Person:

Sokolowski, Christopher

This poster presents a practical method for reinforcing fragile manuscript leaves damaged by iron gall ink corrosion. The technique is particularly suitable for treating bound manuscripts, where entire leaves—rather than isolated areas—may require stabilization. In such cases, overall reinforcement or lining is often more effective than localized mending.

Building on research by Rouchon et al. (2009) on the harmful effects of moisture, Pataki (2009) on precoated tissues, and Jacobi et al. (2011) on low-moisture mending, this method employs dry application of precoated tissue, which is reactivated in situ using a dilute solution of Klucel G (hydroxypropylcellulose) in isopropanol. This approach offers precise placement of the reinforcing tissue and controlled adhesive activation. Additionally, it eliminates the need for added drying weights, making it gentler on brittle and distorted leaves. The technique is demonstrated using images from a bound manuscript dating to circa 1800.

Finally, the poster shows how the treatment can be reversed: exposure to ethanol vapor softens the Klucel G adhesive, allowing it to be gently and selectively removed from the manuscript.

This poster presents the conservation treatment of two 19th-century varnished wall maps from the Harvard Map Collection, with a particular focus on preserving and reusing their original cloth backing and ribbon edging. While these textile elements are integral to the look, feel, and function of varnished wall maps, my professional experience has shown that they are often considered secondary to the paper map itself and are frequently removed and discarded. Reusing original textiles is commonly perceived as unnecessarily prolonging the treatment process. As a result, most conservation strategies involve replacing the original textiles with new linen, muslin, or paper backing, substituting new ribbon for the edging, or omitting the edging altogether. Through this poster, I challenge two widespread assumptions in the conservation of varnished wall maps: that textile elements should be discarded, and that their reuse inevitably extends the treatment.

Varnished wall maps are valued by historians as vital sources documenting the development of towns, counties, and regions across 19th-century America. These distinctive maps are composite objects that consist of ink, paper, cotton cloth, silk ribbon, turned wood, iron tacks, and, of course, varnish—materials selected to withstand the demands of extended display. Today, these maps are usually found darkened and brittle, prompting conservation efforts focused on restoring their legibility and structural integrity—but often at the expense of their historical appearance and texture. Having previously treated scores of varnished maps where original backing and edging were discarded for efficiency’s sake, I saw these two Harvard maps as an opportunity to explore an alternative approach.

The poster will provide an illustrated, step-by-step review of these textile-focused treatments. Stained and delaminating with internal losses, the wall map Rhode Island (1832) underwent blotter washing and the addition of an interlayer of toned Tengucho between the map and its backing cloth. The second map, East Bridgewater (1848), was partially broken and mended locally with layers of reinforcing strips. Its fragile ribbon edging was lined with pre-coated tissue and sewn back into place using the original holes. After treatment, both maps were cleaner and sound, while retaining the authenticity of their composite structure. Reusing the original textiles naturally added time as I developed my procedure; however, I could see that subsequent map treatments would become more efficient and cost-effective.

I have been inspired by the collective expertise showcased in the Book and Paper Group’s special annual publication, The Conservation of Varnished Wall Maps (2024). While this invaluable resource rightly addresses issues of varnish removal, problems, and ethics, I hope this poster will broaden the conversation to include greater consideration of the textile components of these historic maps.

