The Ransom Center’s exhibition The World at War, 1914–1918 features a panoramic group portrait of the 103rd Aero Squadron (Lafayette Escadrille), the first U.S. aviation pursuit squadron in combat in France during World War I.
The photograph was sent to the Ransom Center’s conservation lab because it was tightly rolled, making it brittle and fragile. Previous attempts to unroll the paper had left one corner almost detached. The only clue as to its contents was a handwritten inscription on the roll’s outermost edge. Learn more about how photo conservators Barbara Brown and Diana Diaz worked to safely unroll the photograph to preserve it and display it in the exhibition.
Image: Eugene O. Goldbeck. Panoramic portrait of the 103rd Aero Squadron (Lafayette Escadrille). ca. 1919.
Blood runs through the archive of renowned actor Robert De Niro. From bloodstained props to grisly costumes, artifacts of some of Hollywood’s most iconic thrillers are preserved at the Harry Ransom Center. Although the fake blood that marks these materials might share a similar chemical makeup, each bloody stain has its own secrets.
One such artifact is a shirt De Niro wore in a Cape Fear (1991) fight scene that has several gashes surrounded by fake blood. Twenty years later it is still sticky to the touch, which has posed complicated housing issues. The tackiness of the blood is what made this artifact a preservation challenge because traditional archival materials used to cushion textiles were adhering to—rather than protecting—the shirt. I learned that silicone-coated polyester film proved to be the best storage solution.
I learned that fake blood recipes vary depending on the specific effect a director or special effects supervisor aims for in a movie. For instance, in the film 15 Minutes (2001), the blood contained titanium oxide to give it an opacity that would photograph better. In the film Ronin (1998), the fake blood’s consistency enabled it to splatter from an explosive blood bag apparatus in the armpit of De Niro’s jacket.
These “bloody” artifacts have proven to be a puzzle to conservators and curators since knowing the makeup of these fake blood recipes poses issues when it comes to storing and exhibiting cinema history.
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.
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.
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.
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.
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.
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.
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.