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?

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.

______________________________________

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.

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

Accidental Book Art

A Millennium of the Book, Edited by Robin Myers & Michael Harris, contains seven important essays on book history.  Likely the best known to book conservators is Nicholas Pickwoad’s  ”Onward and downward: how binders coped with the printing press before 1800″.

Standing upright in the middle of a section of my copy of this book is a manufacturing error— a broken sewing needle.  I can feel it’s impression on about 30 leaves before and after it.

A material manifestation of Pickwoard’s argument in the 20th century? Accidental book art?

Jacques Board Shears

Bill Minter has recently written an excellent summary of how to adjust a Jacques Board shear, on the Guild of Book Workers Blog. There is also a fantastic diagram of the yoke and what the nuts, bolts and lock washers actually do.  I had opportunity to take Bill’s workshop a few years ago on adjusting these troublesome beasts. For a large, seemingly indestructible cast iron machines, they are finicky to adjust, and even just moving them can cause alignment problems. It can take a long time to get them adjusted. But when they are working well, they are a real pleasure to use; much nicer than any currently manufactured board shear I’ve used. I’ve written a bit in the past about the importance of the board shear in the nineteenth century.

Bill mentioned two basic types of Jacques shears, though I would consider at least three early twentieth century ones and would guess there are more. Bill provides images of these three machines in a Jacques catalog from 1923, and below are earlier images starting around 1898. Although we generally call all of these machines board shears, some were originally made to cut specific types of board.

1. THE BOOKBINDERS’ SHEARS

The Paper Box Maker, Vol. 27, No. 1, November 1918, p. 29.

Above is my favorite Jacques Board Shear.  Bill mentions the reinforced “L” shaped arm that makes these extremely rigid machines, but the outer gauge is also heavy duty, with a stop on the two rack and pinion. This is the only model I’ve used where the outer gauge can be adjusted and stays in place. Once you use one of these machines it is difficult to use another one. The only downside is that they take up the most floorspace, are the heaviest and are the most cumbersome to move.

2. THE CARD CUTTERS’ AND FINE PAPER BOX MAKERS’ SHEARS

The Paper Box Maker and American Bookbinder, Vol. 7, No. 10, August 31 1899, p. 15.

The Fine Paper Box Makers’ Shears, were not only made in wood and metal tops, but with automatic or foot operated clamps.  I have a small 30 inch machine with an automatic clamp.  It is very cool: bring down the blade and the clamp automatically lowers onto the material to be cut. This is one sweet machine, though I wish the arm were a little beefier. This is not a hugh problem on my small 30″ machine, but might be on larger ones.  Another nice feature of  a Fine Paper and Box Makers Shear is that the clamp is very narrow, about 3/8″. This makes sighting the cut easy, but virtually eliminates the most common accident that happens on board shears, pinching your finger under the fence. Pinching is perhaps an understatement: I know binders who have lost a fingernail and had to go the the emergency room.

Name plate on my Jacques “Fine Paper Box Makers’ Shears” circa. 1899 with automatic clamp.

3. THE PASTEBOARD SHEARS

The Paper Box Maker and American Bookbinder, Vol. 7, No. 1,November 1898, p. 15

The pasteboard shears are the lightest, and least expensive of the three. Bill mentions that some board shear blades have a chisel edge, rather than a fairly obtuse grind that is best suited for mill or binders board. I have seen a number of these machines—all with wood tops—sold from leather working factories, were they also made specifically for cutting leather? They also tend to be very large, 50″ and up. The arms are not reinforced, so they are fine, but less than ideal for cutting thicker binders board, especially at full length. The wood top makes them lighter, though. In my experience, these are the most common machines encountered.

ADDITIONAL COMMENTS

Bill makes a number of important points in the article Instead of routinely regrinding the blades it is possible to touch them up fairly easily in situ. This not only extends blades life, but is cheaper and might be necessary in the future. Many blade grinders use expensive, large machinery and were dependent on printing and newspaper industries which are now in decline. I used to make a jig to sharpen blades, but now feel it is easier to hold a small diamond stone (like the fine/ extra fine folding handle stone, 4 11/32 x 7/8″) and touch up the blades by hand, concentrating on the portion closest to the handle where the blade is used the most.

Of course all of this is fairly preliminary research— the basic types of machines are barely identified, let alone the variations through time. The mechanization during the nineteenth century in bookbinding seems strongly related, if not tied to similar trades, like paper box makers. The first commercial paper box was reportedly sold in England in 1817. Much exciting research need to be done.

THE BAD NEWS

It is regrettable that the vendors of used machinery seem uninterested in researching, documenting, and preserving these machines. Of course, these machines need to be functional. But many of the alterations I have seen are done for aesthetic reasons, not functional. Many, even today, are routinely sandblasted and repainted, original wood tops replaced, historical value lost. There is a lot of finger pointing going on: Conservators blame the vendors for over-restoring machines, vendors claim that the purchasers want newly painted machines to match their bindery or conservation lab. How a book conservator can condone this wanton destruction of our mechanical heritage by participating in the marketplace is incomprehensible to me. If book conservators don’t know better, or hold themselves to a slightly higher standard than a non-specialist member of the general public, I’m not sure what to think of the field.