treatments altered parchment in such a way that information stored in the material was damaged, changed or overlaid and consequently made uninterpretable? If so, could we, with improvements to current methods, deconvolute the data to read the original signal through the conservation overprinting? The choice of the book was determined by two considerations: first, it was very influential in its time; second, it is difficult to interpret if you were not a pupil of Wächter, and one of the authors was his pupil. Since Wächter´s time, our knowledge of the features of material improved greatly and so did our procedure of decision-making in conservation. Our view of old methods changed in a way that allows us to understand that some of them had a significant impact on the information carried by the material, which is considered an added value in research today. The project results made scholars • understand how old methods and materials in conservation changed the historical material; • appreciate different types of biological data that can be recovered, from livestock management, through craft production to the use history of the object, • understand how we might gather and interpret this palimpsest of biological and craft information, such as kind, sex or breed of the animal, the breeding history of the flock or herd, etc. • explore the changes imposed by subsequent conservation and understand how to avoid conservation methods that either overprint with new biological signals or destroy the original ones and identify a conceptual framework for alternative methods; • examine which types of modification induce changes which can be detected and isolated, thereby recovering the original signal; • explore how new methods might fulfill the conservation task without changing the original information carried by the material, show how the new demands on the material side alter the demands in aesthetics in conservation.

avatar for Patricia Engel

Patricia Engel

Researcher, University for Continuing Education Krems, Department fuer Bauen und Umwelt, Zentrum fuer Kulturgueterschutz, European Research Centre for Book and Paper Conservation-Restoration
Patricia Engel holds magister, doctorate and habilitation degrees in conservation-restoration of cultural heritage of the universities of Fine Art in Vienna and Warsaw. She worked as assistant professor in Hildesheim HAWK, Germany and from 2010 on is heading the European Research... Read More →

avatar for Matthew Collins

Matthew Collins

Professor, University of York, BioArCh, Archaeology
Mathew Collins completed a degree in Marine Zoology, then a PhD in Geology before Fellowships in Chemistry and Biochemistry and postdoctoral research in Biogeochemistry. He first lectured in Biogeochemistry (Newcastle) before moving to York in 2003 to establish BioArCh, an interdisciplinary... Read More →

Saturday June 2, 2018 2:00pm - 2:30pm MDT
Texas Ballroom D Marriott Marquis Houston
  6. Specialty Session, Book and Paper

2:30pm MDT

(Book and Paper + Electronic Media) Preserving the Protest: Collection and Care of Social Movement Archives [Archives Conservation Discussion Group]
The Archives Conservation Discussion Group (ACDG) and the Electronic Media Group (EMG) will host a panel presentation and discussion session addressing the preservation of physical and digital objects used in political demonstrations and social movements.

Materials produced and used during protest marches, vigils, and political actions tend to be ephemeral - made and used on-the-fly with available, inexpensive materials - and are often exposed to a range of environmental hazards prior to entering collections. Digital media - from live video streaming to social media posts to smartphone photos - have become integral to contemporary protest movements and require innovative approaches to preservation and access.

Presentations and Panelists:

  • Preserving Artifacts of Free Speech: Simple Solutions for Buttons, T-shirts, and Bumper Stickers
    Whitney Baker, Head, Conservation Services, University of Kansas Libraries
  • The History, Evolution, and Growth of Digital Printing Technologies and Materials Correlated with Major Political and Social Movements and Events over the Last Three Decades
    Daniel Burge, Senior Research Scientist, Image Permanence Institute
  • Moldy Oldies: Saving Historic Audiotapes with Digitization & Organic Particle Masks
    Kim R. Du Boise, President & Senior Photograph Conservator of PhotoArts Imaging Professionals, LLC., and Roy Canizaro, VP and Electronic and Time-based Media Conservator forPhotoArts Imaging Professionals, LLC
  • Making Social Movements Accessible at Media Burn Archive
    Dan Erdman, Video Archivist, Media Burn Archive
  • Caught Up in the Current: Documenting, Preserving,and Digitizing Political Protest Ephemera
    Cher Schneider, Juanita J. and Robert E. Simpson Senior Conservator, University of Illinois at Urbana-Champaign 

Discussion topics will include:

  • Documenting and collecting in "real time" as events unfold
  • Preserving and making accessible materials which are being used as part of direct political action
  • Correlations between social movements and the use of contemporary materials
  • Storage and treatment of ephemeral materials
  • Creative housing solutions for oversized and 3-dimensional objects
  • Navigating issues of provenance, copyright and metadata
  • Collaborating with activists and community organizations
  • Addressing condition issues resulting from environmental exposure

avatar for Kim R. Du Boise-[PA]

Kim R. Du Boise-[PA]

President; Senior Photograph Conservator, PhotoArts Imaging Professionals, LLC
Kim R. Du Boise has over 40 years’ experience with art, photography, and photographic materials as a photographer, university/college instructor, printmaker & conservator. Kim developed the art department at Pearl River Community College in 1987-1994 and a BFA curriculum in Photography... Read More →
avatar for Stephanie I. Gowler

