When IOR/F/4/1767 was added to the British Library Qatar Foundation Programme (BLQFP) digitisation workflow, it immediately aroused curiosity. 

The volume itself is large, heavy, and fascinating. Its sheer weight, combined with the multiple areas of damage, made it difficult to handle properly. At first, I found myself puzzled—unsure of how to organise my workspace or where to begin the condition assessment. As a result, the book sat for a few days in the studio, waiting for me to gather my thoughts and decide how best to proceed. 

But IOR/F/4/1767 is no ordinary item. It's a piece of history that sparks the imagination. It's more than just a document to be conserved, catalogued, and digitised.

 

Img. 1: IOR/F/4/1767

 

Looking at this volume, I don’t just see a book—I see an ancient grimoire, filled with secrets. I see the wear and tear of time, the handiwork of a bookbinder who, long ago, had to find a way to fit a vast collection of loose documents into one single volume. I see a binding that was designed to hold pages that would be opened repeatedly, and I can imagine the last reader who, upon opening it one last time, must have hoped the binding would hold together just a little longer. 

As I gaze at this book, I am transported into a world of both practicality and wonder—a reminder that even seemingly mundane objects have fascinating stories to tell. And not to lose this, I requested a 3D model of it. 

 

IOR/F/4/1767 by British Library on Sketchfab

 

At the British Library, we place great value on the unique features we uncover during our work, and we aim to preserve these qualities while ensuring the item’s longevity. 

IOR/F/4/1767 is heavily damaged: the spine cover is detached, and the once functional springback mechanism that allowed the book to lie flat when open has broken. The boards no longer provide adequate protection for the text. 

This damage, however, presents an opportunity to document the construction of the book in detail. I can see the sewing threads traveling up and down through the sections, creating a distinctive pattern on the spine. This is where a broken binding can be a blessing—it allows me to record a precise description of the sewing pattern and the board attachment system. 

 

Part of my work in this digitisation project is to explore various treatment options, considering both the physical condition of the book and the conservation for digitisation guidelines. The challenge was to complete the work within five hours—while still ensuring that the item would be safe for handling and its information accessible. 

After gathering detailed information about the volume, including photographs and a thorough description, I considered three possible treatment approaches.  

• Bespoke Box: Place the book in a custom box as it is, with limited access in the reading rooms due to its fragile condition. This option would make the book unsuitable for digitisation. 
• Partial Disbinding: Partially disbind the book by removing the spine, boards, and endleaves, and then cutting the sewing to separate the text-block into smaller sections. This would allow the item to be digitised as a series of booklets. 
• Full Disbinding: Completely disbind the book—removing the spine, boards, endleaves, and sewing. In this case, the book would be digitised as a loose-leaf file. 

These options were evaluated through a risk assessment, where I weighed the pros and cons of each.  

After discussing with my colleagues—curators, imaging technicians, and other conservators—I ultimately decided on the partial disbinding treatment. 

 

The process of digitising IOR/F/4/1767 was both an ethical and a personal experience. The 3D model created is an attempt to capture my initial impressions of working with this fascinating book. Digitisation cannot do full justice to its impressive dimensions, its old archive scent, or its 15 kilograms of dusty paper, cloth, and boards, all of which must be left to your imagination. 

This is just one of many curious items hiding in the British Library’s stacks. Each book, like IOR/F/4/1767, holds its own story—waiting for someone to unlock them.

This article explores Moda Farfour’s student placement at the BLQFP’s conservation studio. It highlights her work on a specific manuscript and provides an overview of her contributions and experiences throughout the placement.

 

In August 2024, I joined the British Library Qatar Foundation Partnership (BLQFP) for a student placement as part of my conservation course at City & Guilds of London Art School. I am specialising in book & paper conservation, and I am particularly interested in conserving Islamic and Arabic manuscripts and understanding their unique structures and materials. I chose this placement due to its focus on a distinguished collection of scientific and Arabic manuscripts. During my three weeks with the Conservation team, I gained invaluable insights into the intricacies of the digitisation programme and deepened my understanding of conservation techniques within this context.

The BLQFP project seeks to create a comprehensive digital library that is accessible to audiences worldwide, showcasing a carefully curated collection that highlights the history of the Gulf region and Arabic science. This collection encompasses a wide range of materials, such as manuscripts, maps, archival documents, and photographs. As conservators, our primary responsibility is to treat and stabilise these objects, ensuring they are legible and safe for handling during the digitisation process.

During my time at the BLQFP conservation studio, I had the privilege of working on several scientific manuscripts, each presenting unique challenges. I also had the opportunity to engage with other team members on this project, which helped me gain a deeper appreciation for the workflow and processes involved in creating digitised content for the Qatar Digital Library.

