Collection Care blog

Behind the scenes with our conservators and scientists

Introduction

Discover how we care for the British Library’s Collections by following our expert team of conservators and scientists. We take you behind the scenes into the Centre for Conservation and the Scientific Research Lab to share some of the projects we are working on. Read more

05 October 2023

A day in the life of a book conservator

Last month we launched a fundraising appeal to raise vital funds for our conservation work. Discover how donations will support the work of people like Roger, one of our specialist conservators.

What does a day in your life look like, Roger?

There are over 170 million collection items at the Library so each day is different and no books are the same every week.

I usually spend five hours a day working on items. The rest of my time includes discussing solutions to solve problems on items and attending Topic Talks where my colleagues in conservation share their skills or give presentations.

I love the variation. For example, I recently started writing condition reports for exhibition items that go on display. This includes some photography and making notes of existing wear and tear on books.

How long does it take to conserve a book?

Something like rebinding a book could take 45 hours or more. This includes removing old glue from the spine, pulling out text block sections and resewing the binding. Any extra work like washing acidic paper, a type of paper which was widely used from the 1900s which turns yellow and brittle over time, adds hours of work. The greater the damage is on a book, the more work is involved.

What’s the biggest transformation you’ve made on a collection item?

These are my favourite pictures of my bookbinding work. It’s a Sale Catalogue by Southgate Auction Rooms from the 1800s which was in a very poor condition with both covers detached from the pages. The first two pictures show the item before treatment and the third shows the reattached spine and binding.

Spine and cover detached from book Bookspine2 Repaired book spine.

I’ve done many transformations on books, large and small, and these pictures show how a damaged item can get a new lease of life through conservation.

What are some of the challenges you face in conserving an item?

As a conservator, you need to be patient. I remember working on a newspaper with very weak acidic papers. You can see how brittle papers like these are in the picture of the fragments below.

I had to be careful to handle the item as when I lifted it, part of the newspaper cracked and fell off. I managed to restore it with Japanese tissue and wheat starch paste to re-enforce the strength of the paper. This treatment should extend the life of these newspapers so that they can be safely handled, which would not be possible without intervention.

Paper fragments in a plastic bag.

What’s an area you’d love to learn more about?

Cutting tools are really important for bookbinding. It’s important that they remain sharp so that you can cut and trim paper with precision. A book looks much better with nice trimming so I would love to learn more about knife and scissor sharpening, like how to sharpen French paring knives in the correct way.

What’s your favourite thing about working in conservation?

That you are always learning. Every day, I’m gaining more knowledge about all kinds of bookbinding materials and the different skills involved in bringing items back to life.

How to support Roger’s work

As a charity, donations help us make the most of our conservators’ incredible knowledge and talent for their craft.

By making a gift today, you could help Roger and his colleagues deepen their expertise through specialist training, helping them find new ways of bringing books back to life.

Visit bl.uk/appeal to donate now or find out more.

06 July 2023

Taking the British Library by Storm Scott

In September 2022, I began a yearlong internship at The British Library in the conservation department. Prior to this I studied general conservation at Lincoln University, and whilst I enjoyed learning about all types of materials, once I started treating paper objects I knew that I had found my passion, and hopefully my future career.

My studies took place during the Covid-19 lockdowns, so my access to hands on conservation was limited. Entry-level conservation jobs often require a minimum of two years practical experience post training, so finding this internship felt something like a blessing. During my yearlong internship, I have been learning from expert preventive conservators, object, textile, book and paper conservators in a fully equipped conservation studio. This blog post will give an overview of my time spent during the first six months of my internship, beginning with the Exhibitions and Loans team, and then on the long-term bids team.

A view of the main studio of the British Library Centre for Conservation, showing the large space with high ceiling and natural light. There are many workbenches covered with conservation tools and equipment, including a large book press in the foreground.
Img. 1: The BLCC purpose built main studio

 

Exhibitions and Loans 

The Exhibition and Loans (E&L) team within conservation deal with the treatment and condition checking of objects that have been requested for upcoming exhibitions, either internally at the BL or externally at other lending institutions, including touring exhibitions.

