Collection Care blog

This article explores Moda Farfour’s student placement at the BLQFP’s conservation studio. It highlights her work on a specific manuscript and provides an overview of her contributions and experiences throughout the placement.

In August 2024, I joined the British Library Qatar Foundation Partnership (BLQFP) for a student placement as part of my conservation course at City & Guilds of London Art School. I am specialising in book & paper conservation, and I am particularly interested in conserving Islamic and Arabic manuscripts and understanding their unique structures and materials. I chose this placement due to its focus on a distinguished collection of scientific and Arabic manuscripts. During my three weeks with the Conservation team, I gained invaluable insights into the intricacies of the digitisation programme and deepened my understanding of conservation techniques within this context.

The BLQFP project seeks to create a comprehensive digital library that is accessible to audiences worldwide, showcasing a carefully curated collection that highlights the history of the Gulf region and Arabic science. This collection encompasses a wide range of materials, such as manuscripts, maps, archival documents, and photographs. As conservators, our primary responsibility is to treat and stabilise these objects, ensuring they are legible and safe for handling during the digitisation process.

During my time at the BLQFP conservation studio, I had the privilege of working on several scientific manuscripts, each presenting unique challenges. I also had the opportunity to engage with other team members on this project, which helped me gain a deeper appreciation for the workflow and processes involved in creating digitised content for the Qatar Digital Library.

A key focus of my placement was assessing and documenting an objects condition to enable the item to be safely digitised. Navigating time estimates and strict project guidelines in order to meet the projects objectives was both challenging and highly rewarding. Below is an example of a project I worked on during my placement.

Treatment of ADD MS 7490

Image 1: ADD MS 7490 right board of the manuscript, bound in full red leather featuring three blind stamped medallions.

Working on this scientific manuscript was such a treat; on initial inspection, the binding was in overall good condition (Image 1), the textblock, on the other hand, had quite a few issues that needed to be addressed before it could progress to the imaging team. Before beginning any treatments, a full condition assessment was conducted, accompanied by thorough photo documentation.

The binding is in good condition, with minor surface damage to the leather and no structural damage. There are losses, part of the tail-edge tab covering the endband is missing, along with the endband. The textblock is in overall fair condition, with occasional stains, tears, paper losses, ink stains\smudges, surface dirt and edge damage along the paper edges. Some of the gatherings include loose centre-folds.

I began the treatment process with surface cleaning. This crucial step not only helps enhance the quality of the digital images but is also essential prior to introducing any moisture to the paper in the next phase of treatment. If not removed beforehand, moisture can cause dirt to become irreversibly embedded in the paper fibres. Using a chemical (smoke) sponge and a soft brush (Image 2), I gently removed any dirt or dust on the paper. In areas with text, I avoided using the sponge to protect any sensitive media. In cases where stubborn accretions remained, I carefully used a metal spatula to remove them mechanically.

Image 2: Surface cleaning using a soft brush

Following the surface cleaning, I addressed the tear repairs and infills. This phase of treatment is crucial for allowing different stages of the workflow to handle the manuscript safely. For the tear repairs, I used wheat starch paste (shofu) as my adhesive with 3.5gsm Tengu, an unbleached Japanese tissue. The long fibres in the Tengu provide a secure repair, while the lightweight tissue creates almost invisible repairs that enhance image quality (Images 3 & 4).

Image 3: Close up of tear before treatment

Image 4: Close up of tear after treatment

For the infills, I laminated four layers of 12gsm kozo paper to match the thickness of the area being repaired, as well as pairing down the edges so that it sits seamlessly on the original substrate (Images 5 & 6).

Image 5: Before paper infill

Image 6: After paper infill

As for the loose centre-folds, I observed that the silk sewing thread had torn through the paper centre-folds causing them to become loose (Image 7). To address this issue, I decided to repair the tear using 7.3gsm kozo paper (Image 8). This repair not only secures the loose centre-folds but also strengthens the area, preventing the thread from causing further damage.

I began by ensuring that the loose centre-fold aligned properly with the textblock. I also ensured the thread was relaxed and positioned away from the area of the tear repair. I then used wheat starch paste as the adhesive to repair the tear. In areas where additional support was needed, I applied a small amount of paste to the spine fold of the gathering to secure it in place.

Image 7: Close up of the tear in the centre-fold bifolium cause by the silk sewing thread

Image 8: Close up of the repair to the centre-fold bifolium after treatment

Treatment on ADD MS 7490 was concluded by consolidating the tail-edge endband using wheat starch paste to prevent further fraying.

I am deeply grateful for the invaluable knowledge I have gained from everyone at the BLQFP during my time here. It was inspiring to work alongside professionals who are both passionate and deeply committed to the project’s goals. Their generosity in sharing their time and knowledge has significantly enriched my learning experience. I especially want to thank Camille Dekeyser and the Conservation team for their guidance and support, which has been instrumental in shaping my development during this placement.

This article outlines the investigation into the item ‘Swarbreck’s Sketches in Scotland’ and where the item belongs.  

On a smoky day in August 2023, Swarbreck’s Sketches in Scotland appeared on shelf 11B in the Qatar Storage Area. Nobody knew where this item came from or how it came to be on the 6th floor. The item had no content and was merely a front and back cover. Why was it in this storage area? Who put it there? Was the ghost of Swarbreck haunting the 6th floor?

This is the tale of how the mystery of Swarbeck’s Sketches in Scotland was resolved.

Following the smoke incident on the 6th floor on Tuesday 15th August 2023, all items on the floor were moved into the Qatar Storage Area and audited by the Qatar Project Library Collection Assistant’s. when it was safe to re-enter the office, the QPLCAs promptly conducted an audit of the Qatar Storage area, when a mysterious discovery was made, an item called ‘Swarbreck’s Sketches in Scotland’ which did not have a ticket, used for tracking items within the library. The item had no content and was simply the front and back cover. The LCAs first made enquiries with project colleagues enquiring within the project, it was concluded that nobody within the project knew where the item had come from or why it was in the office. No concrete evidence could be established as to how this item came to be on the 6th floor. How were they ever going to find out where it came from?

Img. 1: The cover of Swarbreck’s Sketches in Scotland found in the Qatar Storage Area

The first step in investigating this item and how to return it to the correct department was researching the item in consulting the online catalogue and IAMS. A breakthrough was made- it was found that an item with the name ‘Sketches in Scotland’ by S.D. Swarbreck on the temporary catalogue had two potential shelfmark entries- ‘1780.c.1’ and ‘X 1237’. ‘1780.c.1’ could have been stored in any of the 625km of shelves¹ within the library, however ‘X 1237’ was clearly a map which narrowed the search to only 4.5 million maps². 

