There are still a few places left for our Preserving Franklin talk in Matlock next Thursday, where I’ll explain the various ways in which the documents have been repaired. You’ll also be able to handle some of the repaired letters, as well as some of Lady Jane Franklin’s precious mementos.
Conservation work in progress
Book a free place via our Eventbrite page or call 01629 538347.
Next time you meet a paper conservator, just mention the words ‘self-adhesive tape’ and watch their struggle to retain some self-control. It is the bane of our profession, the tapes used by very well-meaning people, who were trying to look after or even save important, precious documents and ended up destroying them in the process. Two unrelated items came into the Conservation Studio yesterday, which show different ways in which self-adhesive tape has been used.
The first is a minute ‘book’ from the National Union of Mineworkers, dating from the mid nineteen eighties (D1920/1/1/39):
Each page consists of a backing sheet with a typed up page of minutes sellotaped to both sides of it. That’s two hundred backing sheets with four hundred pages of minutes:
In some cases the adhesive is no longer sticking to the backing sheet, leaving the minutes lying loose; in all cases it has migrated into the paper, causing significant discolouration and weakening of the paper. Removing each piece of sellotape will require a combination of heat, a sticky-stuff removing erasure and quite probably solvents, such as acetone and toluene. The problem is, you see, that in most cases the tape doesn’t come off cleanly, but leaves a little bit of sticky residue which also needs to be removed. So that’s one thousand six hundred pieces of sellotape to remove, at a very optimistic average of five minutes each: eight thousand minutes – or about 134 hours – of work. Obviously we can’t justify that amount of time spent on an item that can be studied in its current condition, so all we’ll be doing for now is give it some extra packaging so at least there’s no risk of pages tearing, and adding it to a list of jobs to consider in the future.
The second item is a sale catalogue from 1912 (D7108), which is in a far worse condition:
In this case the kind person trying to mend the pages has used a combination of different self-adhesive tapes, even ordinary white labels:
Clearly this item isn’t safe to be handled or looked at, so we will be conserving it in 2019 and we’ll let you know how we get on…
After the disappearance of Sir John Franklin in 1845 his wife, Lady Jane Franklin, was inundated with requests for copies of his signature. She responded by cutting out his signatures from letters he’d sent and posting these to the grateful collectors. The damage this did is immediately obvious in this example, a letter Sir John wrote to his sister, Hannah Booth, in 1833:
The severity of the damage however only becomes apparent when you view the letter on a light box:
![D3311_36_5_(i)_on_lightbox_02[1]](https://recordoffice.files.wordpress.com/2018/11/d3311_36_5_i_on_lightbox_021.jpg?w=676)
All the sharp cuts show where a knife went through the paper – we can’t be sure these slashes were made when the signature was removed, but as they don’t occur on any of the other letters it’s reasonable to assume the two are linked.
The letter has now been repaired and is ready for one of our volunteers to read.
An incunable is a book that was printed before the year 1500, when the printing press was still a new invention. Most surviving ones are now in specialist libraries or private collections, but we’re fortunate to have one example here at the Record Office: Lives of the Saints volume II, by Plutarch (D5424/1). It was printed by Nicolas Jenson in Venice on the second of January 1478 and still looks fantastic. As you can see on the photographs, early printed books tried to look like illuminated manuscripts, with the printers leaving room for hand-drawn capital letters and other illustrations.
What makes this particular copy unique, is that it was rebound in 1902 by Douglas Cockerell, a well-known bookbinder from the arts and crafts era. He used wooden boards, just as they would have used in the fifteenth century, with a beautifully decorated piece of leather along the spine. The boards themselves he left bare – it was generally assumed at that time that that is how a medieval binding would have looked.
Unfortunately though, this has caused a problem: chemicals within the wood have migrated into the new endleaves (first and last pages of a book), causing severe discolouration and weakening of the paper.
Fortunately no damage has been done to the original pages. Removing the binding would destroy part of the book’s history and cause a lot of stress to the fifteenth century paper, so we protect the text with sheets of inert archival quality polyester, loosely placed in between the binding and the pages. We now know that they usually covered the boards completely with parchment in the Middle Ages, perhaps at least partly to avoid this problem.
Shiny archival polyester sheet in place
This book is a great example of how conservators and bookbinders can cause damage, despite following the procedures and using the techniques that are accepted as ‘best practice’ in their time. Knowledge about materials such as wood, leather, paper and inks constantly increases, bringing new ideas and new techniques for every new generation of conservators. All we can do is try and keep up to date with the latest developments, regularly think about the materials and techniques we’re using and whether they are still appropriate, and hope that our future colleagues will understand that they too will make ‘mistakes’.