Condition checking and documentation is crucial to the culture of institutions loaning each other objects as record of the exact nature and degree of all damage is important to show that an object has not been further damaged during transit or display. I started on the Exhibitions and Loans team during the install of the Alexander Exhibition, where I was able to watch loan items from other institutions arrive, and to see how different conservators at a variety of institutions described and highlighted different types of damage. I also had the opportunity to assess and record the condition of individual items going out on loan and an entire touring exhibition on its return to the Library. This allowed me to familiarise myself with the specialist vocabulary used in book conservation, the various book structures, and the common types of damage.

I have learnt that putting together an exhibition is a truly collaborative process. During the install many different departments work together to ensure that the final exhibition is educational, contains the most relevant and beautiful objects, is enjoyable for visitors but above all that the objects remain safe, stable and undamaged. The E&L team play a massive role in this: they decide which items are in good enough condition to be displayed, undertake any necessary conservation treatments and decide how best to display objects.

I also worked on the Chinese and British exhibition; I mounted many flat items for display, learning various techniques that ensure each object is displayed at its best whilst being appropriately supported.

Hand-drawn and labelled map, drawn in black ink on beige paper. The map has been mounted onto cream mount board using v-hinges, a mounting technique allowing the hinges to not be visible from the recto. The map is slightly dirty and a previous repair is visible to the bottom right corner but the map is in a good condition.
Img. 2: ink on paper map mounted with V-hinge technique so the hinges aren’t visible
Img. 3 mounted
Img. 3: ink on paper flat work mounted using Melinex corners and sides for additional support

In addition to mounting objects for internal exhibitions I also treated items for internal and external exhibitions, focusing on damage that could increase whilst in transit or on display or aesthetic damage to the display opening. The following are examples of items I have treated for exhibitions and loans.

The front board of volume 10880.d.27 prior to treatment, a half bound green leather volume with marbled paper covers. The leather is in poor condition, it has degraded completely in some areas – the spine the spine has a fluffy texture and large pieces are at risk to flake off it. The board corners are visible and the bottom board corner is scraped. There is also a tear between the spine and the front board at the top edge.
Img. 4: Volume 10880.d.27 before treatment
The front board of volume 10880.d.27 post treatment. The board corners have been covered with Japanese tissue toned to match the leather. The leather has been consolidated darkening the leather but making it stronger. The tear between the spine and the front board has also been repaired using a small piece of leather inserted underneath the spine leather.
Img. 5: Volume 10880.d.27 after treatment, including binding repair, leather consolidation and covering board corners
The head edge of volume 1258.k.5 before treatment. The paper is flaking off the board edges, with areas of complete loss where the board is showing. The leather is very worn at the spine edge and flaking off. The board corners are also bent and starting to delaminate.
Img. 6: Volume 1258.k.5 pre-treatment
The head edge of volume 1258.k.5 after treatment. The covering paper has been re-adhered to the board edges, though the areas of loss where the board is visible remain. The leather has been consolidated. The board corners have been repaired, though the right board corner is still slightly bent.
Img. 7: Volume 1258.k.5 post-treatment: consolidating leather and covering material, repairing delaminating board corners

 

Long-term bids

In the long-term bids team I have been lucky enough to have three different mentors with varied backgrounds leading to their slightly different areas of knowledge and expertise. This has been an amazing way of learning as I get to see a wider range of treatments and processes and different ways of approaching similar problems. I have learnt that there is no ‘one size fits all’ approach to conservation, each book is unique and various materials both deteriorate and respond to repairs differently. I explored which approach suited me best and chose the best method and materials for the treatment of every object. I have been able to learn and develop a wide variety of skills this way: tear repairs on flat works, books and scrolls; many applications for different gels; toning tissue; paring, toning  and consolidating leather; repairing board corners; binding repairs; sewing sections of a text block; sewing endbands; removing spine linings and more.  However, for the purpose of this blog I will detail the treatment of 118.e.5, and how I was able to develop the skills required for each treatment step.

Volume 118.e.5 in a wooden book press, with boards protected by just visible mount board on either side, sits atop a studio bench. The spine is upright with the tail-edge in the fore ground so that the endband is visible. The endband is partially detached and hanging by a thread.
Img. 8: Volume 118.e.5 pre-treatment

The tail endband had become partially detached and the endband and spine were dirty. I began with surface cleaning to improve the appearance and to ensure repair materials would adhere sufficiently.

