Hello, my name is Katharine – I’m the new Intern with the Conservation department at the Centre for Research Collections. Having spent the last four years working in collections care in historic houses, I was keen to branch out and experience a different working environment in conservation. I’m thrilled to have been given this opportunity to work with the research collections at Edinburgh University. It has been interesting to learn about the challenges of managing a working research collection and the conservation issues that come with it.

I’m working with Project Conservator, Emily Hick, for 10 weeks, to conserve and rehouse a collection of Greek books owned by John Stuart Blackie, Professor of Greek at Edinburgh University from 1852 to 1882. The collection was largely in poor condition; most of the books were very dusty and had suffered some degree physical damage from years of use and exposure. In this state, many of the books were unable to be used by researchers without suffering further damage. The aim of this project is to stabilise and protect the collection and thus making it accessible to researchers.

The first step of the project was to surface clean the collection. To save time only the edges of the text block and end papers of the books were cleaned, as these are typically the areas where most dust accumulates on books. I started by removing loose surface dirt using a vacuum cleaner with on low suction setting and a soft brush attachment. I then removed the ingrained surface dirt using smoke sponge.

An example of a dusty book before surface cleaning

As I finished cleaning each shelf of books Emily started the interventive conservation treatments, which has included consolidation of red rot, and re-attaching loose boards and spines.

Once the books have received their treatment rehousing can begin. Each book is to be given its own made-to-measure enclosure made of acid-free box board. The book enclosures are a relatively simple design. The box board is cut to fit the book’s shape as closely as possible, folded together and fastened with cotton archival tape. By using this design we avoid using adhesives which release potentially harmful gases that may damage the books.

Finished book enclosure

The enclosures will protect the books from physical damage caused be handling, and in addition will act as a barrier against dust and the environment while the books are in storage.

Books looking happy in their new enclosures

Keep an eye out for future posts about this project over the next couple of months!

One of the most interesting parts of my job as the University’s Conservation Officer is working on the CRC’s exhibitions programme. Whether it be condition checking, installing works, framing and mounting exhibits or consulting on display conditions such as temperature, relative humidity and light, one thing I can be always sure of, is the work is always varied. Due to ever-changing nature of the exhibitions and exhibits, I can never be quite sure what will come through the doors of the conservation studio, which was certainly the case when assisting with the installation of the recent ‘…Something Blue’ exhibition.

As Emma Smith, Exhibitions Officer and curator of the exhibition explains “In spring of this year the University’s Special Collections presented a wide ranging exhibition in the Main Library Gallery, on the colour and concept of blue. This was a great opportunity for the various expertise within the department to come together to showcase the variety of the University’s collections. It was during one conversation with Dr Andy Grout, Honorary Research Fellow at the Centre for Research Collections, that the work of Russian born artist Marc Chagall (1887 – 1985) was first mentioned. “When I think of blue, I think of Marc Chagall.”

A simple search through the library catalogue http://collections.ed.ac.uk/art confirmed two holdings attributed to the artist in the University’s art collection. Abraham and Sarah (1956) and Rehab and the Spies of Jericho (1960) are colour lithographs from Chagall’s Bible Series which was first commissioned by the important French dealer Ambroise Vollard (1866 – 1939) in 1930. To include the work of such a prominent figure in the landscape of Modern art was to be an excellent addition to the exhibition, but then to discover through the photographic records of the works, that they were both washed in a beautiful rich shade of blue, was a delightful bonus!

Both works were hanging in a faraway corner of the University, and were found to both have the frames they were bought in when they were acquired by the university in the 1970s. Neither of which were ‘display ready’, and the decision was made to reframe the works and fit them with UV filter glass.”

The two Chagall lithographs were therefore passed to conservation to undertake this process. The first step was to remove the prints from their frames and window mounts, an important step due to the fact they remained as they had been when framed in the 1970s. The window mount, and the method by which the prints were hinged, were therefore likely to be of a poorer quality which can ultimately be the cause of long-term damage to the object. Acidity in poor quality materials has to potential to migrate to the collection items and cause discolouration and embrittlement and hasten their deterioration. It is therefore important that these issues are identified so action can be taken which, in this case, consisted of replacing the poor quality materials with acid-free mount board hinged with Japanese tissue and wheat starch paste, thus minimising the risk of any further deterioration.

Chagall’s ‘Abraham and Sarah’ in its previous frame

Although pressure sensitive tape had been used to position the prints in their window mounts, it was thankfully relatively simple and easy to remove due to the natural degradation and ageing process causing the tape to become brittle and lose its adhesive qualities. Using a metal spatula, the tape could be lifted from the paper, with any more stubborn areas being removed by the gently application of heat to soften the adhesive.