Img. 2: The Maps Storage Catalogue

Img. 3: X 1237- Deleted

Upon searching for X 1237 it was found that the item did not exist. In the paper catalogues in the Upper Ground Maps storage, the record for the item said, ‘Not found- entry deleted’. It was a dead end. These paper catalogues contain information from ‘A catalogue of manuscript and printed reports, field books, memoirs, maps, etc., of the Indian Surveys, deposited in the map room of the India office’ originally compiled by Clements Markham in 1878 and so was likely out of date.

However, the item 1780.c.1 was found in basement 2 of the library. The item was similar in size to the front and back covers in the Qatar storage area and the title matched. It was the breakthrough they had been waiting for... 

Img. 4: The other part of the Swarbreck volume

Through research and enquiring around the library, it was concluded that ‘Printed Heritage’ was the department they needed to interview for Swarbreck. Helen Peden, Lead Curator of Printed Heritage, met the LCAs and assessed the item, concluding that it belonged to the Printed Heritage Office. The covers could finally be returned to where they belonged.   

The final decision with what to do with this item was made- for the old front and back covers (found in the Qatar Project Storage Area) to be placed in an envelope with the current item, 1780.c.1, so that the items could be stored together.   

This tale is a clear example of the variety of resources in the British Library Collection and how much items move around the library. It also shows how easily an item can be lost and the importance of tracking collection items.  

Where did the item come from?  

We believe that the item may have been conserved on the 6th floor when Conservation was operating here (before the Qatar Project) however this was over 12 years ago.  

It was also theorized that it may have been relocated from one of the offices on the other side of the 6th floor from the Qatar Project, during the smoke incident.  

We do not know for certain where the item was stored on the 6th floor or how it came to be on the 6th floor. 

Who was Swarbreck?   

Samuel Dukinfield Swarbreck (fl. 1830-1865) was a painter of landscapes and townscapes and was well known for his sketches of Scotland. In 1839, he issued a folio set of 26 tinted lithographs under the title Sketches in Scotland, drawn on stone from Nature. These prints show different areas of Scotland, including busy streets in Edinburgh and the Scottish Highlands. These works represented a romantic visual representation of Scotland, with views of idyllic countryside and cityscapes.  

Swarbreck exhibited at the Royal Academy in the 1850s and 1860, exhibiting over eight artworks. His most famous work, The Bedroom of Mary, Queen of Scots, Holyrood Palace: showing the anteroom where Rizzio was dragged and murdered, and the secret staircase by which the conspirators entered was exhibited in 1856³. His work is represented in institutions including the City of Edinburgh Collection, Culzean Castle and Manchester Art Gallery. 

Img. 5: Samuel Dukinfield Swarbreck (fl. 1830-1865)

Img. 6: The inside cover of ‘Swarbreck’s Sketches in Scotland

Notes

1.  Jeremy Norman, ‘Maybe the British Library is the World’s Largest Physical Library’, Jeremy Norman’s History of Information, 2005 <Maybe the British Library is the World's Largest Physical Library : History of Information> [accessed 28thMarch 2024]

2. A bit about map collections - Maps and views blog 

3. Calton Gallery - Samuel Dukinfield Swarbreck (fl. 1830-1865) 

Sources 

• ‘Samuel Swarbreck’, Anthony Woodd Gallery <Swarbreck, Samuel | Anthony Woodd (anthonywooddgallery.com)> [accessed 3rd April 2024] 

• ‘Biography and current catalogue for Samuel Dukinfield Swarbreck (fl. 1830-1865)’, Calton Gallery, Edinburgh <Calton Gallery - Samuel Dukinfield Swarbreck (fl. 1830-1865)> [accessed  3rd April 2024]  

• Jeremy Norman, ‘Maybe the British Library is the World’s Largest Physical Library’, Jeremy Norman’s History of Information, 2005 <Maybe the British Library is the World's Largest Physical Library : History of Information> [accessed 28thMarch 2024]   

• For image of Swarbreck- Swarbreck, Samuel Dunkinfield - Capital Collections 

In September 2022, I began a yearlong internship at The British Library in the conservation department. Prior to this I studied general conservation at Lincoln University, and whilst I enjoyed learning about all types of materials, once I started treating paper objects I knew that I had found my passion, and hopefully my future career.

My studies took place during the Covid-19 lockdowns, so my access to hands on conservation was limited. Entry-level conservation jobs often require a minimum of two years practical experience post training, so finding this internship felt something like a blessing. During my yearlong internship, I have been learning from expert preventive conservators, object, textile, book and paper conservators in a fully equipped conservation studio. This blog post will give an overview of my time spent during the first six months of my internship, beginning with the Exhibitions and Loans team, and then on the long-term bids team.

Img. 1: The BLCC purpose built main studio

Exhibitions and Loans 

The Exhibition and Loans (E&L) team within conservation deal with the treatment and condition checking of objects that have been requested for upcoming exhibitions, either internally at the BL or externally at other lending institutions, including touring exhibitions.

Condition checking and documentation is crucial to the culture of institutions loaning each other objects as record of the exact nature and degree of all damage is important to show that an object has not been further damaged during transit or display. I started on the Exhibitions and Loans team during the install of the Alexander Exhibition, where I was able to watch loan items from other institutions arrive, and to see how different conservators at a variety of institutions described and highlighted different types of damage. I also had the opportunity to assess and record the condition of individual items going out on loan and an entire touring exhibition on its return to the Library. This allowed me to familiarise myself with the specialist vocabulary used in book conservation, the various book structures, and the common types of damage.

I have learnt that putting together an exhibition is a truly collaborative process. During the install many different departments work together to ensure that the final exhibition is educational, contains the most relevant and beautiful objects, is enjoyable for visitors but above all that the objects remain safe, stable and undamaged. The E&L team play a massive role in this: they decide which items are in good enough condition to be displayed, undertake any necessary conservation treatments and decide how best to display objects.

I also worked on the Chinese and British exhibition; I mounted many flat items for display, learning various techniques that ensure each object is displayed at its best whilst being appropriately supported.

Img. 2: ink on paper map mounted with V-hinge technique so the hinges aren’t visible

Img. 3: ink on paper flat work mounted using Melinex corners and sides for additional support

In addition to mounting objects for internal exhibitions I also treated items for internal and external exhibitions, focusing on damage that could increase whilst in transit or on display or aesthetic damage to the display opening. The following are examples of items I have treated for exhibitions and loans.

Img. 4: Volume 10880.d.27 before treatment

Img. 5: Volume 10880.d.27 after treatment, including binding repair, leather consolidation and covering board corners

Img. 6: Volume 1258.k.5 pre-treatment

Img. 7: Volume 1258.k.5 post-treatment: consolidating leather and covering material, repairing delaminating board corners

Long-term bids

In the long-term bids team I have been lucky enough to have three different mentors with varied backgrounds leading to their slightly different areas of knowledge and expertise. This has been an amazing way of learning as I get to see a wider range of treatments and processes and different ways of approaching similar problems. I have learnt that there is no ‘one size fits all’ approach to conservation, each book is unique and various materials both deteriorate and respond to repairs differently. I explored which approach suited me best and chose the best method and materials for the treatment of every object. I have been able to learn and develop a wide variety of skills this way: tear repairs on flat works, books and scrolls; many applications for different gels; toning tissue; paring, toning  and consolidating leather; repairing board corners; binding repairs; sewing sections of a text block; sewing endbands; removing spine linings and more.  However, for the purpose of this blog I will detail the treatment of 118.e.5, and how I was able to develop the skills required for each treatment step.

