Three Basic Book Repair Procedures - 1 | Back

Total Page:16

File Type:pdf, Size:1020Kb

Three Basic Book Repair Procedures - 1 | Back Three Basic Book Repair Procedures - 1 | Back By Carole Dyal and Pete Merrill-Oldham Introduction Hinge Tightening I Hinge Tightening II Tipping-In Loose Pages Conclusions - References In libraries large and small, minor repair is a critical component in overall efforts to care for collections of books and journals. Bound volumes mended as soon as they show signs of damage may never require more complex repair or binding. A book with tightened hinges is sometimes more sturdy after treatment than it was at the time of purchase. Following are instructions for carrying out three basic cost-effective procedures for repairing hard-cover volumes. They were prepared to accompany all- day demonstrations presented at the 1998 Annual Meeting of the American Library Association in Washington, DC. The Library of Congress generously offered space in the LC exhibit booth in support of this pilot project. It focuses on early intervention as a means of delaying or eliminating the need for more time consuming and expensive treatment. This project was made possible through generous support from Acme Bookbinding (Charlestown, MA), Bridgeport National Bindery (Agawam, MA), Conservation Resources International (Springfield, VA), Gaylord Bros. (Syracuse, NY), Information Conservation Incorporated and the Etherington Conservation Center (Brown Summit, NC), the Library Binding Institute (Edina, MN), Library Binding Service (Des Moines, IA), Ocker & Trapp Library Bindery (Emerson, NJ), SOLINET (Atlanta, GA), and University Products (Holyoke, MA). Hinge Tightening I Inspect the hinge of the volume at the head and tail to see if the text block has become loose in its case. If the endpapers are pulling away from the inside of the case but are still securely attached to the text block, Hinge Tightening I may be an appropriate treatment. If neglected, a text block that has become loose in its case is likely to sustain additional damage each time it is used until the binding fails altogether. Materials required Assemble the following: polyvinyl acetate adhesive (PVA) in a tall thin container, knitting needles or plastic rods of various thickness, waxed paper, and a bone folder. A book press and metal-edged boards (or appropriate substitutes) will also be needed. Step 1: Applying adhesive in the hinge Stand the book on its tail. With one hand, prop open the loose hinge as wide as possible. Dip the knitting needle into the adhesive, scraping excess adhesive off as you draw the needle out of the container. Push the needle into the hinge as far as it will go, using a twirling motion. Apply the adhesive thoroughly to the exposed area. Turn the book on its head and perform the same procedure if needed at this end as well. Step 2: Preparing for pressing Lay the book flat and align the text block squarely in its case. Open the cover part way, and using the long edge of the bone folder, gently press the fold of the endpaper into the hinge. Insert a sheet of waxed paper as far as possible back into the hinge. This will prevent excess adhesive from sticking to the endpaper and assure proper opening of the book after drying. Step 3: Setting the hinge Check to make sure that the text block is still square in its case. Then run the long edge of a bone folder down the length of the outer hinge of the case, applying even pressure. Step 4: Pressing the book using plain boards Press the book for several hours or over night, making sure that even pressure is applied in the joints. This can be accomplished using thin, rigid boards (Masonite, for example), appropriately sized knitting needles, and about 10 lbs. of weight. Select two needles that fit in the joints and are slightly thicker than the covers. Align the needles, sandwich the book between the boards, and apply weight. Step 4: Pressing the book using metal edged boards Metal-edged boards eliminate the need for knitting needles because one edge of each board is fitted with a metal strip that overhangs the board approximately 1/8" on each side. The resulting flange fits into the joint of a book and, under weight, exerts even pressure along it. Step 4: Pressing the book in a book press The easiest and most efficient means of pressing is to use a book press and metal edged boards. This traditional equipment facilitates careful control of pressure. CONTENTS | NEXT This publication is not copyrighted. Please photocopy and distribute as you wish. Printed copies are available for the cost of handling and mailing: single copy: $2.50; additional copies: $1.50 each. Please make checks payable to "Book Repair," Acme Bookbinding.". (Mailing address: "Book