Ngrams: Book Conservation, Art Conservation, Book Restoration, Art Restoration

An N-gram is a continuous series of letters or words. In linguistics, they are useful for gathering information about frequency of use. Google has an Ngram tool that uses more than eight million of the texts it has scanned, which is estimated to be six percent of all books ever published. I thought it might be interesting to compare four terms: book conservation,  art conservation, book restoration, and art restoration. I selected the years 1900-2008 and added some smoothing to make the trends more clear. It is also possible to distinguish between English and American usage, though I didn’t do this.

Larger table at Google Ngrams

A couple of things jumped out at me. The use of the term conservation essentially overtook the term restoration in the mid-1970′s, which also roughly correlates with the beginning of professionalism in the field: the founding of the American Institute for Conservation (1972), journals, graduate schools, conferences, etc….

We see a peak in book conservation in the mid-1980′s.  The Columbia University Library and Archives program was in full swing and grant money was plentiful. Microfilming was still the dominant method of reformatting. Book conservation, along with book restoration, has declined precipitously since this time.

The term book conservation gets used roughly 25% as much as art conservation in 2008. It also seems to be on a bit of an upswing.

For a short time in the late 1960′s and early 1970′s, book restoration was even more popular than art conservation. I’m not quite sure what explains this, the Florence Flood? Chance?

It is debatable exactly how the frequency of these terms used in publications reflects the growth, size and public perception of the field. They also likely bear little resemblance to the actual practice of restoration and conservation.  Additionally, I think journal articles are not included, as well as online sources, which might change things dramatically.

My gut feeling, though, is that this graph roughly mirrors the popularity, size and funding for book conservation, which has declined significantly over the past 25 years. Art conservation seems to have declined less, but still significantly since 2000. But the frequency of these terms is still about half of the peak. It has often been noted that creating a written body of literature for book conservation is a necessary step towards professionalism and even some kind of certification in the United States, which currently does not exist.  Are we farther away from that goal now than we were in 1985?

Ngrams can be a pleasant time sink serious tool for the statistical analysis of use frequency patterns. Finally, we can answer such crucial questions as were The Beatles more popular than Jesus Christ?

Cooked Books

In preparation for an upcoming lecture on book boxes (May 23, 2013, 6:30) and workshop on drop spine cradle boxes (May 24-25, 2013) at Columbia College in Chicago, I’ve run across some crazy ideas on how to protect a book.  The housing system below is noteworthy. Over 200 books at an NYC Institution were treated this way.

The outer shell is an acidic marbled paper and a laser printed paper label.  As you can see, it is difficult to unwrap the book without tearing the deteriorated paper. The laser printed label seems to date this treatment after the early 1990′s. Is it my imagination, an accident, or did the person who wrapped this book take extreme care to try and match the marbled patterns at the join of the paper?

The next layer is the big surprise: aluminum foil. At the moment, I can only think of one reason for wrapping a book in foil, to prepare it for baking. I’m not sure what the Interactions between the aluminum and leather might be, but the mechanical problems are quite apparent, since the extra aluminum is rolled up and pushed onto the head and tail of the text block causing uneven stresses when the book is shelved upright. Again, it is unwieldy to unwrap.

These books were also given an marinade of potassium lactate according to the treatment records. I think this must have caused some of the blackening and changes to the surface texture of the leather—they do look a little like they have been baked. Potassium lactate is used as an antimicrobial preservative in Hot Dogs.

Putting potassium lactate on leather books is a very bad idea, though. Even though it is discussed in some older book restoration manuals, it has been discontinued because of the damage it can cause. Tom Conroy (in the first comment) dates this treatment to 1984. At least one conservation vendor in the US still sells it, though.

The best way to preserve leather bindings is to put nothing on them. If there is already red rot, you should consult with a book conservator. Pass the ketchup.

Cobden-Sanderson’s Workshop

Cobden-Sanderson’s Workshop, Illustrated London News, March 1890, p. 323. My Collection.

The quality of Cobden-Sanderson’s work is perhaps only matched by the size of his ego. In true arts and crafts fashion, he raises handwork—especially his handwork— to almost godlike status. His quasi-religious writings are hard to swallow, but his bindings are really beautiful. I’ve had the opportunity to see many of them and to work on a couple of them as well. They are quite refreshing from much of the trade work of the day. Unfortunately, many of the materials he used are often poor quality. The books I’ve been able to see the structure of have common late nineteenth century structural weaknesses: very thin slips, tissue thin leather jointed endsheets, and overly pared covering leather. Ironically, in the article he wrote to accompany the above illustration, he derided “temporary” bindings, like the cloth case, which have often survived in better condition than his bound books.

The studio or workshop of a craftsman often tantalizing in the details of tools and equipment. Cobden-Sanderson and Anne, his wife (he also took her surname, unusual for the time) work in a domestic interior, an English parlor. There are not many tools or much equipment pictured, a chest of drawers on the left, perhaps for storage, a two-rod nipping press with typically English ball ends on the handle. I think this is sitting on a woodworking bench with a leg vice, not a lying press: only one wood screw handle is visible. Reportedly, Cobden-Sanderson was also quite interested in wood carving around this time. Anne sits in the corner next to the fireplace sewing on a frame that is resting on a small table. It appears a paste pot sits on a stool, next to some books stored on their fore edge (!) on a bookshelf. Other tools and tennis (or squash?) rackets hang on the wall. Cobden Sanderson sits on a high workbench, wearing a very long work apron. Just behind him is a freestanding gas finishing stove. On his right is another sewing frame, with a dedicated stool. The central placement of the finishing stove reflects his emphasis on tooling, which was considered the creative aspect of bookbinding at the time.

