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The Preservation Evolution a Review of Preservation Literature, 1999–2001
47(2) LRTS 59 The Preservation Evolution A Review of Preservation Literature, 1999–2001 JeanAnn Croft The literature representing 1999 to 2001 reveals that the preservation field is absorbed in an evolution. The literature demonstrates that trusted practices are changing to improve outcomes and further advance the preservation field. Simultaneously, in the wake of the digital revolution, preservation professionals dream about merging traditional and digital technologies in the hope that both long-term preservation and enhanced access will be achieved. This article attempts to relate the values of the discipline in order to inspire further research and persuade more work in formulating hypotheses to integrate preservation the- ory and practice. Finally, this overview of the literature will communicate the scope of the preservation problem, clarify misconceptions in the field, and docu- ment areas that warrant further investigation and refinement. he literature representing 1999 to 2001 reveals that the preservation field is Tcontinually absorbed in an evolution. This literature review examines the trends and customs of the preservation field as documented in the literature, and attempts to relate the values of the discipline in order to inspire further research and persuade more work in formulating hypotheses to integrate preservation theory and practice. Finally, this depiction of the literature will communicate the scope of the preservation problem, clarify misconceptions in the field, and document areas that warrant further investigation and refinement. Following up the preceding preservation literature reviews that have been pub- lished in this journal, this work provides a sampling of the preservation litera- ture and will not include book reviews, annual reports, preservation project announcements, technical leaflets, and strictly specialized conservation litera- ture. -
JAIC , Volume 39, Number 3, Article 1 (Pp
Paper Splitting: History and Modern Technology The MIT Faculty has made this article openly available. Please share how this access benefits you. Your story matters. Citation Brückle, Irene and Jana Dambrogio. "Paper Splitting: History and Modern Technology." Journal of the American Institute for Conservation, 39.3 (2000). As Published http://cool.conservation-us.org/jaic/articles/ jaic39-03-001_indx.html Version Final published version Citable link http://hdl.handle.net/1721.1/120743 Terms of Use Article is made available in accordance with the publisher's policy and may be subject to US copyright law. Please refer to the publisher's site for terms of use. JAIC , Volume 39, Number 3, Article 1 (pp. to ) 28/10/2013 22:52 JAIC , Volume 39, Number 3, Article 1 (pp. to ) PAPER SPLITTING: HISTORY AND MODERN TECHNOLOGY IRENE BRÜCKLE, & JANA DAMBROGIO ABSTRACT—ABSTRACT—In the 19th century, restorers used paper splitting to separate recto and verso of double-sided prints or drawings. Today, the treatment is employed for strengthening weakened paper. Two German conservation centers are chiefly responsible for the development of the process to its current level of sophistication: over the course of more than 30 years, Günter Müller at the Thuringian University and State Library at Jena perfected manual paper splitting; over the same time period, Wolfgang Wächter, now at the Zentrum für Bucherhaltung in Leipzig, developed the paper- splitting machine. We outline the history of paper splitting and describe the contemporary processes from firsthand observations and interviews with the conservators at Jena and Leipzig. Technical evaluations of contemporary paper splitting are summarized, and some observations on objects that were split for the authors are documented (a 19th-century newspaper page, a 17th-century document written in iron gall ink, 17th-century book leaves). -
Caring for Collections, a Manual of Preventative Conservation Has Been Produced
December 1999 1 FOREWORDS As part of its strategic plan 1997-2000 the Heritage Council identified the need to produce high quality information on aspects of heritage and also the need to assist people in improving their skills to care for and maintain our heritage. The Heritage Council is delighted that through partnership with the Institute for the Conservation of Historic and Artistic Works in Ireland, this publication, Caring for Collections, a Manual of Preventative Conservation has been produced. Written and researched by Susan Corr, this publication aims to inform the general reader of the basic concepts of collection care and good housekeeping. We hope that it will enable people to plan the long-term future of their collections in an informed way, within the resources available to them. The book will also play a key role in the continuing establishment of museum standards in Ireland. The Heritage Council would like to thank Institute for the Conservation of Historic and Artistic Works in Ireland, and Susan Corr for the help in creating this publication, which should become a vital aid in the care of our heritage. Michael Ryan Chairperson Museums and Archives Committee December 1999 Since 1992, the Institute For The Conservation Of Historic And Artistic Works In Ireland has organised “Caring for Collections” courses annually. In 1999, an extra one was held, funded by the Heritage Council, which was very successful. Because they appreciate that they are ultimately responsible for the artefacts in their collections, museum staff want training in this area. However the Institute does not have the resources to expand the course, either in terms of treating each topic in greater detail, or enlarging the syllabus. -
