conserving a japanese printed book

7/27/2019 Conserving a Japanese Printed Book

1/10

The Art Institute of Chicago

Binding Beauty: Conserving a Collection of Japanese Printed BooksAuthor(s): Barbara Korbel and Janice KatzReviewed work(s):Source: Art Institute of Chicago Museum Studies, Vol. 31, No. 2, Conservation at the ArtInstitute of Chicago (2005), pp. 16-23+105Published by: The Art Institute of ChicagoStable URL: http://www.jstor.org/stable/4104454.

Accessed: 23/09/2012 07:31

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at.http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide rang

content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new f

of scholarship. For more information about JSTOR, please contact [email protected].

.

The Art Institute of Chicago is collaborating with JSTOR to digitize, preserve and extend access to Art In
http://www.jstor.org/action/showPublisher?publisherCode=artichttp://www.jstor.org/stable/4104454?origin=JSTOR-pdfhttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/stable/4104454?origin=JSTOR-pdfhttp://www.jstor.org/action/showPublisher?publisherCode=artic


2/10

BINDING BEAUTY:CONSERVINGACOLLECTIONOF JAPANESE RINTEDBOOKSBARBARAKORBEL,COLLECTIONSCONSERVATOR,RYERSON AND BURNHAMLIBRARIESJANICEKATZ,ASSISTANTCURATOR OF JAPANESEART

The inhabitantsfJapan'sargepremodernitieswerehighlyiterateonsumersfprintedllustratedooks.'Elegantimitedditions f classic ourtlyalesbegan obeproducedni6o8 ndwere he irstigns f printev-olutionhat ventuallyeached ll evels f ociety. ythelate eventeenthenturyll manner fpublicationsadappeared,ncludingists fthemost tylishourtesansfthepleasure uarters,etailed ravel uides, ime-storenovels,rotica,ncyclopedias,rawingnstruction anu-als, nddeluxe oetryompilations.Japanese hon picture ooks) aregenerallyom-prised fwoodblock-printedheets fkbzopaper.2 othillustrationsndtext,whichwascarved omimic alli-graphic riting,ouldbe cutonto he amewoodblock,whichwasprintednblacknk nly; sfull-colorrintingdeveloped,severalblockswere used foreachpage.Althought s difficulto estimate,ditions robablyrangedfrom boutthreehundred o a fewthousandcopies.Theblocks ouldbe reusedf bookwas a suc-

cess,andprint unsof several housandwere notun-known. itles, olume umbers,ndpagenumbersftenappearon theouter dgeof each sheet.A bookmighthave prefacetthebeginningnda colophontthe ndlisting hepublisher r theownerof thewoodblocks(akin o theholderf he opyright)nd date. An nter-esting eaturefmany rinted ooks s the nclusionfseveral heets f advertisementsor orthcomingublica-tions.Asidefrom roviding fascinatingiew nto hepublisher'susiness,hese dditions anhelpdate bookevenwhen he iece tself arries o ndicationfwhen twas made.Itcouldbeextremelyrofitableo be a publishernpremodern apan, nd thecities fEdo (nowTokyo),Kyoto, ndOsaka inparticular erefilledwith heseentrepreneurs.n the ast hirtyears fthe ighteentcenturylone, henumber f new booksavailable eryeardoubled, eaching lose to eight housand itles.4Often hepublishers,sidefromngaginghe ervicesf

16


3/10

FIGURE. Visiblehere re twotypes f accordionbindings.At left,nsempuyo tyle, s KawanabeKy6sai Japanese, 831-1889), ogaku Zue (Pictures f NoPlays), 899. Atright,norihon tyle,sUtagawa Hiroshige Japanese, 797-1858), Sokkyb ageboshiZukushi Collection f mprovised ilhouette lays),n.d.

