History of Europe

I’ve started work on a binding Lizzie found for me that I can use as a practice piece for parchment repair. Since I’ve done repair with caecum before, I decided to use a different repair method, and since this way (with Japanese paper) is also popular with conservators, it followed nicely on from my MA research. Someone had started work on the project – removed the pastedowns, tried to treat the parchment damage, and lined the spine, so there were a few issues that I had to address before starting work on the parchment covering.

Spine edge before treatment.

Spine edge before treatment.

Inside the case before treatment.

Inside the case before treatment.

I first started by removing the spine linings, mechanically as much a possible, and then with a poultice of SCMC – it seemed to have been adhered with EVA. I then repasted the spine with WSP, adhering a layer of aerocotton in the place of mull, which I would use as a board attachment method, as well as sewing new endpapers to it. I then sewed some endbands in a neutral colour and a dusky red to match the text-block edge colouring. The spine was lined again, with 130gsm Hahnemuhle which was sanded back to even out the lumps from the thread of the endbands and the new endpapers, and then another lining of the same was added on top – all adhered with WSP.

In the midst of this the first few pages with severe stains were blotter washed in-situ which you can see in my earlier posts.

I relaxed the corners of the boards using a damp blotter/Sympatex sandwich and then repaired  and consolidated them with WSP and toned 16gsm Japanese paper. These were then left to dry under pressure – helping to negate the warp of the boards simultaneously.

Holly had done some parchment repair earlier on last year, and advised me on her techinique – which is what I’m trying out today; building up layers of thicker Japanese paper (specifically Tosa Shoji 54gsm) in combination with toned Usu Mino 16gsm and toned Kizuki Kozo 6gsm. The papers were toned with acrylics as watercolours fluffed up the paper fibres too much, and acrylics gave a more even finish. The toned paper was left to dry, then rehumidified with a spray and pressed tightly between polyester sheets to give it a smoother surface to match the parchment.

 

TBC

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