Repair"; c/o Acme Bookbinding; P.O. Box 699; Charlestown, MA 02129-0004). Rare Book School, Charlottesville, VA Home | Book Arts Links | Book Arts Gallery | Reference Materials | About The Book Arts Web © 1995- Contact the Book Arts Web PURL: http://purl.oclc.org/NET/bookartsweb Last Modified: Monday, 06-Jan-2003 19:22:45 EST URL: http://www.philobiblon.com /bkrepair/BookRepair.html Three Basic Book Repair Procedures - Hinge Tightening II | Back Carole Dyal and Pete Merrill-Oldham Open the cover. If the endpaper (or the endpapers and the title page) are pulling away from the inside of the case and the spine lining is visible and intact, Hinge Tightening II may be an appropriate treatment. If neglected, a text block in this condition is likely to require major repair or rebinding in the very near future. Materials required Assemble the following: polyvinyl acetate adhesive (PVA) in a low container, a glue brush, waxed paper, wide strips of scrap paper, and a bone folder. A book press and metal edged boards (or appropriate substitutes) will also be needed. Step 1: Applying adhesive to spine lining and hinge Open the book to the place where the text block and endpaper have separated. Lay a piece of scrap paper along the text block about 1/8 inch from the exposed hinge area. Carefully brush PVA on the exposed spine lining and on the underside of the fold of the endpaper. Step 2: Aligning the endpaper and the text block With the book still open, carefully align the endpaper and the text block to ensure that the fold of the endsheet exactly meets the shoulder of the text block. This will help to assure proper opening of the book after drying. Step 3: Setting the endpaper alignment Using the long edge of the bone folder, gently press the fold of the endpaper into the hinge. Step 4: Preparing for pressing Insert a sheet of wax paper as far back as possible into the hinge. This will prevent excess adhesive from sticking to the endpaper and also help to assure proper opening of the book after drying. Step 5: Setting the hinge Check to make sure that the text block is still square in its case. Then run the long edge of a bone folder down the length of the outer hinge of the case, applying even pressure. Step 6: Pressing the volume Press the book for several hours or over night, making sure that even pressure is applied in the joints. Use one of the pressing methods discussed previously. CONTENTS | NEXT Rare Book School, Charlottesville, VA Home | Book Arts Links | Book Arts Gallery | Reference Materials | About The Book Arts Web © 1995- Contact the Book Arts Web PURL: http://purl.oclc.org/NET/bookartsweb Last Modified: Monday, 06-Jan-2003 19:22:45 EST URL: http://www.philobiblon.com /bkrepair/BookRepair2.html Three Basic Book Repair Procedures - Tipping-In Loose Pages | Back Carole Dyal and Pete Merrill-Oldham Tipping-in is a method for incorporating loose pages -- a detached leaf, replacement page, errata sheet, or other insert -- into a bound volume. Materials required Assemble the following: polyvinyl acetate adhesive (PVA) in a low container, wide strips of scrap paper, waxed paper, a bone folder, a glue brush, a pressing board or glass plate, and a weight. Step 1: Trimming the page and applying adhesive If the page to be tipped in is larger than the pages of the volume, carefully trim the page to size using a paper cutter. (For replacement pages, try to preserve original margin widths.) Sandwich the page, reverse side up, between two pieces of scrap paper, leaving 1/8-inch visible along the binding edge of the page. The top strip of scrap paper will protect the area that should not be glued. Apply a thin, even layer of PVA to the exposed 1/8-inch edge of the sheet. Step 2: Positioning the page Carefully position the insert in place, setting it as far into the gutter as possible while ensuring that the edges are even with the rest of the text block. Step 3: Securing the page With the tipped-in sheet squarely in place, and starting in the middle of the page and working out to the top and bottom, slide the tip of a bone folder along the front (unglued) side of the sheet to press it tight. Step 4: Protecting the text block Place a sheet of waxed paper into the gutter between the insert and the page before it to protect the text block from excess adhesive. Step 5: Pressing the volume Close the book. Place a pressing board or glass plate along the spine edge and set a weight on top. Let stand for several hours. Conclusions - References If intervention is prompt, the life of a book can often be extended at very low cost. Unfortunately, damage may progress beyond the point where these basic techniques can be effective. More extensive treatment or commercial library binding may then be warranted.