A key focus of my placement was assessing and documenting an objects condition to enable the item to be safely digitised. Navigating time estimates and strict project guidelines in order to meet the projects objectives was both challenging and highly rewarding. Below is an example of a project I worked on during my placement.

 

Treatment of ADD MS 7490

Image 1: ADD MS 7490 right board of the manuscript, bound in full red leather featuring three blind stamped medallions.

Working on this scientific manuscript was such a treat; on initial inspection, the binding was in overall good condition (Image 1), the textblock, on the other hand, had quite a few issues that needed to be addressed before it could progress to the imaging team. Before beginning any treatments, a full condition assessment was conducted, accompanied by thorough photo documentation.

The binding is in good condition, with minor surface damage to the leather and no structural damage. There are losses, part of the tail-edge tab covering the endband is missing, along with the endband. The textblock is in overall fair condition, with occasional stains, tears, paper losses, ink stains\smudges, surface dirt and edge damage along the paper edges. Some of the gatherings include loose centre-folds.

I began the treatment process with surface cleaning. This crucial step not only helps enhance the quality of the digital images but is also essential prior to introducing any moisture to the paper in the next phase of treatment. If not removed beforehand, moisture can cause dirt to become irreversibly embedded in the paper fibres. Using a chemical (smoke) sponge and a soft brush (Image 2), I gently removed any dirt or dust on the paper. In areas with text, I avoided using the sponge to protect any sensitive media. In cases where stubborn accretions remained, I carefully used a metal spatula to remove them mechanically.

Image 2: Surface cleaning using a soft brush

Following the surface cleaning, I addressed the tear repairs and infills. This phase of treatment is crucial for allowing different stages of the workflow to handle the manuscript safely. For the tear repairs, I used wheat starch paste (shofu) as my adhesive with 3.5gsm Tengu, an unbleached Japanese tissue. The long fibres in the Tengu provide a secure repair, while the lightweight tissue creates almost invisible repairs that enhance image quality (Images 3 & 4).

Image 3: Close up of tear before treatment

 

Image 4: Close up of tear after treatment

 

For the infills, I laminated four layers of 12gsm kozo paper to match the thickness of the area being repaired, as well as pairing down the edges so that it sits seamlessly on the original substrate (Images 5 & 6).

Image 5: Before paper infill

 

Image 6: After paper infill

As for the loose centre-folds, I observed that the silk sewing thread had torn through the paper centre-folds causing them to become loose (Image 7). To address this issue, I decided to repair the tear using 7.3gsm kozo paper (Image 8). This repair not only secures the loose centre-folds but also strengthens the area, preventing the thread from causing further damage.

I began by ensuring that the loose centre-fold aligned properly with the textblock. I also ensured the thread was relaxed and positioned away from the area of the tear repair. I then used wheat starch paste as the adhesive to repair the tear. In areas where additional support was needed, I applied a small amount of paste to the spine fold of the gathering to secure it in place.

Image 7: Close up of the tear in the centre-fold bifolium cause by the silk sewing thread

 

Image 8: Close up of the repair to the centre-fold bifolium after treatment

Treatment on ADD MS 7490 was concluded by consolidating the tail-edge endband using wheat starch paste to prevent further fraying.

 

I am deeply grateful for the invaluable knowledge I have gained from everyone at the BLQFP during my time here. It was inspiring to work alongside professionals who are both passionate and deeply committed to the project’s goals. Their generosity in sharing their time and knowledge has significantly enriched my learning experience. I especially want to thank Camille Dekeyser and the Conservation team for their guidance and support, which has been instrumental in shaping my development during this placement.

This article outlines the investigation into the item ‘Swarbreck’s Sketches in Scotland’ and where the item belongs.  

On a smoky day in August 2023, Swarbreck’s Sketches in Scotland appeared on shelf 11B in the Qatar Storage Area. Nobody knew where this item came from or how it came to be on the 6th floor. The item had no content and was merely a front and back cover. Why was it in this storage area? Who put it there? Was the ghost of Swarbreck haunting the 6th floor?

 

This is the tale of how the mystery of Swarbeck’s Sketches in Scotland was resolved.

Following the smoke incident on the 6th floor on Tuesday 15th August 2023, all items on the floor were moved into the Qatar Storage Area and audited by the Qatar Project Library Collection Assistant’s. when it was safe to re-enter the office, the QPLCAs promptly conducted an audit of the Qatar Storage area, when a mysterious discovery was made, an item called ‘Swarbreck’s Sketches in Scotland’ which did not have a ticket, used for tracking items within the library. The item had no content and was simply the front and back cover. The LCAs first made enquiries with project colleagues enquiring within the project, it was concluded that nobody within the project knew where the item had come from or why it was in the office. No concrete evidence could be established as to how this item came to be on the 6th floor. How were they ever going to find out where it came from?