an artist rdesigner,lock arver,rinter,ndbinder,oldthebooks ntheir wnshops.Most of these usinessesalsopublished ingle-sheetrints, mployinghe ameartistsoproduce hem.ndeed,many esignersftheseprints ot heir tartllustratingooks, ndevenwhen nartist chieved ame, emayhavecontinued odesignbooks s well.Traditional apanese ooks aremarkedlyifferentfrom heirWesternounterpartsnbothmaterials ndstructures. he most obvious differences an almostexclusive eliance nwashi, rpaper,ntheir reation.The rawmaterialsnd methods sed nJapanese aper-making esultna paper hat s long-fiberednd free fdamaginghemical esidues ommonnthemanufactureofmanyWestern apers.TheJapanese ook demon-stratestsflexibilityndstrengthn a varietyfbindingsthat sefoldingndsewing echniqueshat re eparateanddistinctromhe uropean radition.'

Whilemany inding tyles fvarying omplexityhave volvedlongsideneanother,ivetyles ppear re-quently nthe Art nstitute's ollection ofJapaneseprinted ooks.Thesimplestfthese, eveloped uringtheHeianperiodA.D. 94-1185), stheorihon,nwhichlong heets fpaper refolded ack ndforth,ccordionstyle.6eparate overs ttached o the front nd backpages llow eadersoexaminebookpage-by-pager ounfold t and view t n tsentirety. variation n thisaccordion tructures thesempuiyo,r flutterook,madewith singleover hat xtends rom he rontage crossthe pine o theback.Restrainednly t the pine dge,tismore imitedn tsmovementhan he rihon nd canbe readpage-by-pager viewed ntheround.Both ofthese inding tylesseefig. ) evolved romhe arliestform f theJapanese ook,the croll. Thedetchoso,rkochobsbutterflyook), lsoappeared uringheHeianperiod.n this inding tyle, ingle ext heets refoldedinhalfimage ide n), hen tacked ndglued long he

17


4/10

BINDING BEAUTY

FIGURE .These three ooks llustratedyToriiKiyonaga 1752-1815)lldisplayChinese-styleour-holepouch bindings.

spine dge.When pened, hepages nthis ook-shapedstructureesemblebutterfly'sings, ivingt tsname.Arguablyhemost amiliarype fJapanese ook-bindings the ukurooji, rpouchbinding.nthis tyle,single rintedheets refoldedn half image ideout)and stackedwith hefolds ositionedt thefore dgeofthebook. The text s boundwith wisted aper ords ttwo tationslong he pine dge, reatingpouchfromeachpage.Thecovers,oft ndusually npatterned,remade romoarse, ecycledaper ndfinished ith thinlayer ffineryed aper; hese re ewn nto he indingwith inted ilk hread,nd a printeditle lip spastedonto he overseefig. ).The most ommonewing at-terns ave our oles theChinese tyle) r five oles theKorean tyle), lthoughariationsanfeaturesmany stwelve oles hat roduce ecorativeesigns,achwith tsownname ndapplication. hile nothertyle fpouchbinding,heyamato,hares n denticalnner inding,flat ord s used nplaceofthe ewinghread o hold hecovers o the ext.nallof hese ariations,he nner ind-ing emainsseparate,table omponentvenf he uterstitchingailsndthe overs etach.The Art nstitute'sollection, hich ontains ooksfrom hebeginnningf he rint evolutionnseventeen-nth-centuryapan hroughhe1920os,s one of thefore-mostntheUnited tates ndconstitutesvital esource

