My name is Ana, and I am delighted to introduce myself as the conservation intern at the British Library Centre for Conservation (BLCC). I began this enriching journey in March 2024, and since then, I have been gaining invaluable experience in the field I am deeply passionate about: book conservation. 

Allow me to provide a brief overview of my professional background. In 2020, amidst the onset of the COVID-19 pandemic, I completed my BA in Conservation of Cultural Heritage at Complutense University of Madrid, Spain. During my studies, I developed a strong interest in book conservation, which I further specialized in through a Graduate Diploma and an MA in Conservation Studies of Books and Library Materials at West Dean College in the UK. 

Upon completing my academic training, I was thrilled to embark on this professional chapter at the British Library. This Funded Conservation Internship has been a remarkable opportunity to work alongside leading experts in the field, enabling me to establish my career within such a prestigious institution. 

A distinctive feature of my internship was its rotational structure. Approximately every six weeks, I transitioned between various teams, which allowed me to collaborate with different professionals, learn from their diverse expertise, and gain a comprehensive understanding of the operations within the BLCC’s departments, which significantly enhanced my professional development in book conservation (see Fig. 1).

Fig. 1: Ana working on an illuminated Persian Manuscript as part of her internship at the British Library

I have had the opportunity to work on a diverse range of projects, including the conservation of three small children's leather books, a 15th-century Persian manuscript (see Fig. 2), a 19th-century Daoist Rituals manuscript, and six notebooks belonging to G.K. Chesterton.

My work has also involved the preservation of Arakanese Buddhist manuscripts from the Murray Collection for digitisation, as well as volumes from the Adam Matthew Digitisation Project.

Additionally, I rebounded a volume from the Cotton Collection containing fire-damaged pages from the Ashburnham House fire of 29 October 1731.

I have also collaborated with colleagues from the Preventive Department on the preparation of the Medieval Women exhibition and assisted in the conservation and preparation of various items for a touring exhibition. 

Fig. 2: Ana testing pigment solubility on an illumination from a Persian manuscript

Working on such diverse items and alongside experienced professionals has allowed me to deepen my knowledge of various materials and different conservation techniques through hands-on experience. This has refined my decision-making skills, enabling me to approach new projects with greater confidence, adaptability, and a more strategic perspective, while also fostering greater independence in my work. 

 

As my internship comes to an end, I feel more confident in my conservation skills and look forward to applying this newly acquired knowledge to future projects and experiences at the British Library as a book conservator and a contributing member of the team. I extend my heartfelt gratitude to the British Library and my line manager, Zoë Miller, for this incredible opportunity, and to Dr Lars Atkin, whose generous support made this dream possible. 

I will forever be grateful for the experiences and knowledge gained during this internship, and I look forward to carrying these lessons with me throughout my conservation career.

In the British Library / Qatar Foundation Project, the Conservation team works closely with the Imaging team. In Phase 4 of the program, new challenges emerged, such as the presence of oversized, attached foldouts in books. These foldouts present unique challenges not only for the Conservation team in terms of handling and treatment but also for the Imaging team when handling and digitising. As the number of foldouts increases within the collection, the Conservation and Imaging teams have worked together to reassess the risk of damage during the digitisation process and handling. 

In a skills-sharing workshop held this March between the Conservation and Imaging teams, one key issue discussed was the difficulty of practically supporting oversized, attached foldouts during digitisation in a standardised, quick, and stable manner. This workshop offered an opportunity to brainstorm solutions and initiate a collaborative effort to create a tool to address this problem by combining the expertise of both fields. Past collaborations between Conservation and Imaging within this project have already yielded innovative tools, such as the widely used book cradle support designed and built by Flavio Marzo.

Fig. 1 Example of an attached foldout

Previously, imaging technicians used an ad hoc technique for supporting oversized, attached foldouts during digitisation. This involved cutting smaller foam pieces, assembling them into a larger structure, and placing photography paper on top to create a stable surface. These structures were improvised on the spot, leading to inconsistent results and varying preparation times. 

After reviewing previous methods and studying the digitisation process for oversized foldouts, the team documented key details such as item positioning, available space, options for secure support, and the unfolding process for foldouts. With these factors in mind and following several meetings and discussions with the Imaging team, Conservation proposed a new model designed to standardise the process, offering greater stability and efficiency suitable for a large-scale digitisation project. 