Img. 8: Volume 118.e.5 pre-treatment

The tail endband had become partially detached and the endband and spine were dirty. I began with surface cleaning to improve the appearance and to ensure repair materials would adhere sufficiently.

I attended a gels course run by three British Library conservators where I learnt how to make a variety of gels at different concentrations and experiment with their suggested applications.

Img. 9: The different gels tested during the gels course

Img. 10: experimenting with a variety of gels to reduce different types of stains

Img. 11: Endband during cleaning with Konjac & Xantham

Img. 12: Endband and exposed spine after cleaning

I selected Konjac and Xantham gel to clean the spine and endband by applying it as a poultice, leaving for a few minutes and then removing the poultice, which was very effective. The endband was now ready to be reattached!

I learnt to sew endbands whilst making a sewing model, which furthered my understanding of the structure and purpose of the endband.

Img. 13: Sewing model endband

I learnt to reattach endbands by observing my mentor completing an endband repair to a volume where the head and tail endbands were detaching. This enabled me to take photos and make detailed notes before repairing the other endband, giving me enough confidence to carry out similar treatments more independently in the future.

Img. 14: endband fixed into original position and endband markers mark each

I fixed the endband into its correct position using a piece of Japanese tissue adhered with wheat starch paste before marking the centre of each section I planned to sew through. After the first stitch, I tied a knot on the outer side of the spine to secure the thread.

Img. 15: endband sewn back into original position

I then sewed underneath the endband core, back over the top of the endband and then back through the textblock, with a linen thread that closely matched the original white thread.

Img 16: The repair stitches

Now secured, the next step was to reform the head cap using archival calf leather.

I had no experience working with leather prior to my internship, but have quickly learnt that each leather is different and that paring leather takes a considerable amount of strength! My first attempts at paring leather were thankfully on strips of off-cut leather as they were not pretty, though I’m assured it’s a skill that requires much practice to perfect.

Img 17 : The spine edge and head edge of volume 118.e.5 after treatment

After paring and consolidating the leather, I adhered it to the spine using wheat starch paste.

I loved working on this book, having confidence in my ability to complete each step made me feel like a real, fully-fledged book conservator, and I was really happy with the outcome of the treatment. I am learning more and more by the day and whilst I will be sad to leave the long term bids team, I am excited to join the preventive team before returning to the studio to focus on binding structures. If you’ve found this an interesting read, I will be writing another post detailing my time on future teams so watch this space !

Following part 1 of the Conservation of Maps in the digitisation project: Qatar Foundation Partnership, this second blog post will present the treatments of two maps belonging to the IOR collection of the British Library: IOR/X/10065 and IOR/X/10066. Similar to the maps presented in the first blog post, these maps also have cloth as a secondary support. In these cases, the maps were fragmented and lined on a cloth support which allowed them to be folded (picture 1 & 2). A difference with the first group of maps is that they did not have textile or silk ribbons on the edges.

Picture 1: IOR/X/10065 recto before treatment

Picture 2: Detail of the joints (cloth) that allow the folds of IOR/X/10065

These two items had the same main damage. The substrate, a paper lined with cloth, was broken or weakened in various areas of the joints where the maps used to be folded (picture 3 & 4).

Picture 3: Upper part of the IOR/X/10066 recto before treatment

Picture 4: Detail of IOR/X/10065 with broken joints

The paper support on the IOR/X/10066 map is thicker and distorted, with the distortions possibly caused by its large format and the broken joins no longer creating tension (picture 5). On both maps, there were small paper tears and folds around the edges. There were also loose threads due to the fraying of the cloth along the edges (picture 6). The condition of both maps made handling and digitisation very difficult, especially due to their oversize format, IOR/X/10065 measuring 1014x750 mm and IOR/X/10066 1235x1073 mm.

Picture 5: Upper part of the IOR/X/10066 verso before treatment

Picture 6: Detail of IOR/X/10065 fraying

Decision making

The aim of the conservation treatment was to stabilise the items to function in their current role and to ease handling for the next stages of the workflow: cataloguing and digitisation.

For the decision-making process we considered the condition of the maps and their original use, to be folded and unfolded many times when used. In addition, minimal intervention, re-treatability and fit-for-purpose, principles from our guidelines, were taken into account, as well as the 5 hours limit for the treatment of each item.

Selecting and preparing materials for treatment

Our treatment proposal was then focused on re-establishing the ability to fold the maps which is convenient for handling and storage. We decided on using a cloth lined with Japanese tissue for the joint repairs, similar to the construction of the maps.

Selection of the cloth

A thick Japanese tissue would not be enough to repair areas that are to be folded multiple times. We decided on Aerocotton, a material commonly used by book conservators to reinforce book joints which is a light but strong cloth. The cloth was washed with hot tap water before its use to remove any possible sizing and additives.

Selection of the Japanese tissue

We chose an 11g/m² Japanese tissue with kozo fibers, which is strong and thick enough to give support to the cloth and the tear repairs.

Lining the Aerocotton

Aerocotton is difficult to cut after washing, (see picture 7). Therefore, it was lined using Japanese tissue and wheat starch paste (WSP). This helps to stiffen the Aerocotton, with the Japanese tissue working as a support to make it easier to handle and to limit frayed edges. The cloth lined with the paper was left to dry on a wooden board similar to a karibari, to ensure it dried with tension (picture 7).

Picture 7: On the left Aerocotton dried after washing and on the right lined Aerocotton with Japanese tissue

A second lining of Japanese tissue (11g/m² with kozo fibers) was pasted to the lined cloth strips, since it reinforced the repairs without adding any thickness. This was carried out again on a wooden board. A plastic strip was placed between the board and the strip. This would function as a barrier and prevent a section of Japanese tissue strips adhering on the board. This way, our second lining dried stretched on the board as it protruded from the plastic strip like it would on a karibari, (video 1).

Video 1: Preparing and applying the second lining of Japanese tissue on the lined cloth strips

Once the Japanese tissue was dry, we lifted them from the karibari with a bamboo spatula. The plastic strips delimited the area that we used to paste on the map. Finally, we cut them with a water brush so that the edges had a water-cut finish: this gave a stronger attachment to the tear repairs when pasted on the maps, (pictures 8 and 9).

