Building a Post Binder for a 19th Century Sewing Book

Sewing Book

Models with Instructions

used by

State Normal and Industrial School

Greensboro

N.C.

1895-1896

State Normal and Industrial School (now UNC Greensboro) once offered sewing classes for the young women attending the school. Along with preparing students to be teachers, the school's Domestic Science Department was also concerned with fostering the skills necessary for women to become good wives and mothers. No doubt sewing could be a useful skill to have during the early 20th century. The Martha Blakeney Hodges Special Collections and University Archives (SCUA) is fortunate to have three of these sewing books created by students in the late 19th century. 

Three examples of sewing models sewn by hand in 1895-1896

The three sewing books were delivered to Preservation Services so that we might devise a way to keep the pages as intact as possible while also stabilizing them. The goal is for these books to be used with classes visiting SCUA. Unfortunately, the substrate pages of the albums are quite discolored and brittle due to the acidity of the paper. Nonetheless, the sewing samples are incredibly intricate and interesting, especially considering they were all sewn by hand. Though there was not much we could do in house about the condition of the substrate pages, we were able to create post binders to better protect them. We also elected to leave the metal fasteners and pins that were securing the sewing samples to the pages because the pages were too brittle to remove them.

Left: Spacers cut from museum board, Center: Drilling holes with
the drill press, and Right: A preview of the spacers between the pages

Often, paper manufactured in the late 19th and early 20th century was created from wood pulp. The lignin, an organic substance that makes the cell walls in plants rigid or woody, in wood pulp contains acid that degrades the paper over time. You may have heard of the “Brittle Book Era”, which refers to this time period when paper manufacturers were under pressure to create a large quantity of paper very cheaply in order to meet the demand of the publishing industry. The wood pulp was cheaper to process into paper but resulted in very brittle paper over time. When brittle paper is torn, or more accurately “broken”, it is difficult to mend as the mend ends up being stronger than the paper being repaired and it simply breaks again along the edge of the mend. There are processes for deacidifying paper, such as washing it to remove some of the impurities and adjust the pH to a more neutral level, or spraying it with an alkaline solution to slow down the process of aging. However, there are often conservation solutions that simply are not feasible for us due to the cost or labor involved. Thus, creating post binders was the right solution for us at this time.

The assembled post binder

The sewing books’ pages were already loose and simply resting inside the sewing album covers, so disbinding was not necessary. The first step of stabilizing the pages was to put each page in a protective Mylar sleeve. This type of sleeve is often referred to as an L-sleeve because the edges are sealed along two sides in an L shape. They serve as a protective barrier both for the item inside the sleeve as well as anything it might come into contact with, such as neighboring sewing samples in this case. Once all the pages were sleeved, the next step was to drill holes near the spine edge so that the posts could be inserted through the covers and the block of pages. However, due to the thickness of the sewing samples, spacers were needed at the spine edge between some of the pages or else the spine would be much narrower than the pages which would result in a wedge shaped book that bulges open at the fore edge. Spacers of museum board (similar to mat board)  were cut to the height of the text block and drilled with a drill press (see pictures). The Mylar pages were also drilled based on the same template so that the holes will align when the binder is assembled. Custom covers were made in three pieces - a spine piece and two covers. The covers also had to be drilled. Once all the parts were prepared, the post binding was actually quite simple to assemble. The screw posts come in a variety of lengths so they can be fit to any thickness of textblock.

Additional views of the assembled post binder

Though it is common to have an extra allowance of space on the spine edge of the Mylar so that the pages can turn, these sleeves were left even larger so that the sewing book pages would not have to flex as much. The original stamped cover designs of the sewing books were removed and adhered to the front of the new post binders. Because the sleeves are not sealed along the top edge at the head of each book, custom-fitted clamshells were later built to house the binders to prevent them from collecting dust.

An open view of the post binder

The post binders are a versatile option for protecting the pages of a book. In this case, they may not be the perfect solution, but they have succeeded in stabilizing the pages and making them a bit safer to handle with a class of students. Ultimately, that is usually our goal - to preserve items for use with researchers, classes of students, and perhaps in exhibitions. 

Too Much Mending, Too Little Time

L: Bound cello music score, R: Detail of damaged cover

This 1917 volume of bound scores, from the collection of Luigi Silva (1903-1961), is part of the Cello Music Collection in the Martha Blakeney Hodges Special Collections and University Archives at UNC Greensboro. It is part of a set of several works bound together under the handwritten title Pezzi repertorio II (Repertoire Pieces II). This volume contains parts for a violin or violoncello and piano. The score also contains handwritten performance notes by Luigi Silva. Silva was a renowned musician as well as a teacher and scholar of the violoncello. To learn more about Luigi Silva, please visit the Luigi Silva Musical Score Collection and Personal Papers.

