Paper Conservation: Decisions & Compromises

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manuscript paper, the binding would need to lay completely flat when open, avoiding stress on the paper folios and arching of the pages. The options for binding structures would need to consider the sewing method, spine shape, spine lining and board attachment method. Reversibility was also essential for the binding. Planning ahead for possible antioxidant treatments which would require dis-binding, meant that the sewing, linings and covers had to be removable without causing damage to the manuscript. To provide for long-term preservation of the manuscript, the use of recognized techniques and archival quality materials was essential. Research and sample mock-ups resulted in a suitable binding option. The sewing method selected required minimal manipulation of the text block. The binding would have a flat opening, supple boards, little or no change in dimensions and would require very little use of adhesive and to improve the ageing properties of the manuscript indirectly, interleaving papers were impregnated with an alkaline buffer and antioxidant (Hansen, 2005). The stabilized Haggadah has been digitized due to its restricted access and is stored in the dark, in a controlled environment of 18 degrees Celsius and 40% RH, awaiting possible antioxidant treatment in the future (Fig. 4). References Kate Helwig and Marie-Claude Corbeil, Analysis of Samples from a Haggadah Manuscript for Library and Archives Canada, Gatineau, Quebec, Canada, Report No. ARL 4538 (Ottawa, 2008). Gessa Kolbe, “Gelatine in historical paper production and as inhibiting agent for iron-gall ink corrosion on paper.” Restaurator, Vol. 25, (2004), pp. 26-39. B. Vinther Hansen, ‘Improving ageing properties of paper with iron-gall ink by interleaving with papers impregnated with alkaline buffer and antioxidant’, Restaurator: Vol: 26 Number: 3, (2005) Jana Kolar, Alenka Mozir, Aneta Balazic, Matija Strlic, Gabriele Ceres, Valeria Conte, Valentina Mirruzzo, Ted Steemers, gerrit de Bruin, “New antioxidants for treatment of transition metal containing inks and pigments.” Restaurator, Vol. 29, (2008), pp. 184-198. Malesic, J., J. Kolar, M. Strlic and S. Polanc. 2005. The use of halides for stabilization of iron gall ink containing paper: The profound effect of cations. e-Preservation Science 2: 13–18. Malesic, J., J. Kolar, M. Strlic and S. Polanc. 2006. The influence of halide and pseudohalide antioxidants in Fenton-like reaction systems. Acta Chimica Slovenica 53: 450–456. Andrea Pataki, “Remoistenable tissue preparation and its practical aspects.” Restaurator, Vol. 30, (2009), pp. 51-70. Season Tse, Maria Trojan-Bedynski and Doris St-Jacques, “Treatment Consideration for the Haggadah Prayer Book: Evaluation of two antioxidants for treatment of copper inks and colourants”, Book and Paper Annual (2012). Sonja Titus, Regina Shneller, Enke Huhsmann, Ulrike Hähner, Gerard Banik, “Stabilizing local areas of loss in iron gall ink copy documents from the Savigny estate.” Restaurator, Vol. 30, (2009), pp. 16-51. Authors Doris St-Jacques Conservator-Maps and Manuscripts Library and Archives Canada Gatineau, QC, Canada Doris.St-Jacques@bac-lac.gc.ca Maria Bedynski Senior Conservator-Maps and Manuscripts Library and Archives Canada Gatineau, QC, Canada Maria.Bedynski@bac-lac.gc.ca Lynn Curry Senior Book Conservator Library and Archives Canada Gatineau, QC, Canada Lynn.Curry@bac-lac.gc.ca Season Tse Senior Conservation Scientist Canadian Conservation Institute Ottawa, ON, Canada Season.Tse@pch.gc.ca ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 20
The Conservation of the Hussite Codex (Mus.Hs.15492) Considerations on Minimal Intervention Birgit Speta Austrian National Library, Conservation Departement, Vienna, Austria Miniature painting The gradual is extensively illuminated. A large part of the first page is gilded. Beneath a picture of the Madonna, the Smisek family is portrayed. All initials are decorated, either with ornamental patterns or in figurative paintings. The first page of each choral is lavishly illuminated as well, for example with scenes of the life of Jesus Christ or motives including vines, angels, birds or fruits. Fig. 1: before conservation This paper discusses considerations on minimal conservation intervention, using the example of the Hussite Codex, which is in the collection of the Department of Music at the Austrian National Library in Vienna. History 1 The Hussite Codex is one of the most famous graduals (books containing antiphons and choral music) of Kutna Hora (Czech Republik). Known as Hussite Codex or Smisek Gradual, this gradual is called the Hussite Codex because it contains illuminations showing scenes of the life of the reformer John Hus 2 , while its other name, the Smisek Gradual, reflects its original ownership by Michal Smísek of Vrchoviste, who commissioned it from Matthew´s workshop in Prague. A note on the last page of the manuscript records 1491 as the year of completion. Technical description The object is very large and heavy, measuring 63 cm in height, 42 cm in width and 21cm thick. All together it comprises 491 parchment leaves . Because of its size and the substantial metal fittings the Hussite Codex weighs 42 kg (Fig. 1). The textblock is sewn on 6 double cords made of leather plus two cords for the endbands. The leather of the cover is blind-tooled. The arms of the commissioning client is situated in the middle of the board. There are two huge clasps at the front, one of which is engraved with the year ‘1562’. Another important detail: the headbands were plaited, which means that the strips of leather are sewn around the primary headbands as well as through the leather of the cover. As the primary headbands are part of the sewing, the cover of the spine is fixed to the textblock on head and tail. This detail will play a significant role in our considerations on conservation treatments. Damage The parchment of the textblock was in good condition, though there were minor losses or abrasions on the illuminations. The greatest damage and at the same time the greatest challenge was the fragile connection between textblock and the upper board. The upper board was connected with the textblock by just two strips of parchment backing and two weak and deteriorated double-cords as the leather of the cover, most of the backing and the flyleaves were broken in the upper joint. Due to this damage in combination with the weight of the front board every opening of the manuscript could have led to a total separation of board and textblock. The leather of the spine is very brittle and was also already broken at the joint to the lower ICOM-CC Graphic Documents Working Group Interim Meeting | Vienna 17 – 19 April 2013 21