Recommended publications
  • Introducticn Tc Ccnservoticn
    introducticntc ccnservoticn UNITED NATTONSEDUCATIONA],, SCIEIilIIFTC AND CULTIJRALOROANIZATTOII AN INIRODUCTION TO CONSERYATIOI{ OF CULTURAT PROPMTY by Berr:ar"d M. Feilden Director of the Internatlonal Centre for the Preservatlon and Restoratlon of Cultural Property, Rome Aprll, L979 (cc-ig/ws/ttt+) - CONTENTS Page Preface 2 Acknowledgements Introduction 3 Chapter* I Introductory Concepts 6 Chapter II Cultural Property - Agents of Deterioration and Loss . 11 Chapter III The Principles of Conservation 21 Chapter IV The Conservation of Movable Property - Museums and Conservation . 29 Chapter V The Conservation of Historic Buildings and Urban Conservation 36 Conclusions ............... kk Appendix 1 Component Materials of Cultural Property . kj Appendix 2 Access of Water 53 Appendix 3 Intergovernmental and Non-Governmental International Agencies for Conservation 55 Appendix k The Conservator/Restorer: A Definition of the Profession .................. 6? Glossary 71 Selected Bibliography , 71*. AUTHOR'S PREFACE Some may say that the attempt to Introduce the whole subject of Conservation of Cultural Propety Is too ambitious, but actually someone has to undertake this task and it fell to my lot as Director of the International Centre for the Study of the Preservation and Restoration of Cxiltural Property (ICCROM). An introduction to conservation such as this has difficulties in striking the right balance between all the disciplines involved. The writer is an architect and, therefore, a generalist having contact with both the arts and sciences. In such a rapidly developing field as conservation no written statement can be regarded as definite. This booklet should only be taken as a basis for further discussions. ACKNOWLEDGEMENTS In writing anything with such a wide scope as this booklet, any author needs help and constructive comments.
    [Show full text]
  • Special Catalogue 21
    Special Catalogue 21 Marbling OAK KNOLL BOOKS www.oakknoll.com 310 Delaware Street, New Castle, DE 19720 Special Catalogue 21 includes 54 items covering the history, traditions, methods, and extraordinary variety of the art of marbling. From its early origins in China and Japan to its migration to Turkey in the 15th century and Europe in the late 16th and early 17th centuries, marbling is the most colorful and fanciful aspect of book design. It is usually created without regard to the content of the book it decorates, but sometimes, as in the glorious work of Nedim Sönmez (items 39-44), it IS the book. I invite you to luxuriate in the wonderful examples and fascinating writings about marbling contained in these pages. As always, please feel free to browse our inventory online at www.oakknoll.com. Oak Knoll Books was founded in 1976 by Bob Fleck, a chemical engineer by training, who let his hobby get the best of him. Somehow, making oil refineries more efficient using mathematics and computers paled in comparison to the joy of handling books. Oak Knoll Press, the second part of the business, was established in 1978 as a logical extension of Oak Knoll Books. Today, Oak Knoll Books is a thriving company that maintains an inventory of about 25,000 titles. Our main specialties continue to be books about bibliography, book collecting, book design, book illustration, book selling, bookbinding, bookplates, children’s books, Delaware books, fine press books, forgery, graphic arts, libraries, literary criticism, marbling, papermaking, printing history, publishing, typography & type specimens, and writing & calligraphy — plus books about the history of all of these fields.