The main principle of the proposal involved creating two L-shaped foam pieces positioned around the item, with an extension piece to form a surrounding C-shape. The idea is that the L-shape would have enough width to compensate for any gaps in between when the foldout is unfolded.

Here is a simple model of the initial idea: 

Fig.2, 3, 4, 5: L-shapes placed around the item with and without extension piece, and with and without foldout

After finalizing the design, I began cutting the foam into the L-shapes with Armando Ribeiro, the Senior Imaging Technician leading the collaboration from the Imaging team. We decided on two foam thicknesses—12 mm and 28 mm Plastazote foam from Preservation Equipment Ltd (PEL)—to keep the process straightforward and efficient. By working with just two thicknesses, it became easier to estimate and adjust the necessary height, simplifying preparation.

Fig. 6, 7: Using previously cut foam blocks as template for next batch and making incision marks on the foam to prepare for cutting.

 

Fig. 8, 9: Visible incision lines on the foam blocks ready to be cut and cutting foam with template above the block using ruler and knife.

With the foam pieces cut, we trialed the new system using an IOR/P book, a common type in this phase of the project. The L-shapes fit neatly around the item, and the small extension piece could be slid into place for additional support as needed. With pre-cut foam blocks, the setup required no additional preparation—just arranging the foam pieces around the item and stacking them until reaching the desired height to match the foldout’s location. However, during our first trial, we found that for longer and wider foldouts, maintaining stable support on all sides was challenging.

Fig.10 a, b, c, d and e Series of stacking and using new tool with IOR/P collection item with a large, attached foldout

We returned to the drawing board to address this issue and collectively decided to add a larger rectangular support piece to the system. This piece would be used for much larger foldouts (A3+), placed alongside the L-shapes to create a uniform platform better suited to these oversized items.

Fig.11, 12: Updated model of L-shape system with additional larger foam piece and with foldout using large foam piece.

 

Fig. 13, 14: Preparing structure with the updated model adding the large rectangular piece, and an oversized attached foldout successfully folded out and supported with photography paper underneath.

After testing the updated model, we found it successfully supported larger foldouts. To demonstrate this, Armando took test shots to compare the captures of attached foldouts using the old system during digitisation and after, implementing the use of this tool to demonstrate the difference. Alongside the demonstration shots, we also made two short films demonstrating the practicality of the new approach compared to the previous method.

Fig.15 a, b, c and d Previously used system for attached oversized foldouts (this example is excluding photography paper usually placed on top of the foam to create an even background)

 

Fig.16 a, b, c and d New system using standardised shapes (this example is excluding photography paper usually placed on top of the foam to create an even background)

Please watch these two videos demonstrating the previous set up preparing attached foldouts and the new setup :

Old setup video:

New setup video:

With the new system, Imaging technicians could place the foam pieces quickly and directly, without constant adjustment to their setup. The three distinct shapes provided a clear, consistent structure, allowing them to work with greater speed and confidence. This tool allowing a streamlined, standardised process is proving  to be particularly valuable in a fast-paced, mass-digitisation environment, where efficiency is essential. 

Collaboration between Conservation and Imaging teams has proven invaluable in the development of this tool. By combining our unique skill-sets and insights, we were able to create a solution that not only enhances efficiency but also leads to a much safer handling practice, providing stability for collection items throughout the digitisation process.  

Collaborations like this foster a deeper understanding of each team’s needs and challenges, inspiring innovations that improve workflows and generate new tools for future projects. I’m thrilled that this collaboration resulted in a more stable, user-friendly support system, safeguarding valuable collection items during digitisation.  

This tool is now also being utilised by other teams within the project. In Conservation it is being used to support treatments of attached foldouts, providing a lot more stable setup and platform for e.g. treatments involving weights. Map curators in the cataloguing department are also benefiting from this tool when studying and cataloguing large, attached maps. 

As noted in some of the previous posts in this blog (Textiles come in all shapes and sizes at the British Library - Collection Care blog), various textiles, as well as objects containing textiles, are present within the Library’s collections. Coming fresh from my recent postgraduate training, I consider myself fortunate to have spent these past few months at the British Library gaining professional experience in textile conservation and learning from my paper conservator colleagues. I have been privileged to work on some interesting and, in the case of this particular project that I am going to talk about in this post, the most charming textiles in its collections.