Picture 8: Cutting the edges with a water brush

Picture 9: Close-up of the prepared strips

Treatment

Once the materials were ready, we placed the maps on a blotter and Bondina, verso facing up. Because the maps were of a large format, we treated each half separately. Once they were dry, we reattached them together.

For both maps we squared and positioned the fragments of the maps carefully, leaving 3mm space gap for the joints, and kept them in place under weights. Wheat starch paste was applied with a noribake to the prepared strips previously placed on plastic strip. This made the handling easier and the application on the joint to be repaired. Once the strip was on the map, we applied some pressure with a shirobake over the plastic strip. The plastic strip was then removed, leaving the prepared strip on the map and we applied more pressure with a nadebake and with a Teflon spatula. It was left to dry with a Bondina, blotter and weights on top, (video 2 and picture 10).

Video 2: Pasting the prepared strips on the tears of IOR/X/10066

Finally, strips of Japanese tissue (7.3g/m² with kozo fibers) were applied on the joints of the recto of the maps to reinforce the hinge on both sides of the map, (picture 11).

Picture 10: Detail of the Aerocotton lined with Japanese tissue applied into the verso of IOR/X/10065 to mend the tears

Picture 11: Detail of the Japanese strips applied on the same map

Results

This treatment was successful on both maps. They can now be handled and stored safely. See video 3 and after treatment pictures 12 and 13.

Video 3: Handling both maps after treatment

Picture 12: IOR/X/10065 recto after treatment

Picture 13: IOR/X/10065 verso after treatment

Picture 14: Upper part of IOR/X/10066 recto after treatment

Picture 15: Upper part of IOR/X/10066 verso after treatment

Tania Estrada Valadez and Camille Dekeyser

Two Johann Sebastian Bach manuscripts in the British Library’s music collections - the autograph manuscript of the second book of the Well-Tempered Clavier (BWV 870-893) and of the cantata ‘Wo soll ich fliehen hin?’ (BW 5), recently came into the conservation studio. Treatment was undertaken with generous support from the Leche Trust.

This blog post focuses on the work undertaken on the Well-Tempered Clavier manuscript, which we are pleased to say is now complete.

Prelude in C Major (before treatment)

Effects of Iron Gall ink corrosion; Iron gall ink has been used since the middle ages and is found on many of our most treasured manuscripts, including the Lindisfarne Gospels, Beowulf and Magna Carta. The main ingredients of iron gall ink include iron sulphate, tannins from oak galls and water.

The Well-Tempered Clavier, Book II

Bach’s Well-Tempered Clavier (named after a system of tuning – ‘well temperament’) is one of those musical works that seems to justify the grand claims made about it. On the face of it, it’s a simple series of preludes and fugues in every key, major and minor: 24 in all, with two sets of these (giving the series its nickname ‘the 48’)’. But it’s also a jaw-dropping feat of compositional virtuosity, with Bach using his immense contrapuntal skills to weave together separate musical lines that fit together logically (but never too predictably) and yet also produce inspired music at the same time.

The British Library’s manuscript of the second book of the Well-Tempered Clavier (Add MS 35021 and Add MS 38068) is really a set of individual manuscripts for 21 of the preludes and fugues in the second book (those in C-sharp minor, D major and F minor are unfortunately not preserved here and must have been separated from the others at an earlier date). These were composed between 1739 and 1742.

Each prelude and fugue were mostly written out to (very satisfyingly) fit on a single side of an open folded page, avoiding the need to turn the sheet over – even if this at times means a bit of a squeeze. (No amount of squeezing was going to fit the lengthy prelude and fugue in A-flat major onto one side – this carries on over to the next side). Most of the pieces have been written out by Johann Sebastian Bach himself, apart from four and a bit which are known to be in the hand of his second wife, Anna Magdalena (those in C minor, D minor, E major, G major and the beginning of the prelude in F major).

Prelude in C minor (BWV 871), in the hand of Anna Magdalena Bach (before treatment)

Planning – what were the issues?

Unfortunately, even in optimal storage conditions, chemical and physical processes that pose a risk to manuscripts like these can, over time, still occur. We minimise threats to the collection as much as possible, by controlling factors like temperature and humidity, by using appropriate housing and by limiting access to, and use of, particularly vulnerable materials. However, even with strict environmental monitoring a common problem that is difficult to halt entirely is one of iron gall ink corrosion. Like much music of this period and earlier, these Bach manuscripts are especially at risk from this due to the make-up of the inks that were used – iron sulphate and acidic tannins in particular, which, over time, oxidise and ‘eat away’ at the paper. There’s an interesting blog post on this here:  https://blogs.bl.uk/collectioncare/2021/06/iron-gall-ink-on-paper-saving-the-words-that-eat-themselves.html.

When it came to planning conservation work, there were two main issues to consider. One was the corroding ink, as mentioned above. This is a particular problem where the ink is applied thickly to a small area, as tends to happen when writing expressive music notation. There were various examples of this on the Bach manuscript, ranging from visible holes to less obvious hairline cracks, making it extremely vulnerable.

The other issue was previous methods of preservation in manuscripts past - the manuscript pages had been bound into a single large volume, with each folio mounted into paper windows. This mounting paper had aged poorly, shown in the image below. Over time, its acidic properties have led to it discolouring and becoming brittle – meaning some were no longer secure in the binding. Tension from the acidic border was also causing stress to the centre of each bifolio of the manuscript, increasing the risk of splitting. It was clear that the time had come to give the manuscript a more appropriate long-term home.

Previous binding for Add MS 35021

Manuscript folios mounted in paper inlays inside (before treatment)

Conservation over time

Something that really made an impression in the course of this project was the changing approach to conservation over the years – understandable given evolving knowledge, the emergence of new technologies and shifting emphasis in professional standards. However, while treatment undertaken decades ago might appear questionable now, we are mindful that it was done with the best intentions given the tools and knowledge available at the time.

A good example is in relation to iron gall ink. There are very few ways to fully halt the corrosive effects of the ink and limiting the damage is often the only approach. However, one treatment that emerged in the mid-1990s involves an aqueous treatment, using a calcium phytate solution to neutralise the acidic iron content in the ink.

In recent years, the British Library has established processes for this treatment, but still it is not something to be undertaken lightly. While extensive testing prior to treatment ensures that both the structure of the paper and the ink will remain secure, nonetheless the process has the effect of washing the paper. Therefore, this results in the removal of dirt and accretions but also, potentially valuable but less obvious, evidence of historical use.  

The decisions are not easy, as weighed against the potential risk of sometimes losing potential sources of historical evidence, such as staining on the paper, is the risk of the manuscript deteriorating to such an extent that any kind of study becomes impossible.

Decisions

Given the iconic status of this manuscript, many people were involved in the decision-making and the project was a collaboration between curatorial and conservation teams. One objective that was clear was the new housing needed for the folios of the manuscript, which would keep them more secure.

