The Bigger Picture: Visual Archives and the Smithsonian
Posts tagged with: Conservation
- A stark transformation - 3D scans of the life masks of President Lincoln from before and after the Civil War. [via face to face blog, NPG]
- Creative Commons released their "State of the Commons" report which found that there are 882 million CC-licensed works on the net, up from 400 million in 2010. [via InfoDocket]
- Now available - 16,000 pages of Charles Darwin's writing on evolution has been digitized and is available online. [via Open Culture]
- Arthur Greenhall, a Snake Hunter and recorder of animal sounds. [via Smithsonian Collections Blog]
- Tools of the trade in the field - For conservators, one such tool is the USB digital microscope. [via The Getty Iris]
- How ENIAC, the world's first computer, was saved from being scraped. [via Wired]
- Discussions on collecting and preserving digital art with Jon Ippolito, Professor of New Media at the University of Maine, and Richard Rinehart, Director of the Samek Art Museum at Bucknell University. [via The Signal: Digital Preservation, LOC]
- Now for your viewing pleasure - A new monthly video series: Shelf Life, puts a spotlight on the 33 million artifacts at the American Museum of Natural History. [via Open Culture]
Ah, Halloween, my favorite time of year. With an upcoming photograph symposium on my mind, and the season getting drier, I'm inspired to make my costume up as a tightly wound vintage panoramic photograph. The fear of unrolling one never gets old, if you'll forgive the pun, because one never knows . . . what one might find lurking within (Meaning revealing prior damage, not the content – unless some creepy creature has taken up residence). Recently, I saw one rolled panorama so damaged by a historic water incident that the faces of the sitters had lifted right off the front of the print and stuck to the back of the paper facing it – leaving an eerie ghostlike effect on both sides similar in effect to the image below.
Truly, here at conservation HQ nothing actually strikes fear into our hearts more than unintentionally bad advice gone horribly awry. We've written a few posts on our conservative conservator approach to opening and unrolling rolled photographs, trying to strike a balance between too little and too much information (i.e. just enough to not get non-conservators in too deep). Some other authors online have taken it upon themselves to offer some pretty scary advice, such as steaming the roll with a steam iron or soaking the rolled photograph and then unrolling it in water. These both send shivers down my spine, and if you want to know why in great detail, you may dress up like a conservation student and read all about Properties and Stability of Gelatin Layers in Photographic Materials and their infinite variety of susceptibilities. Not all photographs are the same, and to give you an idea of what could happen, I'll just give you the cheat sheet by suggesting you imagine taking a steam iron or a hot soak to your favorite Halloween wiggly gelatin dessert. Bad idea, unless you want your dessert and photo to potentially look like The Blob or The Creature from the Black Lagoon.
In contrast to the unintentially bad advice gone wrong, there are some fairly on point instructions to be found online to help people humidify and flatten panoramic photographs. I found that an independent archivist has posted a photo-illustrated adaptation for the home user of a process written up by the National Park Service for their Museum Management Program, which does not give us the willies due to the care built into their setup. That said, for attempting either of these I would increase the safety factor further by choosing not to have free water available that could splash on to the photo if their container was bumped, but instead pour the water first onto clean absorbent blotter or bleed-proof toweling until that is saturated. I would also avoid the use of wax paper during drying, substituting silicon coated paper without creases or wrinkles. (Always note: consulting a conservator is best, especially if the object is resistant to movement, or if there appears to be writing on it or prior damage to the object.)
We recently had another panorama in the lab, and we put it through the gentle humidification process we describe in our posts listed below. This occasion also allowed us to addess what isn't discussed in any of these posts, namely how to store an awkwardly long photograph, say over six feet, afterwards if you do not have the space to store it flat between an archival folder and boards. Generally this technique is used for oversize flexible objects, such as textiles and massive works on paper. Occasionally when we must, we adapt the technique for smaller objects and roll onto large (to scale) archival paper core supports. This prevents crushing and increases the circumference versus rolling them around themselves like little cigarettes. If only Halloween pranksters would re-roll after toilet papering some unfortunate person’s home! Here is a short video of how we do it if a work is too large for flat file storage.
Happy and safe Halloween, everybody! May you take many pictures and keep them safe from becoming ghosts of themselves.
- Panoramic Panic! A Sticky Situation, Part 1, The Bigger Picture blog, Smithsonian Institution Archives
- Panoramic Panic! A Sticky Situation, Part 2, The Bigger Picture blog, Smithsonian Institution Archives
- Halloween Humidification Horrors!, The Bigger Picture blog, Smithsonian Institution Archives
- A Health Resort for Paper, The Bigger Picture blog, Smithsonian Institution Archives
This summer I had the pleasure to intern with Collections Care in the conservation lab under Nora Lockshin, Paper Conservator. As a painting major in undergraduate school, I had no idea what to expect coming into a paper conservation environment. What I thought was going to be all book and paper turned out to be a much different experience and a little more up my alley. Here I’ll briefly explain how I repaired the leather bindings of some of William H. Dall’s field books using Japanese tissue and acrylic paint.
To start things off, I applied a thin adhesive, or 20% Lascaux 498 HV in isopropanol, to consolidate the deteriorated areas of the leather. This keeps the brittle pieces in place while the repair is being executed. When applying the solution of Lascaux, I made sure to keep the immediate area properly ventilated to prevent inhalation of the solvents.
While the Lascaux is drying, tinted Japanese tissue is cut to the size of the damaged space on the book’s spine. In the case of the Dall books, the damage extended past the spine and a little onto the boards. In order to create continuity in the repair and book, I used black and blue acrylic paint to dye the color of the paper to match the color of the book. You want the color to be almost exactly the same so that there is no distraction from the book itself. After a few trials, and with my experience as a painting major, I was able to get the perfect mixture of dark blue that matched the color of the field book.
For these field books, I applied the tissue that reinforces the hinges in a “baggy back” style over the remaining spine fragment. This means instead of exactly replicating the original tight-back construction, the tissue was attached to the hinges and boardswithout adhering directly to the spine so that the spine may arch and flex, as opposed to being very tightly held together. The adhesive used here is also Lascaux 498HV, however the solution is 100% Lascaux as opposed to the dilute 20% used earlier. After the tissue is applied it is placed under weight and left to dry.
Leather repair is a fun process that is much different from other processes in the paper conservation field. While there are more steps taken to repair the leather, this brief explanation gives you the very basics of what it takes to conserve a deteriorating book like Dall’s field books.
- Priscilla Anderson & Alan Puglia. Solvent-Set Book Repair Tissue, 2003, The Book and Paper Group Annual 22
- Record Unit 7073 - William H. Dall Papers, circa 1839-1858, 1862-1927, Smithsonian Institution Archives