Stephanie I. Gowler

Conservator, Indiana Historical Society
Stephanie Gowler is Paper Conservator at the Indiana Historical Society. She holds a BA in English Literature from Earlham College, an MLIS and a Certificate in Book Arts from the University of Iowa, and a Certificate of Advanced Study in Conservation from the University of Texas... Read More →
avatar for Dawn Mankowski

Dawn Mankowski

Conservator, NYU Libraries
Dawn Mankowski is a 2013 graduate of the Buffalo State College program in Art Conservation. She is currently a Special Collections Conservator at NYU Libraries. She was previously the Book and Paper Conservator for the New York State Archives, Library, and Museum. Dawn also served... Read More →
avatar for Flavia Perugini

Flavia Perugini

Conservator, Museum of Fine Arts, Boston
Flavia Perugini was born and raised in Italy where she trained and worked as an architect after graduating with Laurea in Architecture (equivalent of MS), from the University of Florence, Italy, in 1986. She enrolled in the three-year graduate conservation program at London Guildhall... Read More →
avatar for Crystal Sanchez

Crystal Sanchez

Conservator, Smithsonian Institution
Crystal Sanchez is a media archivist at the Smithsonian Institution on the Digital Asset Management System (DAMS), working with digital collections from across the Smithsonian’s diverse Museums, Archives, Libraries, Research Centers, and the Zoo. She has Masters degrees from New... Read More →

avatar for Whitney Baker-[PA]

Whitney Baker-[PA]

Head of Conservation, University of Kansas Libraries
Whitney Baker is Head of Conservation Services at the University of Kansas Libraries, where she has worked since 2002. Since 2004 she has taught the preventive conservation class in the graduate program in Museum Studies at the University of Kansas. She holds an MLIS and Advanced... Read More →
avatar for Daniel Burge

Daniel Burge

Senior Research Scientist, Rochester Institute of Technology
Daniel M. Burge, Senior Research Scientist, has been a full-time member of the Image Permanence Institute (IPI) staff for the last 25 years. He received his B.S. degree in Imaging and Photographic Technology from the Rochester Institute of Technology in 1991. He managed IPI's enclosure... Read More →
avatar for Roy T. Canizaro

Roy T. Canizaro

Vice President, Electronic & Time-based Media Conservator, PhotoArts Imaging Professionals, LLC
Roy T. Canizaro has worked with and tested photography, movie films and photographic materials for over four decades as a photographer, videographer, electronics technician, and conservator. He is a partner and senior Electronic Media conservator at PhotoArts Imaging Professionals... Read More →
avatar for Dan Erdman

Dan Erdman

Librarian/Archivist, Media Burn
avatar for Cher Schneider-[PA]

Cher Schneider-[PA]

Head of Paper Conservation, ICA-Art Conservation
Cher Schneider works at ICA in Cleveland as Head of Paper Conservation. She previously was Juanita J. and robert E. Simpson Senior Conservator at The University of Illinois. Prior to that she worked as the Andrew W. Mellon Fellow in Paper Conservation at The Art Institute of Chicago... Read More →

Saturday June 2, 2018 2:30pm - 4:30pm MDT
Texas Ballroom E Marriott Marquis Houston

2:30pm MDT

(Book and Paper) LCCDG: Matters at Hand: The evolution of staffing and prioritization in library conservation labs
Conversations with Book and Paper Group colleagues at the 2017 meeting in Chicago and in the following months revealed a common interest in how library conservation practice is changing in the 21st century. Through in-person, phone and email exchanges, fellow conservators and preservation administrators have shared their observations and concerns about adapting to shifting institutional priorities. These include prioritizing treatment of certain types of materials over others, responding to and meeting broader institutional goals, and the challenges such changes present to traditional models of staffing and divisions of labor in library conservation labs. A panel of speakers (listed below) from a variety of libraries and archives will offer short presentations that explore both the day-to-day issues and the big picture implications surrounding these concerns. An interactive discussion with the audience will follow to allow for questions, comments, and sharing of experiences.

Ellen Cunningham-Kruppa, Harry Ransom Center, University of Texas at Austin

Prevention and Promotion Round-up
Ellen will discuss new approaches to managing the Preservation and Conservation Division at the Humanities Research Center, concentrating operations and providing ladders of professional advancement for conservators and technicians.

Werner Haun, Yale University Library
From DIY to Collaboration and Innovation: Observations on the evolution of collections conservation
In its beginnings, collections conservation work included identifying early signs of damage (such as loose hinges and pages), creating in-house archival housings (such as pamphlet binders and phase boxes), and increasing widget counts. Through automation and collaboration with commercial binders and vendors, many innovations and improvements advanced the quality and variety of products and services, allowing libraries and archives to outsource much of the routine work. Now, conservators and technicians can perform more complex treatments for all collections, while still applying production-based approaches.

Laura McCann and Jessica Pace, New York University Libraries
Preservation Librarian to Preventive Conservator: Shifting Priorities in Collection Care at NYU Libraries
Over the past ten years, NYU Libraries' Barbara Goldsmith Preservation & Conservation department changed the focus of its collections care program from the general collections to the special collections in order to meet new and growing needs. Since the 1990's, NYU’s archival collections grew exponentially in both size and complexity. In response, the position of Preservation Librarian evolved into that of Preventive Conservator, a newly emerging specialization. We will discuss the evolution of the position as well as its benefits and challenges. Topic addressed will include the impact of high-density off-site storage, changing collecting patterns, and specific needs for artists' archives.