    [Show full text]
  • The History, Printing, and Editing of the Returne from Pernassus
    W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 1-2009 The History, Printing, and Editing of The Returne from Pernassus Christopher A. Adams College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Recommended Citation Adams, Christopher A., "The History, Printing, and Editing of The Returne from Pernassus" (2009). Undergraduate Honors Theses. Paper 237. https://scholarworks.wm.edu/honorstheses/237 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. The History, Printing, and Editing of The Returne from Pernassus A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in English from The College of William and Mary by Christopher A. Adams Accepted for____________________________ (Honors, High Honors, Highest Honors ) _________________________ ___________________________ Paula Blank , Director Monica Potkay , Committee Chair English Department English Department _________________________ ___________________________ Erin Minear George Greenia English Department Modern Language Department Williamsburg, VA December, 2008 1 The History, Printing, and Editing of The Returne from Pernassus 2 Dominus illuminatio mea -ceiling panels of Duke Humfrey’s Library, Oxford 3 Acknowledgments I am deeply indebted to my former adviser, Dr. R. Carter Hailey, for starting me on this pilgrimage with the Parnassus plays. He not only introduced me to the world of Parnassus , but also to the wider world of bibliography. Through his help and guidance I have discovered a fascinating field of research.
    [Show full text]
  • Conservation of Cultural and Scientific Objects
    CHAPTER NINE 335 CONSERVATION OF CULTURAL AND SCIENTIFIC OBJECTS In creating the National Park Service in 1916, Congress directed it "to conserve the scenery and the natural and historic objects and the wild life" in the parks.1 The Service therefore had to address immediately the preservation of objects placed under its care. This chapter traces how it responded to this charge during its first 66 years. Those years encompassed two developmental phases of conservation practice, one largely empirical and the other increasingly scientific. Because these tended to parallel in constraints and opportunities what other agencies found possible in object preservation, a preliminary review of the conservation field may clarify Service accomplishments. Material objects have inescapably finite existence. All of them deteriorate by the action of pervasive external and internal agents of destruction. Those we wish to keep intact for future generations therefore require special care. They must receive timely and. proper protective, preventive, and often restorative attention. Such chosen objects tend to become museum specimens to ensure them enhanced protection. Curators, who have traditionally studied and cared for museum collections, have provided the front line for their defense. In 1916 they had three principal sources of information and assistance on ways to preserve objects. From observation, instruction manuals, and formularies, they could borrow the practices that artists and craftsmen had developed through generations of trial and error. They might adopt industrial solutions, which often rested on applied research that sought only a reasonable durability. And they could turn to private restorers who specialized in remedying common ills of damaged antiques or works of art.
    [Show full text]
  • 4-10 Matting and Framing.Pdf
    PRESERVATION LEAFLET CONSERVATION PROCEDURES 4.10 Matting and Framing for Works on Paper and Photographs NEDCC Staff NEDCC Andover, MA The importance of proper matting, mounting and framing Do not use any type of foam board such as Fom-cor®, is often overlooked as a key part of collections care and “archival” paper faced foam boards, Gator board, preventative conservation. Poor quality materials and expanded PVC boards such as Sintra® or Komatex®, any improper framing techniques are a common source of lignin containing paper-based mat boards, kraft (brown) damage to artwork and cultural heritage materials that paper, non-archival or self-adhesive tapes (i.e. document are in otherwise good condition. Staying informed about repair tapes), or ATG (adhesive transfer gum), all of which proper framing practices and choosing conservation-grade are used in the majority of frame shops. mounting, matting and framing can prevent many problems that in the future will be much more difficult to MATTING solve or even completely irreversible. As Benjamin Franklin said, “An ounce of prevention is worth a pound of The window mat is the standard mount for works on cure.” paper. The ideal window mat will be aesthetically pleasing while safely protecting the piece from exterior damage. Mats are an excellent storage method for works on paper CHOICE OF A FRAMER and can minimize the damage caused from handling in When choosing a framer it is important to find someone collections that are used for exhibition and study. Some well-informed about best conservation framing practices institutions simplify their framing and storage operations and experienced in implementing them.