In terms of treatment of the iron gall ink, we decided to take a cautious approach for now, and only apply the calcium phytate treatment to two folios, which suffered from different and more pressing issues from the others. These (which contained the A-flat major prelude and fugue, ff. 13 and 14), had been removed from the bound volume more than a century ago. At different points since then they had received conservation work of differing levels of invasiveness, including a coating of transparent heat set tissue applied to one side of the fugue and repairs along the fold of that page too. The aim in focusing a higher level of treatment on these particular folios was to stabilise the corrosive properties of the ink on one of the most problematic examples among the Well-Tempered Clavier manuscripts, and also to reduce some of the ill effects of previous treatments. This work would also make it possible to safely rehouse these folios in the same way as the others, removing them from their unsuitable temporary storage.

Prelude in A-flat major, f. 13v, showing coating of heat set tissue.

Conservation work begins

All our manuscripts are special and unique of course, and receive due care and attention to ensure their long-term preservation. Often there are particular manuscripts that are so iconic that you find yourself to be quite awestruck in their presence, this was certainly the case here and it was a wonderful moment when the volume containing the manuscripts was unpacked in the conservation studio. We took a moment to listen to the pieces as we looked at the score, we felt humbled in that moment as we contemplated the music that had inspired so many, as the notes on the page seemed to dance before us.

After thorough documentation and testing, treatment began by disbinding the volume and removing the folios from the acidic inlay paper; this was done mechanically using a poultice of sieved gelatine mousse. Whilst removing the old acidic paper mounts we uncovered the edge of the text previously covered by the inlay.

Removing remnants of acidic paper mounts during the calcium phytate bath

Aqueous treatment of the two folios

The treatment of folios 13 and 14 was achieved in three stages: first the documents were washed then treated with calcium phytate and then calcium bicarbonate. This helped stabilise the corrosive properties of the ink and remedy some of the ill effects of the previous treatment. 

Prior to immersion, multispectral images of these folios were taken by our imaging scientist, ensuring we have a clear record of the manuscript prior to treatment. Multispectral imaging captures image data within determined wavelength ranges across the electromagnetic spectrum. It can be used to examine discolourations and staining, by comparing the "spectral fingerprint" of an accretion to a known chemical substance. It can also reveal things that are only visible on different parts of the spectrum and allow us to capture the true colours of the image to accurately assess any ink changes after treatment.

One of the series of multispectral images

The existing condition of these particular folia made them a priority to treat in this way, but the experience of doing so will allow us to weigh in the balance the benefits or not of undertaking similar treatment on other folios in the future, should the degradation of the corrosive ink progress. For now, fragile inks on the other folios of the manuscript have been supported with a very fine toned Japanese tissue and gelatine using a low moisture technique. This was carried out over a light box to ensure any weakened areas of iron gall ink were spotted.

After Treatment

All the folios have now been housed individually in a more sympathetic, double sided mount. This rigid mount allows each page to be correctly supported and viewed in full and is suitable for both storage and exhibition display, minimising the need for handling or further work. The mounted folios were then stored in several bespoke acid-free phase boxes to offer additional protection on the shelf.

The conserved folios in their new mounts (after treatment)

Prelude in G major (BWV , f. 23r, after treatment)

Conclusion

Thank you to the Leche Trust for their generous support which allowed the items to be conserved and ensured that the manuscripts themselves are now better preserved and protected for posterity.

The British Library’s responsibility as custodian of these iconic examples of Bach’s creativity involves finding a balance between protecting the physical manuscripts and finding ways for their appreciation by a wide audience. High-quality digital images are a key tool for providing access, but this conservation treatment will also make it possible for researchers to work with the original material where this is necessary – further enhancing our understanding of Bach’s creative practise. It is also now safer to exhibit these iconic collections beyond the reading room, in our gallery spaces, where you can join us and experience the real thing.

Samantha Hare and Chris Scobie

The British Library Qatar Foundation Partnership (BLQFP) is a digitisation project that began in 2012 to create the Qatar Digital Library (QDL). For over ten years this free bilingual online portal has been fed from the British Library´s collections related to the history of the Persia Gulf and scientific manuscripts of the Arabic-speaking world. The items that are selected and digitised include India Office Records, maps, personal papers, catalogued and uncatalogued Arabic manuscripts, sound and video recordings, photographs and much more.

At the beginning of 2022, in the last part of Phase 3, 120 maps entered the digitisation workflow. One of the first stages of the workflow is conservation assessment, where items are assessed and stabilised for safe digitisation and handling. The majority of the maps needed minimal intervention, with only 5 needing a more interventive conservation approach. This blog will focus on the treatment of the following maps: IOR/X/3174, IOR/X/3150/2, IOR/X/9921, IOR/X/10065 and IOR/X/10066.

In order to organise our treatments, we divided the maps into 2 groups according to their similarity in manufacture, their condition and treatment strategy. The first group, which is the focus of the first part of this blog, included IOR/X/3174, IOR/X/3150/2, IOR/X/9921, and had a silk ribbon sewn on the edges of each map. The silk ribbon was placed to protect and give a nice finish to the edge of the maps, since all 3 have cloth as a backing support. We think this was placed because either the paper is too big, or small pieces of paper have been attached together, so the secondary support would give the primary paper support extra protection and ease handling. The silk ribbon protects the edge of the maps and helps to stop the fraying of the textile. We talked to the map’s curator from the Qatar team, Nick Krebs, and he mentioned the possibility that these ribbons were placed when the maps were at the India Office Records.

IOR/X/3174 recto before treatment

IOR/X/3174 verso before treatment

On these 3 maps the silk ribbon was detached from the edges in some places, due to a broken thread that used to attach the ribbon to the map. Also, the ribbon was very thin and fraying, causing further losses. Apart from this, the general condition of the maps was good.

Detail of the condition of the silk ribbon of IOR/X/3174

Detail of the condition of IOR/X/3150/2

As paper and book conservators unfamiliar with the treatment of textiles, we took this opportunity to seek advice from the appointed textile conservator at the British Library, Liz Rose. This had the advantage of providing a moisture and solvent free application technique to the damaged silk ribbon, which can be easily damaged by the introduction of moisture. Liz Rose showed us how to prepare the adhesive on crepeline silk and nylon net in the following way:

The adhesive used was a mix 1:1 of two different Lascauxs: 408 HV and 303 HV. The first one dries hard, while the second is extremely elastic and dries tacky. Both are thermoplastic acrylics (AIC - Adhesives & Tapes, 2022), therefore a combination of these two is ideal for reactivating the adhesive with a hot spatula or with solvent (like acetone) to consolidate fragile textiles, depending on the condition of the item.

We prepared two different percentages of the 1:1 adhesive mix, 15% and 25%, to test which of the two had better results on a new silk ribbon. When we had the adhesive ready, this was applied with a brush to a crepeline silk and nylon net, provided by Liz Rose. Fortunately, the crepeline silk and nylon net were already dyed in different tones of green and we only needed to choose the best tone to suit the different ribbons.