Unframing the Chagall Prints

Upon removing the print from its mount, we were to find a nice (and rather unexpected) surprise! A previously hidden Chagall image – most likely a lithograph – on the reverse which was duly photographed and documented for future record.

Previously hidden image on the reverse

The decision was taken to float mount the prints in their new frames – allowing the edges of the print to be shown – and hinged to the mount board along the top and bottom edge using Japanese tissue and wheat starch paste; a process which can be easily reversed if necessary with no adverse effects to the object. Once in their new frames, with the added protection of UV filtered glass to minimise risk the risk from ultra violet light, the prints were ready to be displayed in the exhibition.

Chagall’s on display in the ‘…Something Blue’ exhibition, Main Library

The old 1970s frames were not significant in themselves, however they did have some very important features that had to be preserved, namely the labels on the reverse. These labels, which are commonly found on the reverse of frames, are an important part of any object as they can help determine the provenance of the work. In the case of the Chagall’s, the labels demonstrated where it had previously been framed and sold before coming the University. This documentation can be greatly important information in tracing its history, and ultimately determining its authenticity and value.

It was therefore important that when reframing the Chagall’s, these labels were kept for future reference. The old 1970s frames were no longer required which meant that the labels that were adhered upon the verso of the backing board would have to be removed and transferred to the new frames. This was achieved by slowly introducing moisture to the labels thus softening the adhesive and allowing the label to be gently lifted from the backing board. A wetted piece of capillary matting was placed upon the label with a sheet of Gore-tex acting as an interleaving layer; its micro-porous nature allowing moisture to slowly penetrate the label without saturating the paper and possibly disturbing any moisture sensitive media. Finally, a layer of transparent polyester was placed over the label and weights placed around the edge to ensure a humid environment was maintained. Once the adhesive had been suitably softened, the label could be lifted from the backing and pressed under weight to ensure they remain flat whilst drying.

Label during the humidification process

Lifting the label off the backing board once the adhesive has been softened

Now that the labels have been removed, they are ready to be transferred and kept with the new frames, with all the appropriate records updated to document how the Chagall’s were previously framed. So although its housing may have changed, its “back” story endures…

Post by Emma Davey, Conservation Officer

I am Thais, a first year conservation student at Northumbria University and I am now part way through a four week placement at the conservation studio in CRC (Centre for Research Collections) – Main Library of Edinburgh University.

I have a bachelor degree in art during which time I developed an enormous interest in conservation. I had the opportunity to undertake various placements which helped me to decide that I wished to pursue a career in paper conservation. This led me to enroll in a course in the conservation of documents and graphic material in Brazil. I worked primarily in preventive conservation where I was always looking for further opportunities to improve my knowledge and professional skills. This has subsequently led me to the UK to study for my Masters in the Conservation of Fine Art on Paper at Northumbria University, and my current placement at the CRC.

Thais carrying out treatment in the Conservation Studio

Apart from all the people I`ve met at the CRC and their amazing passion for showing and talking about their work, I was presented with the Thomson-Walker print collection; a group of 2500 prints collected by the surgeon Sir John William Thomson-Walker that were hinged or partially fixed on to poor quality backing boards.

A brief condition report for each print was made before any conservation treatment was undertaken. Once the appropriate documentation had been completed, the hinges could be cut using a scalpel separating the prints from boards.The prints were then cleaned using chemical sponge, carefully removing any debris and dirt. Surface cleaning is an important conservation procedure not only for aesthetic reasons but also to remove material that may cause abrasion, acidity and attract insects (e.g. food or mould residue).

Once the prints were surface cleaned, the paper and adhesive used on the hinges could then be removed. Samantha Cawson – during her internship in the beginning of this year – started this project and tried different approaches to remove the adhesive from the prints. She observed that a carboxymethyl cellulose poultice, interlayered with tissue paper, would be most effective on the range of adhesives present in this collection. The poultice technique consists of applying a small amount of moisture on a specific area, in this case to soften the water based adhesive thus allowing the hinges to be removed with a metal spatula or a scalpel.

For those prints that were glued directly onto a backing board, I was able to reduce the board to a fine layer using a scalpel. This allowed the poultice to be placed under light weight in the area where there was adhesive as before but for a few more minutes.

So far, this has been my first two weeks at the conservation studio and I`m glad to say that the prints treated look much better.

I`m very happy to have the opportunity to practice and improve my skills at the CRC and observe the distinct answers to the treatment on varied medias and supports. I`m excited about the upcoming projects that I will work on during my stay as well as the chance to see some of the the amazing work develop in the conservation studio.

