Find out what our Employ.ed Intern, Cameron Perumal, got up to in the final weeks of her project at the CRC in this week’s blog…
As I near the end of my internship, I have started reflecting on all the skills I have gained in just 8 short weeks.
As part of the University’s Employ.ed Internship Programme this summer, I was the Scientific Analysis of Heritage Collections Intern – or, trying to better understand the use of XRF (X-Ray Fluorescence) in conservation, so that we can engage more with the University’s special collections, in terms of its materiality. XRF is a non-destructive, surface analysis technique used to understand the elemental composition of artefacts, and to gain more historical context of their function.
Short-term projects that I have worked on have included: a framed collection of old British medals (to determine whether they were electrotype copies and to understand their composition); a large Giambologna bronze horse from the Torrie Collection (to gain more information that can be mapped onto a 3D image of the horse for an enhanced user experience); ancient Egyptian ushabtis (to attempt to classify and date them); Indian miniature paintings from the Tasawir collection (to understand pigment composition); and a page of text that claims to be written in West Port serial killer William Burke’s blood from a Burke and Hare scrapbook (to confirm whether Burke’s blood was really used).
Cameron with the XRF
This week’s blog post comes from Cameron Perumal who recently began a 10-week Employ.ed internship in the Conservation Studio at the CRC…
Two weeks into my Employ.ed internship, and I have already learned so much about conservation, and X-ray Fluorescence (XRF) spectrometry! I am currently an undergraduate Astrophysics student, and my internship entails me working with Emily Hick, the Special Collections Conservator, to research ways in which XRF can help us understand more about the collections. I’ll also be doing outreach to increase awareness on XRF and how it can be used in conservation to improve the condition and understanding of the collections held by the University of Edinburgh.
By the end of my first week, I had started my radiation training, seen the XRF in action being used by another intern, Despoina, to analyse pigments of a painting on the soundboard of a harpsichord, and been able to see the various (frankly, quite beautiful) collections stored by the University.
Intern Despoina using the new XRF machine to analyse the pigments used on the soundboard paintings of harpsichords made by the Ruckers family
Following on from the popular “Crowdsourcing Conservation” sessions held in February 2017 and 2018, the Centre for Research Collections held seven more crowdsourcing events from October 2018 to March 2019. This time, we focussed on the Thomas Nelson collection. Over seven days, 67 volunteers helped to rehouse 197 boxes of archival material. The collections are now stored in acid-free folders and boxes, and are much easier to handle and access.
Thomas Nelson Collection, before rehousing
Thomas Nelson Collection, after rehousing
This week’s blog comes from Project Collections Assistants, Anna O’Regan and Stephanie Allen, who assisted the Museum Collections Team with a large scale move of artworks by Edinburgh College of Art students to a new collections store at the University Collections Facility (UCF). Supervised by Museum Collections Manager, Anna Hawkins and Preventive Conservator Katharine Richardson, the primary focus of this project was to surface clean the artworks before they were relocated.
When we arrived at the UCF for the beginning of this project, the artworks were stored in a less than ideal location; placed on open shelving, they were exposed to the accumulation of surface dirt. This project facilitated their move into a closed, environmentally controlled storage facility which was built specifically to house the University’s Museum and Art collections.
Roller Racking Storage at UCF
This week’s blog has been written by Lisa Behrens, a book and paper conservation student from Stuttgart in Germany, who spent four weeks at CRC’s conservation studio earlier this summer. In this post, Lisa describes a treatment she carried out on a bound volume in the Margaret Morris collection from the Fergusson Gallery in Perth. This collection is being catalogued and conserved at the CRC as a part of a collaborative Wellcome Trust-funded project entitled ‘Body Language’
If you don’t know the first thing about paper conservation, let me help you out: Do not, under any circumstances, use sticky tape. There you go, you now know the first thing.
I understand it’s tempting. When you first put it on, it looks neat. It mends that tear, it is easy to use and readily available. The problems start when it begins to age. Even if stored in optimal conditions, certain chemical reactions will inevitably take place. These will lead to discolouration of the adhesive, making the tape brittle and, worst of all, damaging and discolouring the object itself. Adhesive can also sink into the paper matrix and become so hardened that it’s almost impossible to remove.
During my three years of working and studying in this field I have come across a lot of adhesive tape, mostly used for tear repairs by well-meaning individuals over the last few decades. For example, this volume of sheet music from the Margaret Morris Collection, namely a ballet called The Forsaken Mermaid, had been repaired at least twice before, which is apparent from the use of different types of adhesive tape and kinds of thread for resewing.