Page 1 and 2: Paper Conservation: Decisions & Com
Page 3 and 4: Content Lieve Watteeuw Introduction
Page 5: Michael Wheeler | Nicholas Barnard
Page 8 and 9: New Trends in Preservation in the D
Page 10 and 11: and monitoring against adverse envi
Page 12 and 13: Steve Hobaica, Patrick Loughney, Ma
Page 14 and 15: The Albums of Duke Charles de Croÿ
Page 16 and 17: Fig. 4: turning the supporting pape
Page 18 and 19: Fig. 2: Close-up of some of the los
Page 22 and 23: Figure 2 partial sewing: the blue d
Page 24 and 25: Books in Exhibitions: History and A
Page 26 and 27: Fig. 4 Museum in London and the pre
Page 28 and 29: Risk and Safety of Illuminated Manu
Page 30 and 31: Fig. 2 Atlas, the Crown papers are
Page 32 and 33: Acknowledgments The authors would l
Page 34 and 35: Verdigris I: Compromises in Conserv
Page 36 and 37: Verdigris 2: Wet Chemical Treatment
Page 38 and 39: Integrated Modelling: The Demograph
Page 40 and 41: Fig. 3: The consequence of 50 insta
Page 42 and 43: Characterisation of Historical Pape
Page 44 and 45: pling is required, tide-lines are c
Page 46 and 47: Study of Phytate Chelating Treatmen
Page 48 and 49: Evaluation of stochiometric effects
Page 50 and 51: Practice and Progress in the Conser
Page 52 and 53: Fig. 1 Fig. 2 plex picture and prov
Page 54 and 55: Fig. 2: Coloured paper strips place
Page 56 and 57: the fire (on the other hand paper,
Page 58 and 59: inform decisions on conservation tr
Page 60 and 61: This paper summarizes what is known
Page 62 and 63: 2. Methods An interdisciplinary met
Page 64 and 65: Fig. 4: Dyed endpaper pasted at the
Page 66 and 67: Preservation of Architectural Drawi
Page 68 and 69: Notes 1 According Salvador Muñoz V
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course of time under the influence
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the curators in review of the treat
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cellulose powders with cellulose et
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Authors Xing Kung Liao Conservator
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Fig. 2: Our Railroad Workers and th
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The Restoration of Cartoons at the
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tation presumes that the works are
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To Remove or Retain? - Extensive In
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Fig. 4 repeated applications until
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The Migration of Hydroxy Propyl Cel
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tion issue allowed a visualisation
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Ethical Considerations Concerning t
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emoved with damp cotton swab. Then
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Conservation of a Book of Hours fro
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Fig. 4: Pigments movement and conse
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Notes 1 Brazilwood lake, lapis lazu
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pages, which would easily have torn
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The Microflora Inhabiting Leonardo
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Acknowledgments The authors would l
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Microorganisms in Books - First Res
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hyaline white mycelia on and in the
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Deconstructing the Reconstruction E
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Fig. 3: Poster after 2012 conservat
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Conservators’ Investigation of Ch
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had been used, may be false-positiv
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function will provide a holistic pi
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Fig. 2: Patriarchs of Chan Buddhism
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ing techniques, which build upon fu
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Applications of Image Processing So
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Fig. 3 Fig. 4 images in a single wi
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Analysing Deterioration Artifacts i
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Fig. 3 similarity maps. Similarity
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Strategy in the Case of a Wrecked P
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without preliminary consolidation.
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Fiber Optic Reflectance Spectroscop
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Fig. 3: 18 th century paper seal, i
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Fig. 3 Fig. 4 of responsibilities r
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Characterising the Origin of Carbon
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Fig. 3: Sampling depth for ATR spec
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Fig. 2: Filmoplast® tape attached
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Pluchart, F. 1971. Pop Art Et Cie.
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Fig. 3: The reverse of left screen
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porting the reverse of severe creas
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