Damage to the cover on left and to the pages on right

Often, when we receive a damaged item in Preservation Services, we do not know the exact cause of the damage. This score is one such example. The front cover had been punctured by a sharp object, which caused damage through the cover and into the first 20-25 pages of the bound score. Because so many pages had been damaged, it was going to be a time-consuming task to mend the same hole or loss on all of the 20 or so damaged pages. 

Mending this type of damage requires careful consideration of materials. Though the score is unlikely to be used in performance any longer, it was necessary to ensure that the mend would remain flexible as the pages are turned by researchers or perhaps when the book is shared with a class. Mending tissues are often selected based on the type, age, and condition of the paper being mended. For example, a very brittle paper mended with a thick piece of Japanese paper would simply break again next to the mend, as the mend would be stronger than the paper itself.

L: Hole as it appears on one of the first pages, vs.
R: Hole as it appears on the last damaged page

The paper in this score was relatively stable in condition, so brittleness was not a concern. However, adding a Japanese tissue mend to each of the 20 or so damaged pages would quickly build up thickness in that one area that could be problematic in the function of the book. For that reason, a thin Japanese paper was used along with rice starch paste to mend each of the holes.

Another consideration in completing this type of mending is how much time is involved. Often in Preservation Services, we are able to go beyond basic repair and even restore a damaged item to close to its original condition. However, we must balance how and how often the item will be used in the future with how much time we can invest in its repair. Not every item warrants a full restoration.

L: The hole being repaired, R: Applying pasted tissue to the hole

In this case, the item may be used in the future by researchers, in a class, or in an exhibition, so it was necessary to spend more time in the conservation process rather than simply providing a protective enclosure for storage. To that end, in projects such as this one it becomes necessary to save time whenever possible as there are so many conservation projects in the queue. Not only do we conserve items in Special Collections and University Archives, but we are also tasked with preserving materials in the general circulating collections of Jackson Library as well as those in the Harold Schiffman Music Library on campus.

When time and space are not as much of a concern, or when working on a flat item such as a letterpress printed broadside, it would be common to allow each mend to dry under blotter and weight while working on another project at the same time. In the case of repairing this bound score, a quicker method was employed. A small travel iron on a very low heat setting was used to quickly dry each mend before moving on to the next one. So, mending more than 20 pages took a fraction of the time it might have. Applying heat is not always ideal, so the conservator must consider the type of materials being mended and what impact heat may have on the item.

L: Ironing mend to dry it quickly, R: Finished mend

For each mend, a substrate is placed under the page being mended. It consists of a piece of release paper (like parchment paper you might use in baking), which is layered over a cotton blotter on top of a scrap of book board. Rice starch paste is applied to a thin piece of Japanese paper torn to size and applied to the area of the page needing repair. A Teflon folder is used to press and smooth the tissue onto the paper being mended. Then, another piece of release paper is layered on top of the mend and the iron is used to apply heat to quickly dry the paste. The blotter underneath helps to absorb the moisture from the paste. In this way, 20 or more pages can be mended in a fraction of the time. Likewise, because a very thin tissue was used, the "stack" of mends did not build up into a thickness that might have impeded the cover from closing completely. So, the problem of too many mends and too little time was easily resolved.

As you see pictured below, the cover was also mended with a black Japanese paper. Two years ago, we posted another blog entry about mending the corner of a cello music score much like this one. Please click HERE to read about that repair.

Detail of repaired cover

Restoration of a Collection of String Quartet Compositions

Prioritizing our work can be challenging as we provide services to the general circulating collection in Walter Clinton Jackson Library, the collections of the Harold Schiffman Music Library, as well as the various collections of the Martha Blakeney Hodges Special Collections and University Archives. Part of our consideration of how to devote our time depends on how an item will be used, such as in an exhibition, with a class, or for a scheduled researcher appointment. The curator of each collection makes those decisions and the work falls into our work queue according to how soon it will be needed and for what purpose it will be used.

The cello music collections at UNCG constitute the largest single holding of archival cello music-related materials in the world. Stacey Krim manages the collection. One of her many duties is identifying items needing conservation and/or restoration (what's the difference?) so that they may be used by researchers or in classes, stabilized for storage, or handled for digitization purposes. 