The Forsaken Mermaid, before treatment
In this week’s blog, Sarah MacLean, an MA Conservation of Fine Art student from Northumbria University, describes a two-week work placement she undertook with us in July 2018…
During my time studying Fine Art at Undergraduate level, I always did big things; used metre upon metre of canvas, and sculpted near-immovable forms twice my height. Now, as an MA Conservation of Fine Art student at Northumbria University, large format works are still where my interests lie, and I’ve had the opportunity during my work placement at the CRC to work on a wide variety of those.
The works I’ve been able to conserve so far during my time here are part of the Patrick Geddes Collection. Geddes (1854-1932) was a Scottish-born polymath with interests and expertise in biology, sociology, geography, and urban planning, and it’s for his pioneering work in this latter field that he is best known. As such, the large format plans on which I’ve worked within the Collection so far are mainly hand-drawn and coloured mappings of urban developments in locations everywhere from Dunfermline to Imperial Delhi.
A pleasant and unexpected feature of hand-drawn and coloured works of art on paper – timorous marginalia beasties!
This week, we have our final blog from Project Conservator, Helen Baguley, who has been working with us for the past 18 months on the Collections Rationalisation Project…
The Royal Mile is an iconic street which runs through the centre of Edinburgh. It is a ‘must see’ attraction for tourists, and one of the first places I visited when I moved up to Edinburgh for my new job which began 18 months ago. Running from the Castle to Holyrood, the Royal Mile is actually slightly longer than a mile, and measures 1.81 kilometres. Here at the Centre for Research Collections (CRC), I have been working within the conservation department on the Collections Rationalisation Project, caring for some of the rare books and archive collections which are housed at the University Collections Facility (UCF) and the Main Library. As my contract here has now come to an end, I have added up the linear meterage of the shelves which house the collection I have been working on, and it comes to an incredible 1801.25 metres. To put this into perspective, 1801.25 metres is just 8.75 metres short of the Royal Mile. But I think my Royal Mile is just as historic and exciting, as it is made up of beautiful rare books, interesting archives and fascinating objects from the collections!
The Royal Mile, Edinburgh (picture from: http://trending.com/tweets/2018-01-03/strolling-down-the-royal-mile-of-edinburgh-michael-londonviewpoints-on-instagram)
In this week’s blog our final Thomson-Walker Intern, Giulia, talks about the completion of the Thomson-Walker project and her experience of working at the CRC…
Giulia working in the studio
We did it! The conservation of the Thomson-Walker collection of medical portraits is finally complete! It took four years, five interns, dozens of batches of carboxymethylcellulose (CMC), several metres of lens tissue, and an indefinite number of acid-free paper sheets, but the 3,000 prints are finally free from acidic secondary supports, adhesive residues and tape hinges, and are now ready to be fully catalogued and digitized. At the beginning of my internship, I wasn’t sure I was going to be able to get through the final boxes in the collection. The previous interns’ fantastic work (you can read all about here, here, here and here) left me with 600 prints to conserve, from portraits classed under letter “P” to the ones under “Z”, with two jam-packed boxes labelled “S” in between. I really wanted to do my best to complete the project, since I was going to be the last intern to work on the Thomson-Walker collection, and also because I was determined to challenge myself, testing the workload I was able to carry out in a short period of time.
Print, after conservation, rehoused in a single crease acid-free folder
My name is Claire and I am the first intern to work with Nicole on the Session Papers Project. I am due to graduate with a master’s degree in paper conservation this year, but I am starting this internship to broaden my knowledge of book conservation. Methods and skills within conservation tend to overlap, and this is especially true with books and paper. My role within this pilot project is to assist in the conservation of 300 books. Conservation treatments include structural repairs, consolidation, and board reattachment. The volumes need to be in a good enough condition to withstand digitisation and further handling following the project.
Claire working in the conservation studio
This week, Projects Conservator Nicole introduces a brand new project she is working on at the CRC…
I am currently working on a 6-month pilot project to conserve three collections of Scottish Session Papers prior to digitisation. The collections are held across three institutions: the Advocate’s Library, the Signet Library and here at the Centre for Research Collections. These collections consist of around 6,500 volumes, comprising of multiple case papers in one volume. The case papers of the Scottish Court of Session are the most significant untapped printed source for the history, society and literature of Scotland from 1710-1850. They cover an extraordinary period in the nation’s history from the immediate aftermath of the Union of 1707 through the Jacobite wars, the Enlightenment, the agricultural and industrial revolutions and the building of Walter Scott’s Edinburgh.