Illinois University of Illinois at Urbana-Champaign
ILLINOIS UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Large-scale Digitization Project, 2007. Special Collections in the Twenty-first Century CONTENTS Introduction Barbara M. Jones 1 The Continuing Development of Special Collections Librarianship Michile V Cloonan and Sidnty E. Buger 9 I. VISIONSAND CHALLENGESFOR THE TWENTY-FIRST CENTURY:RESEARCH,COLLECTIONS,BUILDINGS, AND DEVELOPMENT “Everything Old Is New Again”: Research Collections at the American Antiquarian Society Joanne D. Chaison 14 In the Age of the Web: Strategies for Building a Collection of Primary Sources for European History from the Middle Ages to the Eighteenth Century Paul Saenger 30 The Elmer L. Andersen Library: Accomplishing the Impossible Donald G. Kelsey 49 Special Collections Outside the Ivory Tower Susan M. Allen 60 Mutually Assured Survival: Library Fund-raising Strategies in a Changing Economy Lisa Browar and Samuel A. Streit 69 11. NEWWAYSFOR OLDLIBRARYPRACTICES: PUBLIC SERVICE AND CATALOGING Public Senices and Outreach in Rare Book, Manuscript, and Special Collections Libraries Daniel Traister 87 New Trends in Cataloging Rare and Special Materials DeborahJ. Leslie 109 111. PRESERVATIONAND CONSERVATION A Brief Look at Recent Developments in the Preservation and Conservation of Special Collections Jennif.. E. Huin 112 Molirig Image Preservation in Libraries Paula De Stefnno 118 Digital Imaging and Conservation: Model Guidelines John E Dean 133 IV.GLOBALISSUES Special Collections in an International Perspective Alice Prochaska 138 The Role of Displaced Book Collections in Culture Ekatm'na Genievn 151 v. INTO THE FUTURE The ARL Special Collections Initiative Joe A. Hmitt and Judith M. Pnnitch 157 Authenticity and Affect: When Is a Watch Not a Watch? Abby Smith 172 VI. -
Caring for Your Prints, Drawings and Watercolours
The text of this leaflet was originally prepared by Catherine Rickman ACR MIPC for the Museums & Galleries Commission, now MLA: The Museums, Libraries and Archives Council for its publication Ours for Keeps, and adapted for this publication. Suppliers of conservation quality storage and mounting materials Conservation by Design Ltd. Timecare Works, 5 Singer Way, Woburn Road Industrial Estate, Bedford MK42 7ATelephone 01234 853555 Website: www.conservation-by-design.co.uk Conservation Resources (UK) Ltd. Unit 2 Ashville Way, Oxford OX4 6TU Telephone 01865 747755 Website: www.conservationresources.com Caring for your Falkiner Fine Papers 76 Southhampton Row London WC1B 4AR Telephone 020 7831 1151 John Purcell Paper 15 Rumsey Road, London SW9 OTR Telephone: 0207 737 5199 www.johnpurcell.net prints, drawings Photograph copyright – the Trustees of the British Museum and watercolours Works of art on paper appear in almost every private or public collection and cover a vast range, both in subject matter and value. For further information contact IPC email:[email protected] www.ipc.org.uk In Europe, paper has been in common use as a picture support since the mid-fifteenth century and is still the material on which the majority of artists’ images are produced. Contact the Preservation Department Phone: +44 (0)20 8392 5200 email: [email protected] www.nationalarchives.gov.uk The National Archives Kew Richmond Surrey TW9 4DU The materials When handling the work of art, you should touch the paper as little as possible What you can’t do From old master drawings to contemporary prints, the paper is fundamentally and keep your fingers away from the image. -
The Fine Art Trade Guild Standards for Mountboard (Mat Board) and Other Boards Used in Framing
The Fine Art Trade Guild Standards for Mountboard (Mat Board) and other boards used in framing. Amended 10th June 2004 Copyright C Sumner, Fine Art Trade Guild Introduction These standards are directed to the composition, combinations, and characteristics of papers and paper-boards used in the framing of artwork, keepsakes and memorabilia. They help to give material categorisation of these to fit into the five levels of framing specified by the Fine Art Trade Guild. The objective of each level of framing is stated, with examples of the kinds of things for which that level is suitable. At present, all board that does not meet either the Cotton Museum Board standard or the Conservation Board standard will be deemed to be Standard Board and suitable for Commended, Budget and Minimum levels of framing only. The specifications for Standard Board may be further refined in due course as the quality of boards in this category vary greatly. Conservation Board is deemed to be acceptable for all levels except Museum level framing. Museum Board is deemed to be acceptable for all levels of framing. It is a prerequisite that the type of surface and texture must be specified relating to any board purporting to meet Guild Standards. If the surface is designed to accept decoration and embellishments, as in the case of Mountboard unless otherwise stipulated, it should be fit for the purpose. (FACTS Institute, USA, Test No. 6-97). International – Note that in some markets no distinction is made between Museum and Conservation Framing. In others, the terminology is reversed, i.e. -