for he tudy f ll facets fpremodernapaneseultureThe coreof theholdingswasamong hemuseum's irstacquisitionsfJapanesert, omings a giftrom ne ofitsgreatest arly atrons,hebusinessmanndphilan-thropist artin .Ryerson. yersonevotedmuch fhistime oChicago's ulturalnstitutions,ervings a trusteoftheArt nstituteromi88o nd aspresidentrom 925to 1926,fundingpaceforts ibraryn 1901. He pursuedwide-rangingastesnart, uildingollectionsf ndianjewelry,uropean ainting,apaneseaintingsndprintsand Asian ndEgyptianextiles. e donated isJapanesbooksto themuseumnstages etween 913nd 1931,givingmost f hemn1926.Ryerson laced reatmportancenhaving omparative eference aterialor rtistsostudyhe isual rod-ucts f therultures,ndhis nterestnJapanesellustratebooks shouldbe seen nthis ight.ndeed,woodblock-printed ublications erenotonlypopularnJapan utwere lso n enormousnfluencenWesternrtists,articularly ainters orkingnFrance. idouardManet ndVincentanGogh, ornstance,adacquired rintsromthefamous arisdealerHayashiTadamasa.KatsushikaHokusai'sHokusaiManga, tspages rowdedwithwittysketchesfpeople, nimals,nd andscapes, asamongthe arliestolumes o make heir ay oEurope,where twashailed samasterpiecefgraphicrt.

18


5/10

FIGURE .Shown here re three ooksfrom heArt nstitute'sollection,llstampedwith ollectors'marks.At ower eft ndright reToriiKiyonobu(Japanese, 664-1729), eiseiEhon AlbumsofCourtesans), 700; ndHishikawaMoronobu Japanese, 618-1694),uryaSugatae HyakuninIsshu TheFanciful ortraitsfHyakunin sshu),1695, earinghe ollectors'marks fEmileJaval ndHayashiTadamasa, espectively.ttop sTotoyaHokkei Japanese, 780-1850),ybkaKeikashiCollectionofKy6kaon theMoon), 1829,which s stampedwith hemark f Louise NortonBrown.

Ryerson urchased isbooksfrom arious ources.While he arlierrovenancef heRyersonollection asgone argely nrecorded,hepublications hemselvesoften arry ollectors' eals seefig. ).These nform sthat hemajorityame rom ouiseNortonBrown, howasthe uthor fBlock-Printingnd Book llustrationnJapan rom heEarliest eriod o theTwentiethentury(1924), thefirst ook on the ubject f ehon nEnglish.Brown ncluded undredsftitlesnher xtensivendex,includinghosenher ersonalollection.he lso isted,

for hebenefit fcollectors,ookstoreswheretheymight urchaseehoninJapan-placeswhere,t eems, nglish-speakinguidesmay otreadilyirectoreigners.By the ate 1920s, Ryersonhad donatedapproximatelyifteen undred olumes o themuseum. t wasduringhis eriod hathe real-izedthemportancefpublishingcompleteat-alogue f he ollection. rittenyUniversityfChicagoscholarKenjiToda,Descriptive at-alogue fJapanesend Chinesellustratedooksin theRyerson ibrary ftheArt nstitute fChicagoi931)contains itle ranslations,iblio-graphicnformation,escriptionsfcontentsandexplanationsf llustrations,s well s nfor-

mation boutthehistoryf theJapanese rint.This, longwith henumber nd richnessf thebooks hemselves,elped he ollectionsecomean mportant,ell-used esource or tudentsfJapanesert nd ulture.In 1939 heArt nstituteeceived27morebooks from he FrederickW. Gookin estate.Gookin was a consultant o thedistinguishedChicagocollector fJapanese rints, larenceBuckingham,nd a curatort theArt nstitutefrom 914 nto he1930s.He left careernbanking obecome n advisor nJapanesert ndwas the rganizerof aswell s a lendero)themuseum's9o8 xhibitionfJapanese rintshat ncludedworks rom hecollectionofbothBuckinghamndFrank loydWright.side romthoseofRyersonndGookin, ther olumes avebeenadded sgiftsrpurchasesver he astdecades.InJuly999, he onservationtaff f themuseum'sRyersonnd Burnham ibrariesurveyedhemuseum'scollection fJapanesellustratedooks.While hese old-ings n theirntiretyriginallyesidednthe ibrary,vertheyearsheywere ransferredo theDepartmentfAsianArt,where taffnd outside cholarsre ble to examinethem asily longside herest f themuseum's apaneseprintedmaterial. spart ftheRyerson ibrary'seneracollections,he books exhibited he tandardmarks flibrarywnership:ccession ndcatalogue umbers adbeen nscribedneach, ndbibliographicotes,book-

