Person:

Sokolowski, Christopher

This paper evaluates the influence of a nineteenth-century French manual on the restoration of prints, drawings, and books to contemporary conservation philosophy and practice. First published in 1846, Essai sur la restauration des anciennes estampes et des livres rares was researched and written by Alfred Bonnardot (1808-1884) a writer, bibliophile, and historian of Paris. His manual, offering fellow amateurs of prints and books a nuanced range of clearly-described restoration procedures, found a growing audience that encouraged the issue of an enlarged second edition in 1858. At 349 pages, this second edition of the Essai remains the most comprehensive and detailed text on paper restoration of the nineteenth century in a western European language. The manual was translated into a German edition in 1859, and has since been reissued in French facsimile editions in 1967 and 1979. It is now available to anyone through Google Books on the Web. A published translation of the full text in English has not yet appeared.

When compared to other restoration literature of the nineteenth century, Bonnardot’s Essai stands apart in two significant ways. The first distinction is Bonnardot’s insistence upon procedures founded by original scientific investigation. Bonnardot assures the reader that his techniques are informed by training in chemistry from illustrious teachers and refined through years of experimentation and testing. The second distinction—and perhaps his most lasting contribution to conservation—is his emphasis on a cautious “less-is-better” treatment philosophy. If the willing reader heeded the advice in the Essai, writes Bonnardot, then he would have a preferable alternative to the destructive activity of the restorers of the day. Because Bonnardot’s novel insistence upon studied procedures exercised with caution has become the standard approach of our own time, his Essai is an ideal text by which to measure any real evolution in our own field since the mid-nineteenth century. Using the ample evidence supplied within the chapters of the Essai, such as Bonnardot’s habit of pondering about the historical importance of an oily stain before deciding to lessen it, the paper argues that professional conservation of today continues to uphold the standards set by this French amateur restorer 150 years ago.

In summary, critical examination of Bonnardot’s watershed Essai and its legacy has been light, sporadic, and long overdue. One explanation for his obscurity is that present-day conservation remains in the midst of researching and writing its own history and has not yet arrived at his door. Bonnardot himself wrote in 1846 that his manual “would be remembered only for clearing a path” and that soon a chemist would reveal his work as a crude primer. Little could he anticipate that his Essai would remain the most sophisticated textbook on the philosophy and procedures of print and book restoration until the modern era of restoration literature began to appear in the 1930s (Plenderleith and Schweidler). Nonetheless, as a historical touchstone for Western paper conservation, it remains curiously unknown outside of francophone Europe.

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.

This article applies modern scientific analysis to early nineteenth-century American playing cards from the Winterthur Museum, uncovering new insights into their materials and manufacturing techniques. Through advanced methods such as transmitted light microscopy and FT-IR spectroscopy, the study reveals details about paper types, fiber sourcing, adhesives, pigments, and sizing. The findings illuminate prevailing trends in American card production, such as the transition from laid to wove paper and the use of rag fiber, starch, and kaolin clay. The research not only provides a deeper understanding of period craftsmanship but also highlights analytical methods for distinguishing originals from later reproductions or fakes.

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.