MINOR HISTORIES Statements, Conversations, Proposals MIKE KELLEY Edited by John C
KELLEY MINOR HISTORIES Statements, Conversations, Proposals MIKE KELLEY edited by John C. Welchman What John C. Welchman calls the “blazing network of focused conflations” from which Mike Kelley’s styles are generated is on display in all its diversity in this second volume of his writings. The first volume, Foul Perfection, contained thematic essays and writings about other artists; this collection concentrates on Kelley’s own work, ranging from texts in “voices” that grew out of scripts for performance pieces to expository critical and autobiographical writings. Minor Histories organizes Kelley’s writings into five sections. “Statements” consists of twenty pieces produced MINOR between 1984 and 2002 (most of which were written to accompany exhibitions), including “Ajax,” which draws on MIKE KELLEY Homeric epic, Colgate-Palmolive advertising, and Longinus to present its eponymous hero; “Some Aesthetic High Points,” an exercise in autobiography that counters the standard artist bio included in catalogs and press releases; and a sequence of “creative writings” that use mass cultural tropes in concert with high art mannerisms—approximating in prose the visu- MINOR HISTORIES al styles that characterize Kelley’s artwork. “Video Statements and Proposals” are introductions to videos made by Kelley and other artists, including Paul McCarthy and Bob Flanagan and Sheree Rose. “Image-Texts” offers writings that accom- Statements, Conversations, Proposals pany or are part of artworks and installations. This section includes “A Stopgap Measure,” Kelley’s zestful millennial essay in social satire, and “Meet John Doe,” a collage of appropriated texts. The section “Architecture” features a discussion of Kelley’s Educational Complex (1995) and an interview in which he reflects on the role of architecture in his work. -
Durability of Paper and Writing
Proceedings of the International Conference Durability of Paper and Writing November 16–19, 2004, Ljubljana, Slovenia Organized in the frame of the EC 5th Framework Programme projects MIP, Papylum and InkCor Proceedings of the International Conference Durability of Paper and Writing November 16–22, 2004, Ljubljana, Slovenia Editors: Jana Kolar, Matija Strlic and John B. G. A. Havermans Published by National and University Library, Ljubljana, Slovenia, 2004 CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 7.025.3/.4:676.2(063)(082) 7.025.3/.4:667.4/.5(063)(082) 676.017(063)(082) INTERNATIONAL Conference Durability of Paper and Writing (2004 ; Ljubljana) LjuProceedings of the International Conference Durability of Paper and Writing, November 16-19, 2004, Ljubljana, Slovenia / [editors Jana Kolar, Matija Strlic and John B. G. A. Havermans]. - Ljubljana : National and University Library, 2004 ISBN 961-6162-98-5 1. Durability of paper and writing 2. Kolar, Jana 216440320 Durability of paper and writing 7 MIP – NOT JUST A EUROPEAN NETWORK John Havermans TNO, Delft, The Netherlands e-mail [email protected] 1. Introduction Within the applied research and applications we have three theme groups. Networking of communities of researchers, infrastructure owners and users is one of the important In our network we see the conservation of objects instruments the European Commission DG Research is divided in two parts. Active and Preventive conser- offering in order to establish co-operation and co- vation, while active conservation is split in the chemical ordination between existing facilities, researchers, end- and physical aspects. users, industrialists, manufacturers and designers. -
The Lost Art of Splitting Paper: Recreating the Interventions of an Eighteenth-Century Collector Mulshine, ANAGPIC 2017, 1
Shannon Mulshine Conservation Center, Institute of Fine Arts, NYU Supervisors: Margaret H. Ellis, Giada Damen, Lyndsey Tyne The Lost Art of Splitting Paper: Recreating the interventions of an eighteenth-century collector Mulshine, ANAGPIC 2017, 1 Introduction Splitting Paper & Paper Splitting: Origins and Brief History Splitting paper is a procedure by which one makes two sheets from one. Rather than cutting the top half from the bottom half, or performing any other variation of simple dismemberment, splitting separates the recto from the verso by dividing a sheet through its thickness. The product is two thinner sheets of the same dimensions (l/w). Historically, paper was split for many reasons. The earliest paper splitting was probably undertaken for the discrete addition of margins to trimmed prints. Pierre-Jean Mariette, an eighteenth-century collector and connoisseur of prints and drawings, may have been the first to apply the technique to entire drawings (Smentek, 2008, 48). Splitting drawings has historically been undertaken by some collector-dealers to increase profit by selling multiples; for Mariette, however, this was rather a solution to the visual limitations of mounting double-sided drawings (De la Chapelle, 2015, 40). Unlike contemporaries who mounted drawings in albums, in which double-sided drawings could be set within windows cut out of pages and thereby viewed from both sides, Mariette’s practice of mounting overall to boards could not accommodate such windows. Some have suggested that Mariette even split papers to preserve their appearance, by preventing iron gall ink migration from one side to the other (Smentek, 2008, 50). By the 20th c., paper splitting had become Mulshine, ANAGPIC 2017, 2 common knowledge among restorers, and eventually, descriptions of the previously concealed process were published (Brückle and Dambrogio, 2000; Schweidler, 1938, 104-5). -