Choosing the best tone of crepeline silk

Applying the adhesive to the chosen crepeline silk and nylon net

Once the adhesive applied to the crepeline silk and nylon net had dried, it was cut to the desired size and heated with a hot spatula to mend the damaged parts of the silk ribbon. As mentioned before, we first tested it on a new ribbon and over cotton textile. From these tests, we determined the best percentage of adhesive to use was 15%, and the appropriate length of time to reactivate the adhesive was 1 minute. We observed in this test that the nylon net melted with both the new ribbon and cotton fabric if heated for too long and if the spatula was too hot. Also, we realized that the nylon net consolidation did not have good results when the consolidation needed to be folded back, due to the fact that some of these maps are oversized and folded multiple times. This was not the case with the silk crepeline, therefore we decided to use this, because we had better results with it being a more sympathetic material with the silk ribbon, and giving us the most satisfying visual result.

Tests over new silk ribbon and cotton textile

Tests over new silk ribbon and cotton textile

Treatment on the maps: IOR/X/3174, IOR/X/3150/2, IOR/X/9921

After completing tests on the silk samples, we dry cleaned the recto and verso of the maps and then the most damaged sections of silk ribbons were delicately removed from the maps by cutting the sewing stitches. Next, we consolidated the bond between the paper and the lining cloth using Japanese tissue and wheat starch paste.

Consolidation of the maps supports: paper and linen - before

Consolidation of the maps supports: paper and linen - after

We then applied the pre-coated crepeline silk to the inside of the ribbon using a hot spatula to consolidate the fragile segments. The width of the crepeline consolidation was cut to fit in between the edges of the ribbon and its length was cut into small sections (no longer than 7 cm). We noticed that longer repair creates distortion. The crepeline segments were overlapped by 1 mm when it was necessary to cover a longer part.

Before consolidation of the damaged silk with the prepared precoated heat-set on crepeline silk

After consolidation of the damaged silk with the prepared precoated heat-set on crepeline silk

A close up after consolidation.

In some cases, where the ribbon was particularly damaged, we also needed to consolidate the outside of the ribbon. This helped to further reinforce the zones where the ribbon was completely broken and the zones where the ribbon was folded as the map had been stored in this way.

As the ribbon was attached to the map folded, we applied the crepeline on the outer part on a folded ribbon. The pre-coated crepeline was folded and fitted over the original folded ribbon and then applied with the hot spatula one side at a time.

Silk crepeline applied on the outside of the silk ribbon

After consolidating the damaged ribbon, we then re-attached the consolidated ribbons onto the maps by sewing them back in place using a green silk thread, similar to the original.

Re-sewing the ribbon

The ribbon sewn back on.

Finally, after documenting the treatment, the smaller maps (that fit flat in the storage drawer) were placed in a Melinex sleeve to protect them from frictions and limit direct handling. The oversized maps were placed in a blue folder to protect them from friction in the storage.

IOR/X/3174 recto after treatment

IOR/X/3174 verso after treatment

Stay tuned for Part 2!

Camille Dekeyser and Tania Estrada-Valadez

Paul Garside & Zoë Miller

Iron gall ink (IGI) will be familiar to most of us as the characteristic brown ink that we associate with the authenticity and softly aged aesthetic of historic documents.  It is the most important writing and drawing ink in Western culture, initially emerging in the first centuries AD and continuing in widespread use until the 20^th century.  Many thousands of examples of its use on both parchment and paper can be found in the British Library’s historic collections, ranging from Treasures and other important items, such as the Codex Sinaiticus, the Lindisfarne Gospels, Magna Carta, manuscripts penned by Henry VIII and the works of famous diarists such as John Evelyn, to more commonplace letters, notes, musical scores and records. And IGI documents will form a vital part of our forthcoming exhibition ‘Elizabeth and Mary: Royal Cousins, Rival Queens’ .

[Figure 1] An example of IGI on paper (Walpole Papers 73898).

However, IGI may damage the surface on which it is written, and paper is at particular risk, leading to characteristic haloing, fragility, fracturing and areas of loss. It has been estimated that up to 80% of European archives contain items at significant risk of this problem. The potential to cause damage has been known for a long time: in 1765 the English chemist William Lewis published a treatise on the stability of IGI, and over one hundred years ago the Vatican Library warned about the impending destruction of many precious manuscripts from the effect.  However, the ink remained popular, not least for its durability and permanence (it adheres firmly to the substrate, and resists rubbing and washing, unlike carbon inks), but also because it was easy and cheap to make, using a wide variety of historic recipes.  Most recipes are based around four principal components: gallic acid, derived from oak galls; iron(II) sulphate (often referred to as green vitriol); water or an aqueous medium; and a binding agent, such as gum Arabic.  When these ingredients are mixed, the acid and the iron sulphate react together then oxidise to form iron(III) gallate, which is strongly coloured; the ink is typically a dark slate grey when first formed, turning brown or orange as it ages.

[Figure 2] The effects of IGI corrosion.

Why does this ink cause damage? There are two main, interlinked processes. Sulphuric acid is a by-product of the reaction which creates the ink, and this can lead to hydrolysis of the cellulose that forms the building blocks of paper. Excess iron(II) ions, from the initial ingredients, can also speed up the oxidative degradation of cellulose. In conjunction, these two effects are often referred to as IGI corrosion, and in extreme cases inked lines can actually crack and drop out of the paper surface. We have found that imbalanced recipes and impure ingredients can complicate the aging process and damaging properties of these inks, resulting in wide visual differences. The Instituut Collectie Nederland (ICN) has developed a four level system to categorise the damage caused by IGI , from 1 to 4 ('good' to 'very poor' condition), as shown in these examples from the BL's collection:

[Figure 3] The condition of IGI on paper: 1 (good condition - no/light discoluration and stable to handle); 2 (fair condition - dark discolouration around ink, with no immediate mechanical damage, but this could result from handling); 3 (poor condition - some mechanical damage around ink, and handling is likely to cause more damage); 4 (very poor condition - serious loss of substance, which will be exacerbated by handling).