    [Show full text]
  • QAR Field Operations – May 2005
    QAR Field Operations – October 2006 Artifact Conservation & Documentation Sarah Watkins-Kenney – QAR Project Chief Conservator Wendy Welsh—QAR Assistant Conservator I. Personnel: At least two members of the QAR Conservation & Documentation (C&D) team will be on site for each day of field operations. C&D Team: Sarah Watkins-Kenney (SWK) QAR Project Chief Conservator Wendy Welsh (WMW) QAR Assistant Conservator/(C&D Field Team Leader) Valerie Grussing (VJG) QAR Conservation Technician Franklin Price (FHP) Underwater Archaeology Technician Anne Corscadden-Knox (ACK) Underwater Archaeology Technician Steve Lambert (S L) Underwater Archaeology Technician Johnny Masters (JPM) Underwater Archaeology Technician Linda Carnes McNaughton (LCMN) Volunteer, Historian/Conservation assistant III. Documentation ON SITE includes: i TAGS- - Mylar or Tyvek are available from C&D team. - Must be tied to all artifact/concretions with cable ties so that tag lies on top surface as in situ. Provenance E & N taken to tag. - QAR# marked in industrial permanent black marker on both sides of the tag – while tag dry. For Fall 2006 – tags will be pre-numbered. - Additional information -marked in pencil (both types of tag can be written on with pencil underwater). - Information that must be on each tag, attached to artifacts, before they are brought to the surface: QAR#. - Additional information to be put on tag (either by field C&D or lab based C&D), Unit number in circle, E, N provenance, diver initials, date recovered. - For ballast, dredge/sieve material – one tag should be place inside bag and one tied to outside of container as appropriate. ii BAG & CONTAINER LABELS - - Each bag should be marked on outside, in permanent marker, with Unit #, E&N provenance, QAR#.
    [Show full text]
  • A Performance Comparison Between a Wide-Hinged Endpaper Construction and the Library Binding Institute Standard Endpaper Construction
    Rochester Institute of Technology RIT Scholar Works Theses 5-1-1987 A performance comparison between a wide-hinged endpaper construction and the Library Binding Institute standard endpaper construction Claudia Chaback Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Chaback, Claudia, "A performance comparison between a wide-hinged endpaper construction and the Library Binding Institute standard endpaper construction" (1987). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. A PERFORMANCE COMPARISON BETWEEN A WIDE-HINGED ENDPAPER CONSTRUCTION AND THE LIBRARY BINDING INSTTTUTE STANDARD ENDPAPER CONSTRUCTION by Claudia Elizabeth Chaback A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in the School of Printing Management and Sciences in the College of Graphic Arts and Photography of the Rochester Institute of Technology May, 1987 Thesis Advisor: Professor Werner Rebsamen Certificate of Approval -- Masterts Thesis School of Printing Managanent and Sciences Rochester Institute of Teclmol ogy Rochester, New York CEKfll'ICATE OF APPROVAL MASTER' 5 1llESIS This is to Certify that the Master's Thesis of ClmJdia Elizabeth Chaback With a major in Pri nt i ng Te Chn0EO:ailr has been approved by the Thesis ttee as satisfactory for the thesis requiremant for the Master of Science Degree at the convocation of Thesis Camd.ttee: Werner Rebsamen Thesis msor Joseph L. Noga Graduate Program Cooridiri8tor Miles Southworth Director or Designate A Performance Comparison Between a Wide-Hinged Endpaper Construction and the Library Binding Institute Standard Endpaper Construction I, Claudia Elizabeth Chaback, prefer to be contacted each time a request for reproduction is made.