Four volumes before treatment

This set of four volumes was bound by one of its previous owners and contains the instrumental parts for a variety of string quartet compositions written by variety of composers and published by different publishing houses between 1780 and 1809. The set was donated to the UNCG Cello Music Collection as part of the Bernard Greenhouse Collection. Krim identified the items as a priority for conservation and transferred them to Preservation Services. We determined that due to their intended use with classes and researchers, both repair and restoration would be necessary.

Left to Right: Quarter Leather, Half Leather, and Full Leather Bindings

The binding style of these four volumes is referred to as half leather. A book with all leather or all book cloth as its covering material is referred to as full leather or full cloth respectively. A book with leather or cloth at the spine and fore edge corners (or sometimes there is a strip of leather or cloth all along the fore edge instead of just at the corners) with an alternate material for the rest of the cover is half leather or half cloth. And, a book with leather or cloth just at the spine with a different material, such as cloth or paper, covering the remainder of the book is referred to as quarter leather or quarter cloth. Quarter and Half bindings were developed as a way to minimize use of the more expensive binding materials by covering the rest of the book cover in a more economical material such as cloth or paper.

Bound volumes with missing or detached spines

Three of the bound music scores were missing the spine all together and one book had a detached spine. The leather at the spines and fore edge corners was dry and brittle. In some cases, the leather had worn away to reveal the book board underneath. 

Tail edge of damaged volume before treatment

Mended pages during the treatment process

After restoration treatment

The paper sides, in this case blue paste paper, were also damaged and worn, particularly at the edges. The text block pages were in fairly good condition, but there were some tears and losses, including insect damage in a few places.

The interior pages were mended with Japanese paper and wheat starch paste. The covering material required several steps of treatment. The leather was treated with Klucel-G, a consolidant that also helps prevent the leather from burning (darkening) during the mending process as it is exposed to the moisture of the paste.
 

Worn leather fore edge corner with damaged board underneath

Rebuilding the board with linen cord remnants and adhesive

The book board was consolidated as well, and in some cases it was rebuilt where it was too damaged or was missing parts. 

During treatment - Japanese paper applied, then toned to match

After treatment - corners fully restored

Toned Japanese paper was applied over the exposed book board and then further toned with watercolor to more closely resemble the original covering material of either leather or paste paper. A coat of Klucel-G was applied over the newly attached Japanese paper and watercolor to further seal and protect the Japanese paper and to match the sheen of the original leather.

Spines during treatment

Spine reattached and secured with toned Japanese paper

The new spines were created with Japanese paper laminated to Irish linen to lend strength, then attached to the books. The one remaining original spine was reattached over the laminated Japanese paper and Irish linen.

Four volumes after treatment

Not all of the books we treat receive full restoration such as these. For example, the priority for a book in the generally circulating collection is to return it to service quickly having been repaired in a method that can withstand the use of many patrons over a long period of time. Though we make every effort to create a tidy, attractive repair, the priority is the strength and speed of the repair. Though the restoration of the four volumes of cello music provides a functional and aesthetically pleasing solution, it required a much more time-consuming process and is perhaps not capable of receiving the regular handling as a book in the general collection.

Nonetheless, it is a treat for us to do restoration work as it is a change of pace and often provides such satisfying results, though more challenging work to do.

Aqueous Treatment & Paper Tape Removal

Paper, essentially a relatively flat sheet of bonded cellulose or plant fibers, can be surprisingly strong and long lasting. As with most organic substances though, it is susceptible to decay when exposed to certain environmental conditions such as too much or too little humidity or excessive heat. Paper can also begin to break down due to the acidity from pollutants in the paper fiber, from media (such as ink) that have been applied, or from surface dirt or grime, such as oils from human skin as the paper is handled. 

Black printing ink created a brownish mirror image on the
facing page as the acidity leached from one page to the next.

Book and Paper Conservators have various treatment methods for removing or reducing the harmful effects of pollutants from paper, such as surface cleaning, deacidification, and aqueous treatment. Aqueous treatment is most often described as the process of cleaning and deacidifying paper by submerging it in a bath of water, or a series of baths. Depending on the item being treated, each bath may last from about fifteen minutes to more than an hour. After each bath, the item being treated is removed from the bath and the dirty water is emptied and replaced with clean water. This process continues until the bath water runs clear or almost clear after soaking. Aqueous treatment reduces the acidity of the paper somewhat, often reduces the discoloration caused by age or environmental exposure, and helps remove some of the dirt and grime from the paper. It can also be a great method for removing some types of tape and adhesives from previous repairs like paper tapes.

Map of Boston from The Life of George Washington, 1807.

Two layers of paper tape were attached to
the folded edge of the map.