Ashleigh Schieszer, The Preservation Lab (Public Library of Cincinnati and Hamilton County/ University of Cincinnati Library)
Teaming up on Treatments
This presentation will highlight the role of the conservator as project manager, reconsidering the conventional division of work between conservators, technicians, interns, and student workers; with a focus on each member’s role in increasing visibility of special and medium rare collections. The conservation workflow of a unique WWII era scrapbook illustrates a team-oriented work style between conservator, technicians and students. Parceling the large treatment into smaller segments utilized skills to reduce costs and timelines that directly lead to heightened usability and accessibility of the materials.

Lauren Telepak, Harvard University Library
Shifting conservation strategies in Harvard Library Preservation Services
Harvard Library Preservation Services is positioning its conservation practices to better respond to library initiatives and priorities which include an increased commitment to digital formats, acquiring unique materials and building collaborative collections. This talk will explore how a recent shift to a unified management of the general and special collections conservation labs has allowed the department to develop cross training opportunities for conservators and conservation technicians to develop skill-sets that can be strategically deployed to address future needs.

Sonya Barron, Iowa State University
Doing more with what you’ve got, and doing it differently!
Preservation priorities of the university library have shifted to lean heavily towards investing in rare and unique materials and away from general collections, as is the case with many academic libraries. Preservation staff members, who have been doing the same kind of work for decades, now find themselves in a position of needing training to perform their new duties. In this talk I will discuss the challenge of responding to change creatively as a manager, while operating under the constriction of state funding cuts and within union limitations.

avatar for Angela Andres-[PA]

Angela Andres-[PA]

Special Collections Conservator, University of Kansas Libraries
Angela Andres is special collections conservator at the University of Kansas Libraries. Prior to coming to KU she worked as a conservator at New York University Libraries, the Wisconsin Veterans Museum, and the University of Wisconsin-Madison. Angela received her BFA in Printmaking... Read More →
avatar for Sofia I. Barron

Sofia I. Barron

Conservator, Iowa State University Library
Sonya Barron is a conservator for special collections at Iowa State University Library in Ames. She specializes in books and paper and has previously worked at the Huntington Library in San Marino, CA and at the United States Holocaust Memorial Museum in Washington DC. She started... Read More →
avatar for Jessamy Gloor-[PA]

Jessamy Gloor-[PA]

Paper Conservator, Huntington Library, Art Collections, and Botanical Gardens
Jessamy Gloor is a paper conservator at the Huntington Library, conserving art on paper, manuscripts, and archives. Before coming to the Huntington, Jessamy was a conservator at the Royal Commission on the Ancient and Historical Monuments of Scotland (RCAHMS) and then at the Historic... Read More →

avatar for Ellen Cunningham-Kruppa

Ellen Cunningham-Kruppa

Assoc. Director for Preservation and Conservation, Harry Ransom Center
Ellen Cunningham-Kruppa has been an active practitioner, educator and consultant in the field of cultural heritage preservation for 35 years. From 1985 to 1987 she was project archivist (supported by the National Historical Publications and Records Commission) at The Johns Hopkins... Read More →
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Werner Haun

Conservator, Yale University Library
Werner Haun began his career in conservation at Southern Illinois University as a student worker, and from there he worked with leaders in the field and at several premier institutions. Most recently, he was the Collections Care Conservator at the Library of Congress and the New York... Read More →
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Laura McCann

Conservation Librarian, NYU Libraries
Laura McCann is the Conservation Librarian at New York University Libraries where she manages the book and paper, and preventive conservation programs. She received an MS in Library and Information Science from the Palmer School, Long Island University, an MA in Paper Conservation... Read More →
avatar for Jessica L. Pace

Jessica L. Pace

Conservator, NYU Libraries
Jessica Pace is the Preventive Conservator at New York University Libraries. Prior to this role, she has worked on projects at the Brooklyn Museum, the American Museum of Natural History, and at the Archaeological Exploration of Sardis. Jessica studied objects conservation at NYU’s... Read More →
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Ashleigh Schieszer

Co-manager of the Preservation Lab and Conservator of Special Collections, The Preservation Lab
Ashleigh is the conservator of special collections and co-manager of the Preservation Lab, a collaborative hybrid lab of The Public Library of Cincinnati and Hamilton County and the University of Cincinnati Libraries in Ohio. Ashleigh’s passion for conservation began in wallpaper... Read More →

Lauren Telepak

Collections Conservator, Harvard Library
Lauren Telepak is a Collections Conservator at Harvard University where she helps manage a production-oriented conservation treatment program for Harvard Library’s general and circulating collections. Prior to Harvard, Lauren worked and volunteered in numerous conservation labs... Read More →

Saturday June 2, 2018 2:30pm - 4:30pm MDT
Texas Ballroom D Marriott Marquis Houston