Cobden-Sanderson, and the arts and crafts movement in general, tried to wrestle bookbinding away from machines, and machine like hand-work as practiced by the large trade binderies of the day. His workshop suggests a smaller, more intimate surrounding is a way to accomplish this, a return to an idealized medieval past. In Cobden-Sanderson’s workshop, craft is integrated into the life of the craftsman, the workshop and the home united.

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The  top illustration is after a photograph reproduced in Marianne Tidcombe The Bookbindings of T.J. Cobden-Sanderson: A Study of His Work, 1884-93, London: The British Library, 1984. In the case of this image, there is little doubt that it accurately describes his workplace.

Scalpel for Book and Paper Conservation

In book and paper conservation, there are many times when a substance or material needs to be mechanically removed or scraped off. Standard scalpels with replaceable blades are ok for cutting, but less than ideal—even dangerous—for scraping. The blades are very thin, flex unduly, and are easy to break where they slide into the handle. The blades often stick out wider than the handle, making them uncomfortable if you choke up close to the cutting edge. Older surgical and dissection scalpels are useful, but often are flat or hollow ground which is not great for slicing thin layers and scraping.

This precision instrument has a convex bevel which helps it to skate along the surface of a substrate, lessing the change of digging into it.  The shape of the cutting edge allows it to be comfortably held either at a very low angle or a higher, 45 degree one (similar to holding a pencil). This knife can be used for delicate lifting or separating adhered materials, and is very useful for removing encrusted glue on spines. Depending on the angle you hold the knife, the cutting edge can be a barely above the surface, and the knife rests on the rounded side bevel.

The convex bevel creates a very durable edge that can be used for chipping hard glue, etc. The steel is softer than my paring knives, making it less brittle and easy to strop. The thread wrapped handle and carved hardwood handle make it comfortable for working long periods of time, even if your hands start to sweat.

The sides of the blade are carefully rounded to make it comfortable to hold and well balanced to use. The high carbon steel is hardened to between Rc 50-55, is 1.5 inches long (40mm) and 1/16 inch (1.5mm) the hardwood handle 5.5 inches (140mm) long.  The knife is about .5 inches wide at the widest part. Overall length about 7 inches (180mm) and weighs .7 oz (20g), though the weight varies and depends primarily on the species of the wood handles. The current batch has Lignum vitae handles.

ITEM # WS: $175.00

Unbelievable Book Sewing. The American Bookbinders Museum. Petition Against the Closure of the Greek Conservation Department.

Chase, A. and Clow, Stories of Industry, Vol. II. (Educational Publishing Co.: Boston, New York, Chicago, 1891), 174. Author’s collection.

I can’t quite believe the above image reflects an actual practice. Sliding the books up after they are sewn? This would seem to cause extreme abrasion to the cords, thread and signatures. Cords from this time are often very weak, though. There are other suspect elements; the title is wrong and the sewing frame uprights are incredibly tall. The whole frame would likely be very unstable and the tension on the cords would be extreme; could three weak, thin, late nineteenth century cords support this weight?

Generally this image is believable, though. The body and hand positions of the women are accurate. Women from around this time could sew very fast, 2-3 thousand signatures a day. Being able to sew a large number of books without having to restring the frame would likely be a time savings. Is this image the result of artistic imagination, ignorance or possibly an accurate description of an unusual trade practice?

Whatever the case, I wouldn’t have found this intriguing image if it were not for the wonderful online bibliography of bookbinding manuals from The American Bookbinders Museum. It is annotated, so can save anyone a lot of time searching through less useful sources. The American Bookbinders Museum was also incredibly gracious host when I taught my 18th century French class in San Francisco, letting us closely examine a first edition of Dudin’s 1772 L’Art du Reliure, followed by a reception. Their collection of books, tools and machines is unique and irreplaaceable.

But The American Bookbinders Museum is currently in crisis, due to two water leaks in recent months. They need to raise a lot of money to relocate their collection.  I chipped in. How could you not contribute to a Museum that contains possibly the coolest bookbinders ticket ever?

Collection of The American Bookbinders Museum

If you would like to send a check please  make the check out to “The American Bookbinders Museum” and send it to the following address:

Bookbinders Museum Relief
c/o Taurus Bookbindery
2736 16 th street
San Francisco, CA. 94110

The Museum is a 501-(c)3  organization and all donations will be tax deductible.

For further questions contact Tim James anytime  9:00 AM-9:00 PM PST at 415-710-9369  (Tim James)   or email: Tim [at] Bookbindersmuseum.com

If you are interested in helping to find a permanent home for the Museum and insuring its future please leave your contact information at: info [at] bookbindersmuseum.com

*****

And since you are doing one good deed, how about signing this petition to help save the Greek Conservation Department as well?

Dear friends and colleagues,

The Department for the Protection and Conservation of Cultural Heritage in Zakynthos, Greece of the Technological Educational Institute of the Ionian Islands is threatened with unjust and unreasoned closure by the Greek Ministry of Education.

The profession of conservation is suffering a blow yet again, following the closure of several courses throughout Europe over the last few years and job cuts in museums, libraries and institutions, putting our cultural heritage at greater risk.

Please read our petition and if you support our cause sign it and forward it anywhere you can.

http://www.ipetitions.com/petition/greek-conservation-department-at-stake/

[NOTE: The appeal for money after you sign the petitions is for ipetitions, not Greek Conservation]

Thank you for your help,

Nikolas Sarris

_______________________________
Nikolas Sarris, PhD
Book Conservation, Assistant Professor
TEI of the Ionian Islands
Dep. for the Protection and Conservation of Cultural Heritage
Zakynthos 29100 – Greece