I attended a gels course run by three British Library conservators where I learnt how to make a variety of gels at different concentrations and experiment with their suggested applications.

A variety of gels in individual marked plastic sealed bags sit in rows on top a sheet of Tyvek on top of a trolley. From left to right these gels are: Agarose 2%, agarose 3%, agarose 5%, agarose 10%, agar 2%, agar 3%, agar 5%, agar 10%, LA gellan 1%, LA gellan 1.5%, LA gellan 2%, LA gellan 2.5%, 30:20 xantham:konjac 1%, 50:50 xantham:Konjac, nanorestore peggy 5, peggy gum, nanorestore peggy 6 and Nevek 4.5%.
Img. 9: The different gels tested during the gels course
A sheet of paper lies on a piece of Tyvek with different types of stains: tea, coffee, biro pen, ink, permanent marker and Evacon adhesive. Different gels are being tested on each of these stains, some with a barrier layer of Bondina some without, some with a glass weight on top and some without.
Img. 10: experimenting with a variety of gels to reduce different types of stains
Volume 118.e.5 is held in a wooden book press, protected by mount board on either side. The left board and the spine are visible, including the partially exposed text block at the bottom edge and the endband which is only attached at the right side. The endband is covered in a layer of Konjac and Xantham gel.
Img. 11: Endband during cleaning with Konjac & Xantham
Volume 118.e.5 after gel cleaning is held in a wooden book press, the image is taken from straight above the book meaning only the spine is visible in the image. The exposed text block and partially detached endband are both clean.
Img. 12: Endband and exposed spine after cleaning

I selected Konjac and Xantham gel to clean the spine and endband by applying it as a poultice, leaving for a few minutes and then removing the poultice, which was very effective. The endband was now ready to be reattached!

I learnt to sew endbands whilst making a sewing model, which furthered my understanding of the structure and purpose of the endband.

A hand holds a text block without boards attached. A bright red and deep burgundy endband has been sewn onto the text block, matching the curvature of the spine.
Img. 13: Sewing model endband

I learnt to reattach endbands by observing my mentor completing an endband repair to a volume where the head and tail endbands were detaching. This enabled me to take photos and make detailed notes before repairing the other endband, giving me enough confidence to carry out similar treatments more independently in the future.

The head edge and top of the spine of volume 118.e.5 are visible. Multiple strips of paper poke out of the head edge of the text block to mark the centre of each section that will be sewed through.
Img. 14: endband fixed into original position and endband markers mark each

I fixed the endband into its correct position using a piece of Japanese tissue adhered with wheat starch paste before marking the centre of each section I planned to sew through. After the first stitch, I tied a knot on the outer side of the spine to secure the thread.

Only the top edge of the spine of volume 118.e.5 is visible. The thread has been poked through the spine, around the top of the endband and tied in a knot on the exterior of the spine.
Img. 15: endband sewn back into original position

I then sewed underneath the endband core, back over the top of the endband and then back through the textblock, with a linen thread that closely matched the original white thread.

The top section of the spine and the head edge of the text block are visible. The repair stitching has been covered with a piece of thin Japanese tissue.
Img 16: The repair stitches

Now secured, the next step was to reform the head cap using archival calf leather.

I had no experience working with leather prior to my internship, but have quickly learnt that each leather is different and that paring leather takes a considerable amount of strength! My first attempts at paring leather were thankfully on strips of off-cut leather as they were not pretty, though I’m assured it’s a skill that requires much practice to perfect.

The endband has been reattached into its original position and the partially exposed spine has been covered with a piece of leather that closely matches the colour of the leather on the spine.
Img 17 : The spine edge and head edge of volume 118.e.5 after treatment

After paring and consolidating the leather, I adhered it to the spine using wheat starch paste.

I loved working on this book, having confidence in my ability to complete each step made me feel like a real, fully-fledged book conservator, and I was really happy with the outcome of the treatment. I am learning more and more by the day and whilst I will be sad to leave the long term bids team, I am excited to join the preventive team before returning to the studio to focus on binding structures. If you’ve found this an interesting read, I will be writing another post detailing my time on future teams so watch this space !