Cette affiche présente le traitement de conservation de deux cartes murales vernies du XIXe siècles issus de la collection de cartes de Harvard, en mettant l'accent sur la préservation et la réutilisation de leur support en tissu et de leurs bordures en ruban d'origine. Bien que ces éléments textiles soient essentiels à l'aspect, au toucher et à la fonction des cartes murales vernies, mon expérience professionnelle a montré qu'ils sont souvent considérés comme secondaires par rapport à la carte elle-même et qu'ils sont fréquemment retirés et jetés. La réutilisation des textiles d'origine est généralement perçue comme un facteur allongeant inutilement le processus de traitement. Par conséquent, la plupart des stratégies de conservation consistent à remplacer les textiles d'origine par un nouveau support en lin, en mousseline ou en papier, à substituer de nouveaux rubans aux bordures, voire à supprimer complètement ces dernières. À travers cette affiche, je remets en question deux idées reçues dans la conservation des cartes murales vernies : que les éléments textiles doivent être jetés et que leur réutilisation prolonge inévitablement le traitement. Les cartes murales vernies sont précieuses pour les historiens, car elles constituent des sources essentielles documentant le développement des villes, des comtés et des régions des États-Unis au XIXe siècle. Ces cartes distinctives sont des objets composites composés d'encre, de papier, de tissu de coton, de ruban de soie, de bois tourné, de clous en fer et, bien sûr, de vernis – des matériaux choisis pour résister aux contraintes d'une exposition prolongée. Aujourd'hui, ces cartes sont généralement assombries et fragiles, ce qui justifie des efforts de conservation visant à restaurer leur lisibilité et leur intégrité structurelle, souvent au détriment de leur aspect et de leur texture historique. Ayant déjà traité de nombreuses cartes vernies dont le support et les bordures d'origine avaient été jetés par souci d'efficacité, j'ai vu dans ces deux cartes de Harvard l'opportunité d'explorer une approche alternative. L'affiche présentera un aperçu illustré, étape par étape, de ces traitements spécifiques aux textiles. La carte murale de Rhode Island (1832), tachée, délaminée et présentant des lacunes internes, a fait l'objet d'un nettoyage par buvardage et de l'ajout d'une couche intermédiaire de papier Tengucho teinté entre la carte et son support en tissu. La deuxième carte, celle d'East Bridgewater (1848), était partiellement déchirée et a été réparée localement à l'aide de bandes de renfort. Sa bordure en ruban fragile a été doublée de papier de soie préenduit et recousue en place en utilisant les perforations d'origine. Après traitement, les deux cartes étaient plus propres et en bon état, tout en conservant l'authenticité de leur structure composite. La réutilisation des textiles d'origine a naturellement rallongé le temps de travail nécessaire à l'élaboration de ma méthode ; cependant, j'ai constaté que les traitements ultérieurs des cartes seraient plus efficaces et plus économiques. Je me suis inspirée de l'expertise collective présentée dans la publication annuelle spéciale du Book and Paper Group, The Conservation of Varnished Wall Maps (2024). Si cette ressource précieuse aborde à juste titre les questions de dévernissage, les problèmes rencontrés et les considérations éthiques, j'espère que cette affiche élargira la discussion pour inclure une plus grande prise en compte des composants textiles de ces cartes historiques.

The dust jacket of a modern first edition—often discarded when new—has become the most historically and commercially valuable component of a book. Despite this elevated status, many important dust jackets undergo extensive cosmetic restoration that is often disproportionate to their rarity and significance.

This article presents a minimally invasive method for repairing damaged modern first edition dust jackets. The technique uses lightweight kozo tissue precoated with Klucel G (hydroxypropylcellulose) adhesive, and visually fills losses by placing a toned or printed secondary jacket beneath the original. This approach preserves the dust jacket’s authenticity, while allowing it to appear complete from a short viewing distance during exhibition. Depending on curatorial needs, the jacket’s condition can be either visually improved or its wear emphasized.

Developed for a curatorial brief at Harvard’s Houghton Library in early 2023, this reversible strategy was used to reunite and stabilize the dust jacket for E.E. Cummings’s The Enormous Room (1922), enabling its display and subsequent storage with the book. The aim was to create the illusion of completeness without invasive or time-consuming fills, preserving the original material as much as possible.

The core of this article is an illustrated, step-by-step review of the Enormous Room treatment, including the rationale for avoiding aqueous techniques. Additional case studies are provided where more extensive compensation of design or text was needed through the secondary jacket. Practical guidelines for sourcing, scaling, and color-correcting digital files to match original jackets are also included.

By sharing this method in the Book and Paper Group Annual, I hope to highlight a conservative yet visually satisfying alternative to the widespread use of in-painting and invasive fills in dust jacket restoration.

This poster presents a minimally invasive method for repairing damaged modern first edition dust jackets. The technique uses lightweight kozo tissue precoated with Klucel G (hydroxypropyl cellulose) adhesive and visually fills losses by placing a toned or printed secondary jacket beneath the original. This approach preserves the dust jacket’s authenticity, while allowing it to appear complete from a short viewing distance during exhibition. Depending on curatorial needs, the jacket’s condition can be either visually improved or its wear emphasized. Developed for a curatorial brief at Harvard’s Houghton Library in early 2023, this reversible strategy was used to reunite and stabilize the dust jacket for E.E. Cummings’s The Enormous Room (1922), enabling its display and subsequent storage with the book. The aim was to create the illusion of completeness without invasive or time-consuming fills, preserving the original material as much as possible. By sharing this method in the Book and Paper Group Annual, I hope to highlight a conservative yet visually satisfying alternative to the widespread use of in-painting and invasive fills in dust jacket restoration.