Post by Thais Biazioli, Conservation Student Placement

Over the last month, conservation has been playing host to two rather notorious and unsavoury characters, namely William Burke and William Hare. Thankfully for us not in person but rather in the form of a scrapbook containing original documents and cuttings from their capture and subsequent trail and execution.

Burke and Hare Scrapbook before treatment

William Burke ‘blood’ Letter

The most interesting and macabre of all of these is a letter written in the blood of William Burke – as it (helpfully) states “This is a letter written with the blood of Wm. Burke, who was hanged at Edinburgh on 28^th Jan. 1829 for the Murder of Mrs. Campbell or Docherty. The blood was taken for his head on the 1^st of Feb. 1829.” Unsurprisingly, the scrapbook, and this letter in particular, has caused a lot of attention, and has recently appearing in a number of newspaper and websites. I have found myself in the rather unusual position of combining conservation with press calls – the conservation life is not always quite so glamorous!

The scrapbook has a pamphlet style of binding with the cuttings pasted into its pages, the larger of which have been folded in order to fit within the volume. Overall, the scrapbook was in a reasonable condition and it was decided therefore to take a minimal interventive conservation approach with treatment focused on surface cleaning, tear repair where necessary and rehousing. The aim was to stabilise the object allowing it to be stored and accessed with minimal risk, at the same time as maintaining its authenticity.

Scrapbook containing folded cutting and hand-written documents

The first stage of treatment was to surface clean the pages. This was done with “chemical sponge” – made of vulcanised rubber which (despite its name) contains no chemicals – which works by gently lifting off any surface dirt on the pages. This has not only aesthetic benefits but, more importantly, will remove any potentially damaging substrates. Surface dirt can contain acidic particulates, cause abrasions, attract moisture, and become a food source of mould, all of which can affect the long-term preservation of the object.

Secondly, I carried out tear repairs where necessary using Japanese tissue and wheat starch paste. The tears where primarily on the larger format cuttings that had been folded in position within the scrapbook and found in areas where the paper had become weak, especially along the folds or along edges where the cutting has projected beyond the edge of the scrapbook. Again, as with surface cleaning, repairing tears will not only improve the appearance of the pages, but will also provide structural stability making the paper easier to handle and reduce the risk of the tear getting caught and becoming worse.

Before tear repair

After tear repair

The last stage in treatment, and arguably the most important, was to address the housing needs of the scrapbook. As well as providing physical support to the item, choosing appropriate storage has the added benefits of giving an extra layer of protection from accidental damage, as well as acting as a buffer to atmospheric pollutants, dust and light, and any fluctuations in environmental conditions. It is important to know and understand what the materials you are using are made from as poor quality materials that are in close contact with collection items can cause severe damage. Acid from these materials can migrate to the object causing discolouration and embrittlement and hastening the its deterioration.

Scrapbook during treatment and rehousing

I decided, therefore, to house the detached, fragile and vulnerable front and back covers of the scrapbook in polyester sleeves allowing them to be easily consulted without being removed and so would drastically improve handling whilst minimising the risk of any tears getting worse. Because of the poor quality and acidic nature of the paper cuttings contained within the scrapbook, the individual pages were interleaved with a light-weight acid-free paper to reduce the transfer of any potential harmful elements within the sheets. The scrapbook itself – alongside some loose-sheet material contained within – were rehoused in acid-free paper folders which, in turn, were placed inside a four-flap enclosure made from acid-free card.

Rehousing of the scrapbook into acid-free paper enclosures

Rehousing of the scrapbook into four-flap enclosure

And the blood letter? Well, it is certainly not every day that I come across something so unusual, interesting and, quite frankly, a little unsettling. However, by applying general conservation principles of minimal treatment and the use high-quality and appropriate conservation and rehousing materials, I was able to treat the letter, and scrapbook as a whole, very much like other paper-based material. Perhaps with just a little more murder and intrigue this time…

Post by Emma Davey, Conservation Officer

The collections of Musical Instrument Museums of Edinburgh (MIMEd) comprise an extensive array of musical instruments from very different periods, geographical regions, and social contexts. Contrary to some of the comparable collections in the world, MIMEd maintains a significant portion of the instruments in playable condition. This provides an invaluable resource for musicians, researchers, and the general public to better understand and appreciate the music played on historical instruments, nonetheless, this involves a great responsibility, and a significant work load to keep the instruments in optimal conditions.

The preservation of such a large and diverse collection involves many challenges: from the understanding and knowledge of numerous materials and their properties; techniques of instrument manufacture through history; treatments to better protect the objects of the collection; to the history of music, musical instruments, and art history.