17 May 2023

Conservation of Maps in the digitisation project: Qatar Foundation Partnership – Part 2

Following part 1 of the Conservation of Maps in the digitisation project: Qatar Foundation Partnership, this second blog post will present the treatments of two maps belonging to the IOR collection of the British Library: IOR/X/10065 and IOR/X/10066. Similar to the maps presented in the first blog post, these maps also have cloth as a secondary support. In these cases, the maps were fragmented and lined on a cloth support which allowed them to be folded (picture 1 & 2). A difference with the first group of maps is that they did not have textile or silk ribbons on the edges.

The IOR/X/10065 map covers in extended detail the river Tigris and its valley in southern Mesopotamia, now Iraq. The map clearly shows canals, settlements and the site of the ancient city of Opis, approximately 45 miles north of Bagdad (Information by Nick Krebs).
Picture 1: IOR/X/10065 recto before treatment
Detail of the IOR/X/10065 map showing four fragments divided by the joints, with cloth as a secondary support.
Picture 2: Detail of the joints (cloth) that allow the folds of IOR/X/10065

These two items had the same main damage. The substrate, a paper lined with cloth, was broken or weakened in various areas of the joints where the maps used to be folded (picture 3 & 4).

Upper part of the IOR/X/10066 map (recto), before treatment. The map covers the River Tigris and associated Katul al Kesrawi and Nahrwan canals in central Mesopotamia, nowadays Iraq from Tekrit, nowadays Tikrit, Iraq. The map focuses particularly on the river and its associated canals with extended details. (Information by Nick Krebs).
Picture 3: Upper part of the IOR/X/10066 recto before treatment
Detail of IOR/X/10065 map during conservation. The four fragments of the map are completely separated due to the broken joints of the secondary support.
Picture 4: Detail of IOR/X/10065 with broken joints

 

The paper support on the IOR/X/10066 map is thicker and distorted, with the distortions possibly caused by its large format and the broken joins no longer creating tension (picture 5). On both maps, there were small paper tears and folds around the edges. There were also loose threads due to the fraying of the cloth along the edges (picture 6). The condition of both maps made handling and digitisation very difficult, especially due to their oversize format, IOR/X/10065 measuring 1014x750 mm and IOR/X/10066 1235x1073 mm.

Upper part of the IOR/X/10066 map (verso), before treatment. The distortion of the map can be seen along the edges of each separated fragment due to the broken joints of the secondary support.
Picture 5: Upper part of the IOR/X/10066 verso before treatment
Detail of the IOR/X/10065 map before conservation. This shows two fragments completely separated due to the broken joints, with loose threads due to the fraying of the secondary support.
Picture 6: Detail of IOR/X/10065 fraying

 

Decision making

The aim of the conservation treatment was to stabilise the items to function in their current role and to ease handling for the next stages of the workflow: cataloguing and digitisation.

For the decision-making process we considered the condition of the maps and their original use, to be folded and unfolded many times when used. In addition, minimal intervention, re-treatability and fit-for-purpose, principles from our guidelines, were taken into account, as well as the 5 hours limit for the treatment of each item.

 

Selecting and preparing materials for treatment

Our treatment proposal was then focused on re-establishing the ability to fold the maps which is convenient for handling and storage. We decided on using a cloth lined with Japanese tissue for the joint repairs, similar to the construction of the maps.

 

Selection of the cloth

A thick Japanese tissue would not be enough to repair areas that are to be folded multiple times. We decided on Aerocotton, a material commonly used by book conservators to reinforce book joints which is a light but strong cloth. The cloth was washed with hot tap water before its use to remove any possible sizing and additives.

 

Selection of the Japanese tissue

We chose an 11g/m2 Japanese tissue with kozo fibers, which is strong and thick enough to give support to the cloth and the tear repairs.

 

Lining the Aerocotton

Aerocotton is difficult to cut after washing, (see picture 7). Therefore, it was lined using Japanese tissue and wheat starch paste (WSP). This helps to stiffen the Aerocotton, with the Japanese tissue working as a support to make it easier to handle and to limit frayed edges. The cloth lined with the paper was left to dry on a wooden board similar to a karibari, to ensure it dried with tension (picture 7).