Img. 1: The cover of Swarbreck’s Sketches in Scotland found in the Qatar Storage Area

 

The first step in investigating this item and how to return it to the correct department was researching the item in consulting the online catalogue and IAMS. A breakthrough was made- it was found that an item with the name ‘Sketches in Scotland’ by S.D. Swarbreck on the temporary catalogue had two potential shelfmark entries- ‘1780.c.1’ and ‘X 1237’. ‘1780.c.1’ could have been stored in any of the 625km of shelves¹ within the library, however ‘X 1237’ was clearly a map which narrowed the search to only 4.5 million maps². 

Img. 2: The Maps Storage Catalogue

Img. 3: X 1237- Deleted

 

Upon searching for X 1237 it was found that the item did not exist. In the paper catalogues in the Upper Ground Maps storage, the record for the item said, ‘Not found- entry deleted’. It was a dead end. These paper catalogues contain information from ‘A catalogue of manuscript and printed reports, field books, memoirs, maps, etc., of the Indian Surveys, deposited in the map room of the India office’ originally compiled by Clements Markham in 1878 and so was likely out of date.

However, the item 1780.c.1 was found in basement 2 of the library. The item was similar in size to the front and back covers in the Qatar storage area and the title matched. It was the breakthrough they had been waiting for... 

Img. 4: The other part of the Swarbreck volume

 

Through research and enquiring around the library, it was concluded that ‘Printed Heritage’ was the department they needed to interview for Swarbreck. Helen Peden, Lead Curator of Printed Heritage, met the LCAs and assessed the item, concluding that it belonged to the Printed Heritage Office. The covers could finally be returned to where they belonged.   

The final decision with what to do with this item was made- for the old front and back covers (found in the Qatar Project Storage Area) to be placed in an envelope with the current item, 1780.c.1, so that the items could be stored together.   

This tale is a clear example of the variety of resources in the British Library Collection and how much items move around the library. It also shows how easily an item can be lost and the importance of tracking collection items.  

 

Where did the item come from?  

We believe that the item may have been conserved on the 6th floor when Conservation was operating here (before the Qatar Project) however this was over 12 years ago.  

It was also theorized that it may have been relocated from one of the offices on the other side of the 6th floor from the Qatar Project, during the smoke incident.  

We do not know for certain where the item was stored on the 6th floor or how it came to be on the 6th floor. 

 

Who was Swarbreck?   

Samuel Dukinfield Swarbreck (fl. 1830-1865) was a painter of landscapes and townscapes and was well known for his sketches of Scotland. In 1839, he issued a folio set of 26 tinted lithographs under the title Sketches in Scotland, drawn on stone from Nature. These prints show different areas of Scotland, including busy streets in Edinburgh and the Scottish Highlands. These works represented a romantic visual representation of Scotland, with views of idyllic countryside and cityscapes.  

Swarbreck exhibited at the Royal Academy in the 1850s and 1860, exhibiting over eight artworks. His most famous work, The Bedroom of Mary, Queen of Scots, Holyrood Palace: showing the anteroom where Rizzio was dragged and murdered, and the secret staircase by which the conspirators entered was exhibited in 1856³. His work is represented in institutions including the City of Edinburgh Collection, Culzean Castle and Manchester Art Gallery. 

Img. 5: Samuel Dukinfield Swarbreck (fl. 1830-1865)

 

Img. 6: The inside cover of ‘Swarbreck’s Sketches in Scotland

 

Notes

1.  Jeremy Norman, ‘Maybe the British Library is the World’s Largest Physical Library’, Jeremy Norman’s History of Information, 2005 <Maybe the British Library is the World's Largest Physical Library : History of Information> [accessed 28thMarch 2024]

2. A bit about map collections - Maps and views blog 

3. Calton Gallery - Samuel Dukinfield Swarbreck (fl. 1830-1865) 

 

Sources 

• ‘Samuel Swarbreck’, Anthony Woodd Gallery <Swarbreck, Samuel | Anthony Woodd (anthonywooddgallery.com)> [accessed 3rd April 2024] 

• ‘Biography and current catalogue for Samuel Dukinfield Swarbreck (fl. 1830-1865)’, Calton Gallery, Edinburgh <Calton Gallery - Samuel Dukinfield Swarbreck (fl. 1830-1865)> [accessed  3rd April 2024]  

• Jeremy Norman, ‘Maybe the British Library is the World’s Largest Physical Library’, Jeremy Norman’s History of Information, 2005 <Maybe the British Library is the World's Largest Physical Library : History of Information> [accessed 28thMarch 2024]   

• For image of Swarbreck- Swarbreck, Samuel Dunkinfield - Capital Collections