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Conservation team brings large map to larger audiences

By Edgar Walters

The Ransom Center’s archives are full of treasures waiting to be pulled off the shelves.  But once paged from the stacks, some of those treasures prove difficult to handle.

Such was the case with Giovanni Battista Piranesi’s enormous 1786 print “Pianta delle Fabriche Esistenti Nella villa Adriana.” The 10-foot wide map of Hadrian’s villa is a popular item at the Ransom Center, but its impressive size complicates the process of sharing it with students and scholars. Now, thanks to treatment efforts undertaken by Ransom Center conservators, the map is far more accessible.

Previously, a complex set of folds allowed the print to fit, attached to a stiff paper stub, inside its book. The setup was not optimal: long-term folds left significant creases in the print, and the stub attachment was unwieldy and damaging.

The conservation team had a better idea. Conservators cut the map away from its stub and carefully unfolded the map onto a large work surface, where it was cleaned of superficial dust and grime. The creases were relaxed by a textile humidifier and then flattened under a weighted drying system. Conservators also mended small tears in the print using long-fibered Japanese paper and wheat starch paste.

Next, Heather Hamilton, Head of Paper Conservation, was tasked with creating a modified tube around which the print could be rolled. Her objective was to eliminate the need for folding, thus protecting the item from potentially harmful creases. Given the print’s large size, a standard tube would be too large to house on a shelf within the stacks. Hamilton’s answer was to roll the map onto a flattened, space-saving pad.

The pad consists of four layers. A corrugated board forms the core, which is then wrapped in thick foam. An outer layer of soft, thin Volara foam envelops the interior, which is cocooned by airplane cotton just below an exterior cloth surface. Hamilton used a giant needle to sew through the many layers, ensuring that everything was well-secured.

Finally, Preservation Housing Manager Apryl Voskamp created a custom archival box to house the print and its pad. The new lidded box has a layer of protective Volara foam and a drop front, which allows the print to slide out easily without risk of harm.

The map of Hadrian’s villa is frequently used by classes in the University’s School of Architecture, where students learn the importance of structure and accessibility. Applying those same concepts, Ransom Center conservators have brought new life to the map of Hadrian’s villa.

 

Please click the thumbnails below to view full-size images.

 

Conservators repair Bel Geddes poster for 1926 Macy’s parade

By Ady Wetegrove

Norman Bel Geddes. Punch and Judy, clowns, airplane float for a Macy’s parade, October 12, 1926. 41 x 91 ½ inches. Pencil, ink, gouache, and watercolor on paper.
Norman Bel Geddes. Punch and Judy, clowns, airplane float for a Macy’s parade, October 12, 1926. 41 x 91 ½ inches. Pencil, ink, gouache, and watercolor on paper.

For Macy’s third annual parade in 1926, Norman Bel Geddes produced seven posters that now reside in the Ransom Center’s archive. Learn about the efforts of Ransom Center conservators to repair and frame one of the posters for the exhibition I Have Seen the Future: Norman Bel Geddes Designs America. The project was funded by a Tru Vue Optium® Conservation Grant from The Foundation of the American Institute for Conservation of Historic and Artistic Works.

Conservator preserves stitched manuscript for Elizabeth Barret Browning poem

By Edgar Walters

Detail of the manuscript of the poem “The Battle of Marathon” by Elizabeth Barrett Browning, dated 1819.
Detail of the manuscript of the poem “The Battle of Marathon” by Elizabeth Barrett Browning, dated 1819.

Paper Conservator Jane Boyd recently completed a treatment of the 1819 manuscript for Elizabeth Barrett Browning’s poem “The Battle of Marathon,” which was recently digitized. Browning’s method of revising involved sewing pieces of paper containing handwritten notes directly into the manuscript, which had to be removed and preserved during the digitization process.

Conservation work completed on "Gone With The Wind" dresses

By Alicia Dietrich

In 2010, the Ransom Center raised funds to conserve original costumes from Gone With The Wind, which are part of the Center’s David O. Selznick archive. Donors from around the world graciously contributed more than $30,000 to support the conservation work, which will enable the Ransom Center to display the costumes safely in a fall 2014 exhibition, loan the costumes to other institutions, and display the costumes properly on custom-fitted mannequins.

Prior to the collection’s arrival at the Ransom Center in the 1980s, the costumes had been exhibited extensively for promotional purposes in the years after the film’s production, and as a result were in fragile condition.

The Ransom Center’s detailed and careful conservation work took more than 180 hours and occurred between fall 2010 and spring 2012.