If any bibliophiles out there would like to help us continue to look after this marvellous book, you can adopt it via our Adopt a Piece of History scheme.
Every Thursday afternoon our preservation volunteers diligently clean items from collection D2375, the archive from Calke Abbey. There was a surprise in store while cleaning D2375/A/S/1/1/1 though, a fifteenth century Alstonefield Manor Court book.
D2375/A/S/1/1/1
Re-using an older piece of Medieval parchment as the cover of a paper text block was standard practice – both parchment and paper were expensive and never wasted. But in this case the bookbinder hit upon an original solution to store some extra loose sheets of paper: they sewed pockets in the parchment cover.
Parchment cover with pocket
Documents revealed
Often in archives we need to find the balance between the long term preservation of documents and showing their historic context. Standard practice would be to remove the loose sheets, unfold them and then store them in an archival folder alongside the book. However, as the documents are in great condition and haven’t suffered from their unusual storage, we’ve decided to leave them exactly where the fifteenth century clerk placed them. If we ever find the documents or volume are getting damaged then of course we will remove them, but for now our researchers can have the pleasure of using the parchment cover in the way it was designed to be used all those centuries ago.
When you work with archive collections, sometimes you come across something that makes you stop in your tracks – a document that takes your hand and transports you through time to its author, making them so tangible, so real, that the intervening centuries vanish and you’d swear they were standing right next to you. That happened to me yesterday with a letter I came across, a perfectly ordinary letter from William Porden, the 18th century architect, to his daughter Eleanor Anne Porden.
The content is of course sweet, written by a caring father to his loving daughter, and the reference to smallpox inoculation only two years after it became available is certainly interesting. But what really got me was the handwriting: it is completely different to his normal joined-up style. Then I realised Eleanor would only have been five at the time, still learning to read and needing clear letters to decipher her father’s words. I write notes to my daughter in block capitals to spare her the agony of trying to decipher my atrocious handwriting – that two hundred and eighteen year gap suddenly feels very small indeed.
A big thank you to Matlock Ladies Luncheon Club who have given us a £70.00 donation for our Junction Arts photographs project. The charity Junction Arts celebrated its fortieth anniversary last year and deposited its archive here at the Record Office so future generations would be able to marvel at the wonderful work they do. Although all the paperwork is undoubtedly fascinating, the nearly three thousand photographs and two thousand negatives are what makes this collection so special: seeing the smiles, the joy, the happiness of children, adults and the elderly, as communities come together to create art.
To make sure these wonderful people will continue to make everyone smile for centuries to come, we need to package the photographs in archival quality polyester sleeves so they’re save to handle and can’t get damaged by rubbing against each other or sticking together, as some are already doing. The total cost for packaging all the photographs and negatives is £853.82 – rather too big an amount for us to conjure up, which is why we’re fundraising:
So next time you’re in Matlock, do have a look at our donations box and display in reception – every pound saves five images. And if you’re feeling especially generous, of course we accept donations over the phone as well: just call us on 01629 538 347 and be sure to leave your name if you’d like your own personal thank you on our display.
There are still a few places available for our free ArchI’ve Conserved event tomorrow, where you can find out how our conservators repair paper and parchment documents. Book a place by calling us on 01629 538347 and join us from 10.30 to 12.00.
Join us here at the Record Office on Thursday 23 November from 10.30 to 12.00 to celebrate Explore Your Archives week with a talk and demonstration on how we repair paper and parchment documents. It’s a free event, but with limited places, so booking is essential. The easiest way to book a place is via our Eventbrite page, or call us on 01629 538347.
Please be aware that although the talk will be delivered in a room accessible via a lift, the conservation studio – where the practical demonstration will be held – is on the second floor and can only be reached via stairs.
Have you ever worried that your old letters, certificates, photographs, maps and diaries are getting damaged whenever you handle them? You want to share them with the family, give everyone the opportunity to connect with long-gone relatives, but you can see creases gradually turning into tears. And what about those framed photographs hanging on the walls? They are fading in the light, changing gradually, getting irrevocably damaged. The best way to keep all these treasures safe, is to make copies: this allows you to store the originals out of harm’s way, while the copies can be handled and displayed. With a digital copy you can even print off as many duplicates as you like, as often as you need them.
We have been copying our records in order to protect them for a long time, and I’m pleased to say that we’ve opened up our copying service to everyone, from individuals to heritage organisations: we can now digitise your history for you.
Our experienced staff, using the same equipment they use for all the historic records we hold, are able to digitise:
What are the advantages of trusting Derbyshire Record Office with your family’s history?
To ask for a quote, simply fill in a Digitising History quote request form on our website.