Historically, treatments for paper documents suffering from IGI corrosion were much more invasive than would now be considered acceptable, including processes such as lamination, simmering or aggressive de-acidification.  Greater understanding of the material and developments in conservation science have allowed a more tailored, less invasive range of options. For some documents, aqueous treatments will be the most appropriate choice: the items are immersed in a calcium phytate solution, to bind and isolate damaging iron(II) ions, accompanied by gentle de-acidification, to remove existing acids and provide an alkaline reserve.  For other documents, low moisture repairs (using gelatine adhesive, which resists IGI attack as well as providing mechanical stabilisation) or the more conventional support of physical damage will be better choices.  The following chart gives an overview of our thought-processes when considering the best approach; we developed it to help visualise the process and explain our decision-making to colleagues.  As can be seen, we would consider a wide range of factors, including:

• The state of the IGI and the damage it has caused, assessed using the ICN categorisation.
• The overall condition of the item, taking into account any signs of damage to its composition or structure, the presence of vulnerable components such as water-sensitive materials, and its general stability and ease of handling.
• Our 'risk appetite' for the item.  This represents our willingness to accept risks when treating the object, and is related to factors such as cultural value, historic significance and rarity. This would obviously be very low for Treasures items, but even with objects assigned a higher risk appetite, we would not act recklessly or without planning – we may, however, be willing to consider more interventive or extensive treatments to enable the item to be more widely accessed.

[Figure 4] Decision-making for the treatment of IGI on paper.

This scheme is not prescriptive, however, and each object would be assessed and treated on its own merits. Furthermore, sometimes the best conservation decision is to carry out no treatment at all, and in all cases our work is underpinned by good preventive conservation, in the form of appropriate storage, suitable environmental conditions and sympathetic handling.

[Figure 5] Aqueous treatment of poor condition IGI on paper, in the BL’s conservation studio.

Many thanks to the Thriplow Charitable Trust for supporting this research.

Paulina Kralka and Marya Muzart

The Lotus Sutra Manuscripts Digitisation Project at The British Library, is a multi-year project aiming to conserve and digitise almost 800 copies of the Lotus Sutra scrolls in Chinese, with a view to make images and information freely accessible on the International Dunhuang Project (IDP) website. These manuscripts come from a small cave in a Buddhist Cave complex near Dunhuang, in Northwest China, where tens of thousands of documents, paintings and artefacts dating from the late 4th to the beginning of the 11th centuries were discovered in 1900. Out of the 800 manuscripts included in this project, a large portion of them need conservation work.

Depending on the scrolls’ condition, treatment can range from surface cleaning and minor repairs, to lengthy mould remediation and intricate infills to ensure that they are safe for digitisation. With manuscripts in varying states of preservation and size, ranging from 10 centimetres to almost 14 meters in length, they have very different housing needs. Addressing these various housing requirements is part of our conservation work. We take into account our existing storage facilities, and come up with solutions that are best suited for long-term preservation of the collection but are also feasible within the time and budget of a digitisation project. This poses an interesting challenge to us as conservators.

Picture 1: Our storage.

Picture 2: Close-up of the pigeon holes where the scrolls are stored.

The majority of scrolls that arrive in our conservation studio have never been treated before. They are usually tightly rolled on their own or around a thin wooden roller attached to the last panel. This causes tensions and leaves the scroll unsupported where it then becomes prone to distortions, creasing and further mechanical damage when handled. Research and practice show that the larger the rolling diameter, the less likely the scroll is to develop creases and cracks. In order to address this, we always place the scrolls on increased diameter cores after treatment has been completed. These cores are made from acid free cardboard tubes with a 5.5cm diameter, that we cover with a layer of xuan paper 宣纸 using wheat starch paste as an adhesive. The cores help reduce the tensions caused by a scroll being rolled too tightly and also provide it with proper support during handling and storage, minimising the risk of further damage. In addition, each scroll is wrapped in a protective layer of xuan paper, which prevents dust accumulation and surface abrasion.

Picture 3: A scroll being handled with the help of a core.

When rolled onto the 5.5cm cores, some of the longer scrolls in the project (typically those over 10 metres long) no longer fit into the pigeon holes of our existing storage. In order to enable the scrolls to still be stored in the existing storage facilities on an increased diameter core, whilst having enough space for safe handling, we have successfully developed a technique of hand-making cores with a smaller diameter of 3.5cm, composed of archival grade kraft paper and wheat starch paste.

Picture 4: Left, the 5.5cm core and right, the 3.5cm core which we hand-make for very long scrolls.

And what about the shortest surviving fragments? They are usually severely damaged. To prevent possible dissociation and further weakening of the paper, we encapsulate them in Melinex pockets. Melinex is an archival grade, glass-clear, thin polyester sheet, which not only helps us protect such delicate fragments but also allows them to be stored flat within custom made folders. Scroll fragments in Melinex are safe and easy to handle as both sides can be easily accessed, whether by our imaging staff during digitisation, or researchers wishing to examine the manuscripts in the reading rooms.

Picture 5:  Encapsulation of a scroll fragment in Melinex.

We are lucky that a large number of scrolls in our collection survive with their original wooden rollers still in place. In order to house the rod safely, whilst simultaneously providing appropriate support for the scroll, we have modified our standard core to create a custom-made clamp which fits the original roller inside and increases the rolling diameter. The cardboard core is cut in half; an intricate system of Japanese paper tabs is then pasted down to allow it to open and close smoothly; and, finally, a small groove is cut out to facilitate accommodating the scroll and rolling it onto the core. This clasp core design is adapted from the traditional Japanese wooden roller clamp, known as futomaki 太巻 or futomaki jiku 太卷轴, used for hanging scrolls, but is much more lightweight and economical!

Pictures 6, 7 & 8: The clasp core design, which safely houses scrolls with the original rods still attached.

In some instances, the original wooden rod is detached from the scroll, which creates another storage challenge. To avoid any dissociation, we always aim to store the rod together with the scroll. In order to achieve this, we have created small foam inserts that fit the roller in them and placed them inside standard cores. We found that polyethylene pipe insulation tubes are well-fitted for the purpose! Thanks to the Oddy tests carried by our conservation scientist Paul Garside, we know they can be safely used with our collection. The tube is cut in half and hinged on one side with Filmoplast SH cotton tape to allow for smooth opening and closing. The rod, wrapped in a protective layer of xuan paper, is placed inside and secured in place with pieces of cotton tying tape, threaded through small slits cut in the tube. The insert fits inside the core quite snugly, so we place a small tab on the bottom of the tube to facilitate access.

Pictures 9, 10, 11 & 12: The foam tube which houses the detached original rod with the scroll. 

These storage solutions show how our work doesn’t end in the conservation studio. To ensure that the collection is well-preserved for future generations, we have to think beyond just the treatment of the object. This project has enabled us to challenge ourselves in thinking outside the box and approach the various storage issues with innovative solutions. 

Alexa McNaught-Reynolds, Conservation Exhibition and Loan Manager

Two of the items selected for display in our exhibition: Unfinished Business: The Fight for Women’s Rights appear to be in good condition but have vulnerabilities that may not be immediately obvious. In Conservation we strive to understand every component of an object in order to recommend the best course of action for their long-term care.

Item 1. NEWS.REG170: Daily Mirror front cover: Tuesday 28^th March 2017

Vulnerability: newspaper is not made to last

This is an important item in the exhibition, highlighting how strong working women are still sometimes represented in the media today. Newspapers are produced from poor quality wood pulp that is inherently unstable due to something called lignin, and they are not made to last. Lignin makes the paper acidic and when placed in direct sunlight, as many of you will have seen, newspapers turn yellow and become brittle very quickly.

