After some deliberation, the decision was made to store this item rolled on a hollow tube. Our housing method is fairly straightforward: We started with a piece of unbleached cotton muslin, cut larger than the banner in all dimensions, placed on a work surface of assembled tables. The banner was placed in the center. A rigid tube, about 5″ in diameter and wrapped in high quality paper, was placed at one end of the muslin (as pictured above). These tubes are constructed of blue/grey barrier board, with neutral pH adhesive, and have passed the . They are available through several suppliers like or . With a person at each end of the tube, we slowly rolled the muslin and banner together, being careful to smooth out any distortion or creases as we went. The bundle was then loosely tied up with twill tape.
Unfortunately the poor quality plastic of the dust jacket has not aged well. Small pieces of the plastic dust jacket were in danger of flaking off with every movement and could hardly be handled safely. In order to keep the dust jacket on the book but still allow for handling of the item, Curator Andy Armacost had the idea of using a dust jacket protector similar to the type sometimes used on our general collections items. This traditional style of dust jacket cover has a Mylar front and a paper backing that wrap around the dust jacket to protect it from wear.
All the papers in the Stationery range are suitable for mono and colour desktop
printing as well as litho, screen and letterpress print and come with
matching board weights. The ideal environmental option for quality business
communications, prestigious mailings, leaflets and merchandising.
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Senior Conservator Erin Hammeke had previously used a tool developed by Victoria Binder to make a color accurate printed reproduction for use in an exhibit so I decided to look into that. Victoria’s article in ’ discusses using the Action feature in Photoshop to automatically make variations on settings like midtone color, exposure, and saturation in an easily printable contact sheet. I wasn’t looking to create a fill for a photograph, but color matching a printed image to an original was exactly what I needed. By using Victoria’s Actions Set I could easily print contact sheets with up to 15 variations on a single page, and pick the one that looked closest to the original without wasting reams of paper.
I tried black and white photocopies of the cover on white paper and colored papers. They gave a similar idea of the original cover design, but I was really hoping for something more detailed and accurate.
This would have the benefit of completely surrounding the plastic dust jacket and preserving all of its parts while allowing it to stay in place on the book and be handled. The trouble is that the paper backing on this kind of product would obscure what was printed directly on the book’s cover. So I attempted to create my own dust jacket cover where the paper backing was printed with a copy of the original boards.
This watermark is produced by ‘flat’ technology machines during the making of paper, the contrasts in the hues are created by the different thicknesses of the fibres in the pulp mixture. As compared to a mould-made watermark, the hue contrasts are less rich and evident, however it still remains one of the most widespread and effective means against counterfeiting of value security paper.
The “sewing” effect created by the security thread which ‘comes in and out’ of the surface of the paper is obtained thanks to this special process, which transforms the surface of the paper into a delicate transparent veil which covers and highlights the security thread at regular intervals.
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After firmly re-attaching the front board, I covered the split leather along that joint with a thin, flexible overlay of toned Japanese paper. The leather had been very heavily dressed at some point, and that coating had become quite dark over time. I was able to remove the coating during treatment, which brightened up some of the tooling on the boards and spine.