    [Show full text]
  • JOHN UPDIKE First Editions from the Library of Theodore Vrettos
    C L O U D S H I L L B O O K S P.O. Box 1004 • VILLAGE STATION • NEW YORK, NY 10014 212-414-4432 • [email protected] JOHN UPDIKE First Editions from the Library of Theodore Vrettos 1. RABBIT, RUN. New York: Alfred A. Knopf, 1961. First Edition, fourth printing in dust jacket. This copy has been inscribed by Updike to Theodore Vrettos and his wife Vassille on the front free endpaper: “For Ted & Vas / Good wishes / John Updike.” The inscription has been written beneath the ownership bookplate of Theodore and Vassille Vrettos. Foxed at the fore-edges, else a very good copy in a foxed and rubbed, very good jacket. $125 2. COUPLES. New York: Alfred A. Knopf, 1968. First Edition, later printing in dust jacket This copy has been inscribed by Updike to Theodore Vrettos and his wife Vassille on the front free endpaper: “For Ted & Vas / much affection / John.” With Theodore Vrettos’s ink ownership signature also on the front free endpaper above Updike’s inscription. Foxed at the fore-edges, else a very good copy in a like jacket. $75 3. BECH: A BOOK. New York: Alfred A. Knopf, 1970. First Edition, fifth printing in dust jacket. This copy has been inscribed by Updike to Vassille Vrettos on the front free endpaper: “For Vas / May you become / like Henry Bech / John Updike.” Foxed, else a very good copy in a like jacket. $50 4. RABBIT REDUX. New York: Alfred A. Knopf, 1971. First Edition, third printing in dust jacket. This copy has been inscribed by Updike to Theodore Vrettos and his wife Vassille on the front free endpaper: “For Ted and Vas / keep swinging / John.” Foxed, else a very good or better copy in a like, price-clipped jacket.
    [Show full text]
  • Book Handout for Class.Indd
    Book Binding from a 1496-1599 Example HL Rhiannon Redwulf The Primary Source: The OSU library has a very small collection of rare books. Their copy of Epistole Sancti Hieronymi is available for view- ing, and has received no recent “repairs”. In March of 1999 I was able to study and photograph the binding of this book. On the Epistole Sancti Hieronymi, half of the spine is visible, and the inside endpapers have been ripped out long ago. While making the volume less valuable monetarily, these features make it possible to study the binding methods used without tearing the book apart. The Epistole was printed by press onto paper. It was produced from 1496 to 1599. The copy at OSU has not been dated any more closely than that. (However, the copy has an errata which may help me identify it more closely. The last page of the book should read 390, however a typesetting error occurred and it reads, 930.) Paper was introduced to England in the mid-1300s and by the 1400s there were many paper mills. The Epistole is an example of the more affordable books made available through this invention. Because books were no longer as rare, the bindings evolved to be simpler than previously done. I Back views of the Epistole Sancti Hieronymi (1496-1599) Notice the tooling on the half binding, and the remains of the straps and brass pieces which once allowed the book to be strapped shut. (A holdover from parchment books which had to be strapped shut to remain flat. This is less necessary with a paper book.) Inside front cover of the Epistole: (above) Notice that the reinforcement strip on the first pages are recycled parchment pages, (with hand calligraphy on them.) The edges of the wooden cover are beveled to the width of the pages.
    [Show full text]
  • Integrating Archaeology and Conservation of Archaeology and Conservation the Past, Forintegrating the Future
    SC 13357-2 11/30/05 2:39 PM Page 1 PROCEEDINGS PROCEEDINGS The Getty Conservation Institute The Conservation Los Angeles Theme of the 5th World Archaeological Congress Of the Past, for the Future: Washington, D.C. Printed in Canada June 2003 Integrating Archaeology and Conservation Of the Past, for the Future: Integrating Archaeology and Conservation The Getty Conservation Institute i-xii 1-4 13357 10/26/05 10:56 PM Page i Of the Past, for the Future: Integrating Archaeology and Conservation i-xii 1-4 13357 10/26/05 10:56 PM Page ii i-xii 1-4 13357 10/26/05 10:56 PM Page iii Of the Past, for the Future: Integrating Archaeology and Conservation Proceedings of the Conservation Theme at the 5th World Archaeological Congress, Washington, D.C., 22–26 June 2003 Edited by Neville Agnew and Janet Bridgland The Getty Conservation Institute Los Angeles i-xii 1-4 13357 10/26/05 10:56 PM Page iv The Getty Conservation Institute Timothy P. Whalen, Director Jeanne Marie Teutonico, Associate Director, Field Projects and Science The Getty Conservation Institute works internationally to advance conserva- tion and to enhance and encourage the preservation and understanding of the visual arts in all of their dimensions—objects, collections, architecture, and sites. The Institute serves the conservation community through scientific research; education and training; field projects; and the dissemination of the results of both its work and the work of others in the field. In all its endeavors, the Institute is committed to addressing unanswered questions and promoting the highest possible standards of conservation practice.