This map of Boston is from The Life of George Washington, 1807, and was at one time attached in the book with paper tape or else mended with paper tape at some point. Paper tape often has a water-soluble adhesive, so aqueous treatment is an effective way to remove it, provided the paper can be submerged in a bath of water. Sometimes the paper is too fragile to withstand aqueous treatment or it might contain media, such as ink or watercolor, that is soluble in water, which prevents a conservator from using an aqueous treatment. For that reason, the media must first be tested for solubility. If it is stable, aqueous treatment can proceed.

Water droplet applied to ink to test for solubility.

A small piece of blotter was used to absorb the water
droplet and determine if the media was stable.

The blotter was clean, as seen above, so the media
was stable and aqueous treatment could proceed.

Once the media for this map was tested, the map was placed on a piece of Hollytex. Hollytex is a thin, strong, acid-free, woven polyester that acts as a support while the paper is in the water bath. A second sheet was placed on top so that the map was sandwiched between and it was easier and safer to handle. 

Map resting on Hollytex prior to humidification

Before placing the map in the water bath, it was humidified lightly to help it absorb water more easily once submerged. A Dahlia Sprayer - commonly used in conservation, was imported from Japan, and was selected for its ability to provide a fine mist without droplets or splatters - was used to humidify the front and back of the page prior to submersion.

The water flow was tested prior to misting the map.

 

The back of the map was also sprayed prior to
submersion in the water bath.

 
Once the map was humidified and the fibers were relaxed, the second piece of Hollytex was placed on top and the map was carefully submerged into a bath of water. Light pressure was applied to encourage the map to absorb water and sink into the bath for soaking.

The map, sandwiched between two pieces of Hollytex,
was submerged into a bath of water.

 

Light pressure was applied to encourage the map to
absorb water and sink into the bath.

The map was left to soak so that the paper tape's
adhesive could dissolve and release.

The paper tape

After soaking for about a half hour, the adhesive from the paper tape had softened enough to release from the map. The paper tape was peeled back to the extent possible, then a microspatula and a larger plastic spatula were both used to loosen and lift the remainder of the paper tape carrier.

Once both layers of the paper tape were removed, the surface of the map where the tape was adhered was lightly massaged to remove any remaining adhesive.

Using fingertips to gently massage the paper surface
to remove the remaining adhesive.

The map was then soaked in several successive baths to remove acidity and discoloration to the extent possible.

When tilted, it was easier to see how discolored the water had become.

After the last bath, the map was removed from the bath and placed on a blotter to air dry. Sometimes, paper items will need flattening after washing, but fortunately this map dried flat on its own.

The Hollytex makes it much easier to handle the wet paper.

Draining the majority of the water out before placing on blotter.

Wet map drying between Hollytex on blotter.

The map will be mended and hinged back into its place in The Life of George Washington with Japanese paper and starch paste. Because it was washed, much of the acidity has been removed, so it will be stronger and hopefully be used for many years to come.

Working on Equality: The Lifelong Work of Anna Howard Shaw and A Novel by Edward Bellamy

Equality by Edward Bellamy - After Treatment

A very special copy of Equality, a utopian novel by Edward Bellamy that was first published in 1897, resides in the Martha Blakeney Hodges Special Collections & University Archives (SCUA) here at UNCG and was recently treated in Preservation Services. 

Inscription by Susan B. Anthony

This copy once belonged to Susan B. Anthony and was signed and dated by her in 1903. In later years, it was her gift to her mentee Anna Howard Shaw, a fellow suffragette who was also the lifetime companion of Anthony’s niece, Lucy Elmina Anthony. 

Anna Howard Shaw

Shaw, aside from her many years of service to the cause of women’s right to vote, was also an ordained Methodist minister and a physician. SCUA holds some of her papers dating from 1917-1919, including some letters she exchanged with students of State Normal and Industrial College (now UNCG). Shaw spoke at the 1919 commencement and received an honorary degree. Shaw Residence Hall is named for Anna Howard Shaw.
  

Shaw’s copy of Equality, with its interesting provenance, arrived in Preservation Services in very good condition and requiring only minimal treatment. The title page was loose and the interior hinges of the front and back covers were splitting due to somewhat brittle paper.

Title Page Before and After Treatment

The title page was tipped in with a Japanese paper hinge and starch paste. The hinges were also reinforced with Japanese paper. Minor restoration of the spine at the head and tail was completed using toned Japanese paper and starch paste.

Spine Before and After Treatment

Back Cover Hinge Before and After Treatment

This volume was returned to SCUA and will be used in classes and exhibits. Anna Howard Shaw’s papers are also open for research at the Hodges Reading Room in Jackson Library.