The book, Instructions on Needle-work and Knitting, (C.194.a.371) was printed in 1832 in Westminster, London as an educational instruction manual, complete with instructions on stitching and garment-making techniques accompanied by finely crafted miniature garments and samplers. Due to poor storage conditions at some point in its lifetime, dirt had accumulated on the sides of the textblock. There were gaps between some of the pages in the textblock due to the bulkiness and irregular shapes of the textile samples, so some of the dirt had fallen through these gaps. The samples were stitched onto the pages of the book, creating holes on both textile and paper and pinning the samples down in a way that restricts both their movement and the reader's view.  In addition to the creases formed from being pressed flat, some of the samples were in a position that distorted corners or created additional folds (Fig. 1).

Figure 1. Green dress sample in the book Instructions on Needle-work and Knitting (C.194.a.371), before treatment. Positioned too close to the page’s top edge and gutter, The shoulder straps were distorted and the skirt was creased.

The conservation treatment focused on making the textile samples cleaner and the book fit for purpose as a library material under BL restricted access. As part of the Library’s collection, the book is expected to be handled by readers in the future, so the final product needs to be sufficiently robust for handling while giving adequate access for examination and study.

In preparation for the treatment of the samples that needed cleaning, they were taken out of the book to avoid the risk of damaging the paper in the process. Much dirt was removed by gently tamping the fabric with pieces of cosmetic sponge (Fig. 2 and 3). 

Figure 2. Samples from the book Instructions on Needle-work and Knitting (C.194.a.371) and pieces of sponge used in removing surface dirt.

 

Figure 3a. Man’s shirt sample from the book Instructions on Needle-work and Knitting (C.194.a.371), before surface cleaning.

Figure 3b. Man’s shirt sample from the book Instructions on Needle-work and Knitting (C.194.a.371), after surface cleaning.

After confirming that the dyes were washfast, the green dress and the sampler with red embroidery threads were further cleaned using an aqueous detergent solution. In addition to removing dirt, wet cleaning the dress (Fig. 4) provided the opportunity to relax the skirt and redistribute its fullness so that it fits within the width of the textblock. For the miniature sampler (Fig. 5), wet cleaning reduced some of the foxing stains on its ground fabric. 

Figure 4a. Green dress sample from the book Instructions on Needle-work and Knitting (C.194.a.371), before wet cleaning.

Figure 4b. Green dress sample from the book Instructions on Needle-work and Knitting (C.194.a.371), after wet cleaning.

 

Figure 5a. Miniature sampler from the book Instructions on Needle-work and Knitting (C.194.a.371), before wet cleaning.

Figure 5b. Miniature sampler from the book Instructions on Needle-work and Knitting (C.194.a.371), after wet cleaning.

Moisture, in the form of fine mist, was gently applied to the crumpled frills of the baby’s cap (Fig. 6), just enough for the fabric to recover some flexibility for reshaping.  

Figure 6a. Baby’s cap sample from the book Instructions on Needle-work and Knitting (C.194.a.371), before humidifying and reshaping its frills.

Figure 6b. Baby’s cap sample from the book Instructions on Needle-work and Knitting (C.194.a.371), after humidifying and reshaping its frills.

I thought about how to put the samples back in the book because, while stitching is usually compatible with textiles, it would mean either creating more stitch holes on the paper pages or making the existing holes larger and the attachment less secure. I took inspiration – and a few materials – from paper conservation, and prepared some hinges made of thin cotton fabric lined with Japanese tissue using wheat starch paste. This would allow me to stitch one end of the hinge to the textile sample and paste the other end to the page.   

Figure 7. Testing the textile-paper hinge on a mockup.

After discussing my proposed method with my manager Liz Rose and the curator Catriona Gourlay, I proceeded with reattaching the samples with textile-paper hinges, each cut to an appropriate size and attached according to the size and shape of the samples and available space in its assigned page. This way, the samples are adequately secured into their places while having some degree of freedom for the reader's examination (Figure 8). 

Figure 8a. Man’s shirt sample in the book Instructions on Needle-work and Knitting (C.194.a.371), before treatment.

Figure 8b. Man’s shirt sample in the book Instructions on Needle-work and Knitting (C.194.a.371), after treatment.

 

Gee Roxas, Textile Conservation intern 2023 - 2024