Label in the green curtain dress reading “Sprayed with Sudol.” Photo by Anthony Maddaloni.
Label in the green curtain dress reading “Sprayed with Sudol.” Photo by Anthony Maddaloni.

Both the green curtain dress and the burgundy ball gown had vulnerable areas stabilized to prevent further damage. The conservation work allowed the Ransom Center to loan the green curtain dress and burgundy ball gown to the Victoria and Albert (V&A) Museum in London for the exhibition Hollywood Costume, which runs from October 20, 2012, through January 27, 2013.

The conservation work will also enable the Ransom Center to display the original burgundy ball gown, green curtain dress, and green velvet dressing gown as part of a 75th-anniversary Gone With The Wind exhibition in 2014.

“The majority of the conservation work performed on these costumes would not be obvious or visible to one viewing the costumes on a mannequin,” said Jill Morena, assistant curator for costumes and personal effects. “It is the interior of the costumes where meticulous work occurred and vulnerable areas were reinforced with archival support material and extra stitching.”

A more detailed description of some of the conservation work conducted on these costumes is available, and the four videos here give a behind-the-scenes look at the work done on the green curtain dress, the burgundy ball gown, the wedding veil, and the green velvet dressing gown.

Your Humble Serpent: “Book Snake” and “Book Worm” are unsung Reading Room companions

By Io Montecillo

A small book worm, assisted by a book support, and a large book snake; both assist Io Montecillo, by gently holding open small and large books.  Photo by Pete Smith.
A small book worm, assisted by a book support, and a large book snake; both assist Io Montecillo, by gently holding open small and large books. Photo by Pete Smith.

Though seldom spoken of, the “book snake” has been a staple for patrons in the Ransom Center’s reading room for many years, while its smaller cousin, the “book worm” has appeared more recently. The story behind these creatures, often seen draped over the sides of books or nestled between the covers, is little known to those not involved in book conservation.

Book snakes and worms, along with book cradles, are used to safely support books and other collection materials while they remain open. The added support of a cradle keeps a book from lying flat on a surface, thereby maintaining the integrity of the spine. Book snakes and worms keep pages open, minimizing contact with oils found on hands and fingertips. These measures extend the life of books and preserve them for future use.

While similar in purpose, the distinction between book snakes and worms lies in their size and structure.  In the past, the Ransom Center’s book snakes and worms were more commonly weighted with lead shot. The difficulty of obtaining loose shot, however, compelled Ransom Center conservators to seek alternative materials.

Mindell Dubansky, a preservation librarian and book conservator at The Metropolitan Museum of Art, proposed using chain-stuffed book snakes. Mary Baughman, a Ransom Center conservator, fashioned a prototype with a dense chain that was strong but no bulkier than an equal weight of shot, and at a reduced production cost. The reading room staff approved Baughman’s design for use.

Samantha Cabrera constructing “book snakes” with chain links. Photo by Mary Baughman.
Samantha Cabrera constructing “book snakes” with chain links. Photo by Mary Baughman.

Now, the Ransom Center’s book snakes are made by hand sewing 12-inch lengths of chain onto a piece of polyester batting. The batting is then sewn around the chain with thread. The padded chain is then placed into an ultra-suede cover, and the open end of the cover is sewn shut. The finished snake weighs about one pound.

The structure of the Center’s book worms, on the other hand, differs from that of their larger counterparts. Because the worms are more suitable for use with smaller volumes, a dense chain is unnecessary.  Instead, book worms are made from four lengths of drapery-weight cord that are tied into a 12-inch long bundle using sturdy book-binding thread. Each bundle is encapsulated in a polyethylene sleeve secured with a basting stitch using sewing thread. The bundles are then placed into a ultra-suede covers, and the open end of the covers are sewn shut. The finished book worm weighs about one ounce.

When not retrieving books from the stacks for library patrons, reading room staff are able to assist in the construction of the snakes and worms because of the simplified construction method.

Read more about conservation at the Ransom Center.

Before and After: Mark Twain's Bible

By Io Montecillo

This copy of the Bible belonged to Samuel Clemens (Mark Twain), who carried the book with him during a trip to Constantinople in 1867 while he was writing "Innocents Abroad."
This copy of the Bible belonged to Samuel Clemens (Mark Twain), who carried the book with him during a trip to Constantinople in 1867 while he was writing "Innocents Abroad."

While writing Innocents Abroad, Samuel Clemens (known more familiarly as Mark Twain) carried a Bible during a trip to Constantinople in 1867. The book is now part of the Ransom Center’s collections and can be seen in the exhibition The King James Bible: Its History and Influence, which runs through July 29.