Jonathan Santa Maria Bouquet, MIMEd Conservator

Previous to my appointment as the MIMEd Conservator, I trained as a musical instrument maker and conservator, as well as a musician. I completed conservation internships and fellowships in distinguished institutions like the Metropolitan Museum of Art in New York, the Museo degli Strumenti Musicali in Milan, and the National Music Museum in South Dakota, where I worked as the Conservation Research Assistant. Currently I am working on a PhD in Organology at the University of Edinburgh.

As the MIMEd Conservator my responsibilities include the preservation, conservation, and maintenance of all the objects in the collection. Since undertaking the conservation of the collection, I have had numerous challenging and diverse projects, from cleaning and removing tarnish from trumpets and trombones, getting bagpipes ready for display, to major treatments of a Ruckers harpsichord made in 1609, and a severely damaged mandolin made in 1775.

 18th Century Guitar during conservation treatment

At present the main focus of my work is directly linked to the Saint Cecilia’s Hall Redevelopment Project. The new displays and layout of the museum will exhibit several hundred objects of MIMEd’s collections, and all of them need to be ready to be displayed for the re-opening of the museum in September 2016. Whilst the museum is closed to the public, I have undertaken the gargantuan task of treating every single object to be displayed: anything from dusting, cleaning, and changing strings, to full treatments that can involve several weeks of delicate and intensive work. To achieve this I have been working with volunteers and interns who can help to carry out those simple but time-consuming tasks, whilst learning and building up their curricula. By the time Saint Cecilia’s Hall re-opens its doors to the public, the instruments will reflect all this work by looking as good as they deserve.

Trumpet before conservation treatment

Trumpet after conservation treatment

To be the conservator of such an important collection is a great responsibility, St Cecilia’s Hall and MIMEd have an extensive common history, and exciting changes will take place in the near future with the redevelopment plan. To form part of the staff team of this great institution is both an honour and a pleasure, and I am looking forward to the many projects yet to come.

Post by Jonathan Santa Maria Bouquet, MIMEd Conservator

This week, conservation went global – in a very literal sense. Our task: to package and transport sections of a wooden globe, no mean feat considering the globe in question was nearly 1.5 metres in width.

Sections of the Geddes globe in their original location

This globe is one of two made by Jacques Elisée Reclus, a French geographer, both of which are held in the Patrick Geddes collection. In 1895, with the support of Alfred Russel Wallace and Patrick Geddes, Reclus proposed the construction of a huge relief globe approximately 420 feet in diameter, but this was never realised.

Geddes’ proposed Institute of Geography in Edinburgh was to incorporate the Reclus globe within it.  We think the two globes we have here, which came from the Outlook Tower and were made for Geddes by Reclus, may have been models made for that project.

These globes, now in sections, were required to be packed for storage and transported to a new location (luckily for us, still in the same building!). For this purpose, it is important to choose appropriate housing methods and materials as this will act as a good preventive measure, helping to ensure the long-term preservation of the object. As well providing physical support for items, suitable storage will have the added benefits of providing an extra layer of protection from accidental damage during handling and transportation. It will also act as a buffer to atmospheric pollutants, dust, and light, and guard against any fluctuations in environmental conditions. Appropriate packaging will also come into its own if there was ever to be a flood or water ingress, acting as a barrier and thus protecting the contents from more serious damage.

Emily (paper conservator) helping to package the globe

Due to its weight and size, boxing the first globe was not an option. It was decided therefore to soft-wrap its individual sections, using acid-free tissue paper and bubble-wrap. Bubble-wrap was used to provide protective cushioning to the item but it is important that it is used correctly (yes, there is a right and wrong way to use bubble-wrap!). In most cases, it is recommended that the ‘bubbles’ face away from the object – this reduces the risk of creating indentations or marks up the item, particularly if the surface or media is vulnerable, friable or has surface dirt. It is not recommended, however, for bubble-wrap to be placed in direct contact with an object as it is not a recognised conservation-grade material.

Acid-free tissue was therefore used as an interleaving layer between the surface of the globe sections and the bubble-wrap. As the name suggests, it is acid-free and thus a material that we use often, whether for interleaving, wrapping and cushioning objects or padding out excess space in the form of tissue ‘puffs’ or ‘sausages’.

A rehoused section of the globe

Once safely packaged, we were able to move the globe sections into one of our environmental controlled stores. This will ensure that the temperature and relative humidity conditions are kept stable, and protect against any global warming….

Post by Emma Davey, Conservation Officer