This image shows two Aerocotton fragments, on the left and right hand sides.  The Aerocotton on the left shows how it looks dried after washing, displaying wrinkle and some fraying on the edges. The Aerocotton on the right shows how it looks dried after lining with a Japanese tissue and using wheat starch paste as adhesive. This fragment looks flat and easier to handle.
Picture 7: On the left Aerocotton dried after washing and on the right lined Aerocotton with Japanese tissue

A second lining of Japanese tissue (11g/m2 with kozo fibers) was pasted to the lined cloth strips, since it reinforced the repairs without adding any thickness. This was carried out again on a wooden board. A plastic strip was placed between the board and the strip. This would function as a barrier and prevent a section of Japanese tissue strips adhering on the board. This way, our second lining dried stretched on the board as it protruded from the plastic strip like it would on a karibari, (video 1).

 

Video 1: Preparing and applying the second lining of Japanese tissue on the lined cloth strips

 

Once the Japanese tissue was dry, we lifted them from the karibari with a bamboo spatula. The plastic strips delimited the area that we used to paste on the map. Finally, we cut them with a water brush so that the edges had a water-cut finish: this gave a stronger attachment to the tear repairs when pasted on the maps, (pictures 8 and 9).

The image shows an Aerocotton strip lined with Japanese tissue on a green cutting mat. On the right of the strip, there is a water brush. This is illustrating process of cutting the edges of the Japanese tissue to create the water-cut finish.
Picture 8: Cutting the edges with a water brush
Close-up of the prepared strips with the water-cut finish on the edges.
Picture 9: Close-up of the prepared strips

 

 

Treatment

Once the materials were ready, we placed the maps on a blotter and Bondina, verso facing up. Because the maps were of a large format, we treated each half separately. Once they were dry, we reattached them together.

For both maps we squared and positioned the fragments of the maps carefully, leaving 3mm space gap for the joints, and kept them in place under weights. Wheat starch paste was applied with a noribake to the prepared strips previously placed on plastic strip. This made the handling easier and the application on the joint to be repaired. Once the strip was on the map, we applied some pressure with a shirobake over the plastic strip. The plastic strip was then removed, leaving the prepared strip on the map and we applied more pressure with a nadebake and with a Teflon spatula. It was left to dry with a Bondina, blotter and weights on top, (video 2 and picture 10).

Video 2: Pasting the prepared strips on the tears of IOR/X/10066

Finally, strips of Japanese tissue (7.3g/m2 with kozo fibers) were applied on the joints of the recto of the maps to reinforce the hinge on both sides of the map, (picture 11).

A close-up of the verso, which is an off-white colour and shows strips of a slightly whiter Aerocotton along the joints.
Picture 10: Detail of the Aerocotton lined with Japanese tissue applied into the verso of IOR/X/10065 to mend the tears
A detail of the map with the strips barely visible along the joints.
Picture 11: Detail of the Japanese strips applied on the same map

 

Results

This treatment was successful on both maps. They can now be handled and stored safely. See video 3 and after treatment pictures 12 and 13.

Video 3: Handling both maps after treatment

 

Overall image of the recto of the IOR/X/10065 map after treatment. The 7.3 gsm Japanese tissue strips are slightly visible on the joints of the map.
Picture 12: IOR/X/10065 recto after treatment

 

Overall image of the IOR/X/10065 verso after treatment. The prepared strips, pasted and dried on the verso of the map, are slightly visible on the joints.
Picture 13: IOR/X/10065 verso after treatment

 

Upper part of the recto of the IOR/X/10066 after treatment. The 7.3 gsm Japanese tissue strips are slightly visible on the joints of the map.
Picture 14: Upper part of IOR/X/10066 recto after treatment

 

Upper part of the verso of the IOR/X/10066 map after treatment. The prepared strips, pasted and dried on the verso of the map, are slightly visible on the joints of the map.
Picture 15: Upper part of IOR/X/10066 verso after treatment

 

Tania Estrada Valadez and Camille Dekeyser