Figure 1: Controversial front page of the Daily Mirror on Tuesday 28^th March 2017 (NEWS.REG170)

We strive to protect our newspaper collection by storing them in alkaline buffered material, in a stable environment free from exposure to light sources. These actions significantly slow the degradation process.

But what about when one is requested for exhibition? While we are familiar with the vulnerabilities of newspaper generally, we are not sure how stable the media will be under exhibition conditions. The exhibition environment is very stable and the newspaper is subjected to low levels of light. While light level is low, with no UV, and the time is restricted, we are not sure how much of an effect this limited light exposure will have on the media.

In order to get a better understanding of how the media will fair under exhibition conditions, we will be monitoring this item closely. To do this, we are measuring the colour by using simple colorimetry. This is completed with 'Lab*' colour measurements which is a method of representing colour using numerical values, in a similar way to the more familiar RGB or CMYK systems. One of the particular advantages of the Lab* system is that it is based on the way in which the human eye and brain observe colours and determine differences between colours. 'L' represents lightness, from 0 (pure black) to 100 (pure white), while 'a' measures the green-red axis (negative values are green and positive values, red) and 'b' measures the blue-yellow axis (negative values are blue and positive values, yellow). The system is capable of detecting colour changes smaller than the human eye can observe, and so gives us another tool to help us provide the best possible stewardship for the items in our collection.

Figure 2: Front page of the Daily Mirror with areas marked in yellow indicating where colour measurements were taken.

Highlighted in the image above are the areas where the colours were measured. The same areas will be re-measured at the end of the exhibition. This will detect any colour changes that have happened (hopefully none) and will inform the future display limitations of this item and for other similar contemporary newspapers.

Item 2. Add MS 88899/6/13:  Greenham fence wire from the Angela Carter archive

Vulnerability: highlighter ink loses colour under light exposure

This item is a piece of wire cut from the perimeter fence of RAF Greenham Common Airbase during anti-nuclear protests by the Women's Peace Camp and sent to the novelist Angela Carter who was against nuclear weapons. It was attached to a record card through two punched holes in the centre with typed notes above and below the wire.

Figure 3: Add MS 88899/6/13:  Greenham fence wire from the Angela Carter archive with highlighted typed message.

Although the item itself is in good condition, highlighter pen was used over the top of the typed message. Highlighter pens contain fluorescent colours which are notoriously light sensitive; they will not retain their colour over extended periods of light exposure. For this reason, we will be displaying this item at our exhibition under low light levels but we will also be limiting future display in order to preserve the bright colour.

At the British Library we aim to make everything as accessible as possible so that everyone can enjoy the collection and see the items in their original condition. However, in order to preserve the collection some items do need to be restricted for various reasons, such as fragile condition, or in these cases, to limit their light exposure and preserve the bright colours for future researchers to see.  Although this means that some items can only be able to be exhibited for short periods, there are alternative solutions for display. For items that were mass produced or have multiple copies, it is possible that a replacement can be found. When an item is unique or other copies are not available, we can suggest a high-quality facsimile be made, this way the viewer can see the uninterrupted exhibition story. In this way, we can maintain the integrity of our collection for as long as possible, as well as finding ways for everyone to enjoy it in the meantime.

Fortunately, both original items will be displayed in ‘Unfinished Business: The Fight for women’s Rights’.

Heather Murphy

Recently, within the conservation studio of the British Library Qatar Foundation Partnership, watermarks have been a theme. Throughout the months leading up to lockdown, my colleague Camille and I began developing a project based around some interesting examples of watermarks we discovered in a series of IOR Ship’s Journals dating from 1605-1705 being digitised by the project.  We have since been developing various aspects of this, one of which has been to create a (very) short instructional video on how to make paper, complete with personal watermarks, and the delivery of a paper-making workshop to the BLQFP team. (Another aspect of which has been the remote collaboration with Jordi Clopes-Masjuan and Matt Lee from the BLQFP Imaging team to develop digital tools for the viewing and analysis of watermarks in the collection). 

Having begun our research into watermarks, it was decided that we should attempt to make our own in the hope of learning more about their construction, and to demonstrate to the wider team how they are made. This led to the conclusion that, logically, we would also need to make paper to trial these watermarks. Researching how to make a homemade paper-making mould and deckle, we enlisted some expert carpentry skills, sourced the finest conservation grade chicken wire B&Q had to offer, some mesh, and some metal wire which we combined into a mould and deckle.

Home-made paper-making mould and deckle with watermarks attached.

This was taking place in September, during which was also scheduled the annual BLQFP away day, a chance for the team to both review the progress of the project so far and discuss possible future steps. However, as is happily a common ethos within the project, this is also a time where colleagues are encouraged to contribute and collaborate to make the day more interesting, allowing different teams to share aspects of their work. The format this year involved a series of two minute lightning talks, followed in the afternoon by a series of workshops. We decided that conservation’s contribution should therefore be a two minute video on paper-making, followed by a workshop where our colleagues could make their own papers. This involved some small re-arrangements within the studio, but with the aid of a Go-pro camera and a Gorillapod, we were able to film the paper-making process in action.

Having compiled the video, the next challenge was to figure out how to successfully replicate the setup outside the studio in order to deliver the workshop. This involved a lot of forward planning and, among other things, a blender, plastic sheeting and mason jars full of paper pulp. After a loaded taxi ride we were able to arrive at the meeting room and set up a makeshift paper-making station.

Delivery of the paper-making workshop at the BLQFP away day

Other brilliant workshops delivered during the day included a ‘write your name in Arabic’ session with the translation team, where people were introduced to some basics of the Arabic language and learned to write their names.

Arabic language workshop in progress.

The second was a cyanotype printing workshop with the imaging team, where people were able to learn about and experiment with the process. As another possible development to this watermarks work, we are hoping to undertake a collaborative experiment involving cyanotype printing on our handmade papers, complete with bespoke watermark designs.

Cyanotype workshop in progress.

During the away day, we were able to deliver what seemed like a well-received workshop, where our colleagues could use our two moulds (with watermarks attached) to dip into the ‘vats’ of paper pulp, forming their own handmade papers. These were then couched between sheets of Sympatex and Bondina and pressed in stacks throughout the day.

Making papers and couching the sheets.

Workshops underway.

When the day was over, we collected the equipment, delivered it back to the studio, and provided the newly made papers with fresh interleaving. These were left in the press to dry, and when we returned we were able to unveil some fine examples of handmade papers.

Examples of the handmade papers shown on the light-box.

This is a guest post by Heather Murphy, Conservator from the British Library Qatar Foundation Partnership. You can follow the British Library Qatar Foundation Partnership on Twitter @BLQatar.