    [Show full text]
  • Conservation Technician Associate Conservator
    POSITION DATA JOB TITLE: Conservation Technician DEPARTMENT: Collections REPORTS TO: Associate Conservator CLASSIFICATION: Nonexempt DATE: August 2021 POSITION OVERVIEW: The National September 11 Memorial & Museum seeks a Conservation Technician (CT) to serve as a ‘hands-on’ collections-care provider in the public spaces and storage areas of the Museum. The CT’s responsibilities will primarily support preventive conservation efforts at the Museum, working primarily with physical objects in the collection but supporting stewardship of the Museum’s accessioned digital assets. The CT will assist in the safe handling/transit, storage, exhibition and outgoing loan preparation, and routine maintenance of objects in the collection. The scope of these holdings is diverse in medium, scale, type, and inherent condition, and includes material evidence, memorial and tribute items, artwork, historical records, and web- based artifacts relating to the terrorist attacks of February 26, 1993, and September 11, 2001, and their repercussions. The incumbent reports to the Museum’s Associate Conservator. Work will generally take place during standard business hours. However, with advance notice, schedules may be adjusted to accommodate special projects which involve early morning or evening hours. Comprehensive training will be provided to familiarize the CT with the Museum’s equipment, software, art handling and PPE protocols and other collection policies. ESSENTIAL FUNCTIONS • Maintains and cleans open mount artifacts in the Museum’s exhibition spaces and monitors for any changes in condition. • Locates and moves objects to/from the Museum’s storage spaces and update locations in Collective Access, its collections management system. • Assists with preventive conservation activities including monitoring and collecting environmental data using data loggers and liaising with the Museum’s Integrated Pest Management vendor.
    [Show full text]
  • Bulletin of the Center for Children's Books
    ILLIN I S UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Large-scale Digitization Project, 2007. University of Illinois Press AVkA A pd THE BUvL LE T IN OF THE CENTER FOR CHILDREN'S BOOKS July/August 1995 Vol. 48 No. 11 A LOOK INSIDE 373 THE BIG PICTURE Companions of the Night by Vivian Vande Velde 374 NEW BOOKS FOR CHILDREN AND YOUNG PEOPLE Reviewed titles include: 375 * The Arkadians by Lloyd Alexander 380 * Rosie the Riveter: Women Working on the Home Front in World War II by Penny Colman 389 * Poppa's New Pants written by Angela Shelf Medearis; illus. by John Ward 393 * The Same Place but Different by Perry Nodelman 401 * From the Notebooks ofMelanin Sun by Jacqueline Woodson 402 SUBJECT AND USE INDEX 404 ANNUAL AUTHOR AND TITLE INDEX EXPLANATION OF CODE SYMBOLS USED WITH REVIEWS * Asterisks denote books of special distinction. R Recommended. Ad Additional book of acceptable quality for collections needing more material in the area. M Marginal book that is so slight in content or has so many weaknesses in style or format that it should be given careful consideration before purchase. NR Not recommended. SpC Subject matter or treatment will tend to limit the book to specialized collections. SpR A book that will have appeal for the unusual reader only. Recommended for the special few who will read it. The Bulletin of the Centerfor Children'sBooks (ISSN 0008-9036) is published monthly except August by the Graduate School of Library and Information Science (GSLIS) of the University of Illinois at Urbana-Champaign and the University of Illinois Press, 1325 S.
    [Show full text]