The Bible recently underwent some work in the Ransom Center’s conservation lab. Learn about the steps taken to conserve and house this historical book.

Photo Friday

By Kelsey McKinney

Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.

Book Conservator Mary Baughman teaches intern Hsiang-Shun Huang how to build a housing that will keep shelved books safe. Photo by Kelsey McKinney.
Book Conservator Mary Baughman teaches intern Hsiang-Shun Huang how to build a housing that will keep shelved books safe. Photo by Kelsey McKinney.
Sonja Reid, Registrar with the Ransom Center’s exhibition services, adjusts the humidity of the case holding the Gutenberg Bible. Photo by Kelsey McKinney.
Sonja Reid, Registrar with the Ransom Center’s exhibition services, adjusts the humidity of the case holding the Gutenberg Bible. Photo by Kelsey McKinney.
Ransom Center staff oversee the installation of vinyl text for the exhibition “The King James Bible: Its History and Influence,” which opens Tuesday. Photo by Kelsey McKinney.
Ransom Center staff oversee the installation of vinyl text for the exhibition “The King James Bible: Its History and Influence,” which opens Tuesday. Photo by Kelsey McKinney.
Linda Hohneke, conservator at the Folger Shakespeare Library, installs an item on loan from the Folger for the exhibition "The King James Bible: Its History and Influence." Photo by Alicia Dietrich.
Linda Hohneke, conservator at the Folger Shakespeare Library, installs an item on loan from the Folger for the exhibition "The King James Bible: Its History and Influence." Photo by Alicia Dietrich.
Sonja Reid, registrar with the Ransom Center's exhibition services, and Linda Hohneke, conservator at the Folger Shakespeare Library, install a bible that belonged to Queen Elizabeth I. The item, on loan from the Folger, will be on display when "The King James Bible: Its History and Influence" opens Tuesday. Photo by Alicia Dietrich.
Sonja Reid, registrar with the Ransom Center's exhibition services, and Linda Hohneke, conservator at the Folger Shakespeare Library, install a bible that belonged to Queen Elizabeth I. The item, on loan from the Folger, will be on display when "The King James Bible: Its History and Influence" opens Tuesday. Photo by Alicia Dietrich.

Photo Friday

By Kelsey McKinney

Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.

Lindsay Barras, a volunteer in the conservation department, helps construct a “pizza box” to hold an oversized book that is being repaired in the book lab.  Photo by Kelsey McKinney.
Lindsay Barras, a volunteer in the conservation department, helps construct a “pizza box” to hold an oversized book that is being repaired in the book lab. Photo by Kelsey McKinney.
Volunteer Michel McCabe-Hughes organizes slides in the photography collection. Photo by Kelsey McKinney.
Volunteer Michel McCabe-Hughes organizes slides in the photography collection. Photo by Kelsey McKinney.
Graduate intern Arcadia Falcone searches the souvenir program collection for items. Photo by Kelsey McKinney.
Graduate intern Arcadia Falcone searches the souvenir program collection for items. Photo by Kelsey McKinney.

Photo Friday

By Kelsey McKinney

Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.

Ransom Center staffers stuff member invitations for the upcoming exhibition
Ransom Center staffers stuff member invitations for the upcoming exhibition
Graduate student intern Kevin Auer applies gelatin to a medieval text to conserve the ink on the page.  Photo by Kelsey McKinney
Graduate student intern Kevin Auer applies gelatin to a medieval text to conserve the ink on the page. Photo by Kelsey McKinney
Senior book conservator Olivia Primanis demonstrates the elements of book structure with intern Hsiang-Shun Huang and volunteers Christopher Jones and Margaret Schafer so they can write a treatment report before repairing
Senior book conservator Olivia Primanis demonstrates the elements of book structure with intern Hsiang-Shun Huang and volunteers Christopher Jones and Margaret Schafer so they can write a treatment report before repairing

Before and After: "Ulysses" page proofs

By Kelsey McKinney

Before: James Joyce's 'Ulysses,' 1922.
Before: James Joyce's 'Ulysses,' 1922.

When the page proofs for James Joyce’s novel Ulysses arrived in the Ransom Center’s conservation lab, the pages were torn, bound together with adhesive, and all but impossible to read. Conservators unbound the pages to reveal annotations by James Joyce, editor and publisher Sylvia Beach, and printer Maurice Darantiere.  Learn about the steps taken to conserve and house the pieces of this historical book.

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