PART 2 Guidelines for the Construction of MARC 583 Fields -- by ACTION
MARC 583 $2 Preservation and Digitization Actions PART 2 Guidelines for the Construction of MARC 583 Fields -- BY ACTION Contents and Hyperlinks $ a (Action) = acquired surrogate.................................................................................... 2 $ a (Action) = condition reviewed.................................................................................... 5 $ a (Action) = conserved or will conserve or will not conserve .................................... 9 $ a (Action) = digitized or will digitize or will not digitize........................................... 12 $ a (Action) = housed ...................................................................................................... 15 $ a (Action) = mass deacidified or will mass deacidify or will not mass deacidify .... 18 $ a (Action) = microfilmed or will microfilm or will not microfilm............................ 21 $ a (Action) = rebound.................................................................................................... 24 $ a (Action) = repaired ................................................................................................... 27 $ a (Action) = reproduced in analog or will reproduce in analog or will not reproduce in analog .................................................................................................. 30 $ a (Action) = reproduced in print or will reproduce in print or will not reproduce in print..................................................................................................... 33 $ -
Smart Museum of Art the University of Chicago
SMARTSMART MUSEUM OF ART THE UNIVERSITY OF CHICAGO BULLETIN 2010–2012 WELCOME The Smart Museum’s 2010-2012 Bulletin to great e!ect through iPads accompanying special exhibitions EXPLORE is an opportunity to reflect on two and videos featuring original and intimate interviews with Our new interactive online Bulletin format allows you to years of exceptional growth in the life artists. In 2011, we also revamped our approach to membership easily view original content of this institution. During this time, and the annual fund by uniting them in the more streamlined on our Vimeo channel, we made significant additions to the Smart Partners program. It is not enough for us to present slideshows on Flickr, and other great resources. collection, collaborated with exciting the most distinctive and engaging visual arts programming Hyperlinks throughout this new partners, and presented inspiring possible: We also want to fully convey the vibrancy of our work document are indicated by exhibitions and programs. Guided by to all of our audiences. bold blue text. You can also skip from section to section a new strategic vision, we embraced a The Bulletin allows us to acknowledge everyone who, in a vari- using the buttons at the more active leadership role on the University of Chicago campus. ety of ways, has helped to encourage, challenge, and sustain the bottom of the page. Enjoy And while our sta! and budget increased judiciously alongside Smart Museum. Indeed, none of the accomplishments found in exploring! our ambitions, we are pleased to report that we have maintained the following pages would have been possible without our gener- CO N N EC T a balanced budget every year since the Museum opened in 1974. -
PO Journal E Director's Comment
ISSN 1461 4154 PO journal e director's comment The N PO has moved into the cp new British Library building at NPO Journal St Pancras! Turpin Distribution Services Ltd Blackhorse Road Letchworth Hertfordshire SG61 HN Tel: 01462 672555 Fax: 01462 480947 National Preservation Office The British Library, 96 Euston Road, LONDON, NW1 2DB Tel: 0171-412 7612 Fax: 0171-412 7796 he move to the new British the Office's main concern: the • Library building at St Pancras, development of a national supported by Tafter months of deliberation preservation strategy. The British Library and uncertainty, capped a year of In the last two years, we have The Public Record Office extensive growth and transition for continued to run the enquiry service The National Library of the NPO. on a fairly small scale. Over the last Scotland We moved in on the 14th six months we have been able to Trinity College Library Dublin December 1998, and after the devote more time and energy to it and The Consortium of University Christmas break, have begun to settle can now once more offer a fast Research Libraries in well and surprisingly quickly. The response enquiry and information Cambridge University library professional and practical benefits of service on aspects of preservation The National library of Wales th is move will become even more relevant to libraries and arch ives. Our The Bodleian library, apparent over this next year. aim is to continue to work on this so Oxford University The integration of the independent that the Office becomes a natural focus of the NPO, within the new focus to which professionals come to Cover picture: John British Library at St Pancras, means for advice and to share experiences.