The conservation team was recently commissioned by the British Library’s Artist in Residence, Rob Sherman, to create a retrospective binding to his specifications. This would form an integral part of his project whilst at the Library and would be exhibited in the ‘Lines in the Ice: Seeking the Northwest Passage’ exhibition. The book would begin life with blank pages which Rob would fill as part of his work, but the binding itself would already have a fictional material history, written by the artist but to be created by Conservation.
As conservators, our usual role is to repair damage, to remove harmful substances and to support weakness whilst preserving the history of an item, so this project proved to be something of a different challenge. One of the most important aspects of our job is to understand the past history of an item from changes to its physical form - its material story - and to preserve aspects of this story by leaving what we can undisturbed and documented. But for this project, we were going to create that story using our knowledge of the materials that we use on a daily basis… and a few unusual ones!
The book’s covering leather was to resemble salmon flesh; it had a groove cut away at the head to accommodate a fishing rod, gold finishing on the boards and spine, marbled paper endleaves and various other features. It was also to have specific damage deriving from fictional events on the Arctic trip - burn damage, ink splashes, cut marks and dents among many.
The challenge for us was immediately clear:
• To design a binding whose structure and components were historically believable but still met the aesthetic needs and specifications of the artist
• To choose appropriate materials which we could manipulate to artificially adopt the ageing characteristics of a book of that age and use
• To ‘age’ the book using a given narrative and for this to be visually convincing to ourselves as experts in the deterioration in books and paper, but also to the public and their expectations of ‘old books’
After initial consultation with Rob, the binding was underway. Paper was selected which could be abraded and cockled but also be worked on by Rob with his inks and watercolours. Samples of toned goatskin were prepared taking inspiration from the raw flesh of salmon and headband silks were selected to match. The sections of the text block were cut unevenly to resemble slipped sections as sewing thread deteriorates and once the fibres at the paper edges were disrupted and roughed up, they were toned with acrylic paints to resemble the typical damage from dust, dirt and handling that we see on a day to day basis.
The book takes on a rounded appearance which is afterwards given shoulders for the boards to sit against. A pair of heavy boards was made up to compliment the weight and dimensions of the text block and the natural hemp cords were then laced into holes punched into the boards.
Part of the book’s story is that it was made with a ‘V’ cut completely through the front and back boards as well as the paper pages at the head to enable it to be used as a rod rest. Being an unusual request, it posed a problem when turning in the leather around this area. It was solved by paring thin strips to cover the inside edges of the ‘V’ before the main covering took place and again afterwards facing the groove with thin strips of leather to make the covering appear seamless.
The colour of the leather was critical to the success of the project and small sample strips were toned in different strengths so that Rob could pick the one most appropriate to his vision. Natural goatskin leather was chosen for its distinctive grain pattern and a herringbone pattern similar to that found in the flesh of salmon was masked out in places whilst toning to give a suggestion of fish texture in the skin.
Some thought was given to the process of distressing so as to achieve an interesting balance between the careful control of materials and the randomness of physical ‘accidents’ like burning and splattering inks.
The spine area and board edges were toned to take on a ‘dirty’ or discoloured appearance and tidelines and water damage were constructed around the ‘V’, emulating a wet fishing rod being placed there. The leather and labels were abraded and the corners softened to give a sense of wear and tear.
The process of making the new appear old was fascinating. To imagine the book being used within the context of a story and then to create layers of patina and wear and tear which depict that narrative, really made us conscious of how intuitively conservators understand patterns of damage and deterioration. It has been a really different experience to work ‘in reverse’ and surprising and valuable to discover how much of our knowledge of the deterioration of paper based materials and book structures were required to make the ageing of the Salmon Book appear convincing and yet to do all this without actually physically or chemically damaging the book - a future collection item.
Royston Haward and Zoe Miller