19


6/10

BINDING BEAUTY

FIGURE . Wraparound ardboard overs, mbrittledy age,previouslyhoused tems nthe ollection.FIGURE . ne quarter ftheMartinA. Ryerson ollection-approximately400titles-ishoused npamphlet indingsmanufacturednthe192os nd1930s.hownhere s apamphletover ntowhichmultipleolumeswereglued.

plates,nd helfocationabelswere asted o the overs.To ensure hat hebooks tooduprightnthe tacks,earlieribrarians ad reinforcedheflexibleaperbind-ings ntwoways:half f thevolumeswere housed ncardboard rappersseefig. ) and anotheruarter erebound npamphletovers hatwereglued irectlyo thedelicate ilk titchinghreadsseefig. ).Purchasednthe1920S and193os, rior othe ntroductionf ignin-freeproducts, hese enclosureswere acidic and severely

embrittled,fferingittle rotection.8or-tunately,heywere lso madebefore heproliferationfpressure-sensitiveapesandpolymer-baseddhesives, hich remore ermanentntheirpplicationshantheirwater-solubleounterparts.he re-maining ooks werehoused noriginalJapaneseoxes, rchitsu,hatwere truc-turallyound utvariedncondition romgoodtofragile.Althoughhere asnowayofknow-ingwhat tate hebooks were nbeforetheArt nstitutecquiredhem,twasevi-dent hat ecades fhandling y previousowners, ibrary atrons, nd curatoriastaff ad resultednthe ort fphysicaldamage typically ssociated withuse.Half of thevolumes xhibitedplit olds,tornpages, ooseplates, nd worn itlestrips. n anotherhird,overs eredam-aged, braded,ndstained,nd na fewtheyweremissingltogether.While ll fields fconservationharean nviolableommitmentowork owardthe ong-term reservationf culturalproperty,heprinciplesndpractice fbook conservationifferrom hose f llothermedia nonevery mportant ay:booksare, ynature,actilebjects hat re meant o beused. It is onlybyopening publication's overs ndexploringhe ontentshatwecan ullyppreciatets alue.For this eason,t s thepreservationfthebinding-themechanicaltructurehat espondsothe ct f urninghepages-that ies t heheart fbookconservation.Threemonthsftereginningo examinehe amplevolumes, onservatorsresented written eport ndtreatmentroposal o theDepartmentfAsianArt. hisplanfocused nreversinghe ibrary's rocessingddi-tions, epairingindings,nd tabilizingamagedmaterials forfuture se byscholars. he final tage nvolvesrehousinghe olumes o reflecthe riginal yersonndGookin ollections.hroughouthe irsthree ears f heproject,he onservationrocess asremainedhe ame.

20


7/10

After irstvaluatingach olume,on-servatorsreate treatmentroposal ndaddit toa searchable lectronicatabase.Beginningreatmentn thebook itself,they emove ommercialovers ndwrap-pers, nd ift ookplates,abels, nd resid-ual adhesivessing poulticefmethylcel-lulose seefig. ).9Next, hey elocate oseparate iles nynotes, apers, r otherinclusions hatmaybe compromisinghebinding tructure. he mostunusual ofthese o datewere hirty-fiveried ingkoleavesdeliberatelylaced nto hefoldedareas f pouchbinding.While he eavesmay ave een lippednfor heirnsectici-dal properties,heir resence emainsmystery.Inthefollowingtage fwork, oversare cleaned and pencilmarks,with theexceptionforiginalibraryotations,reerased. onservators end mall earswithJapanese aperandpaste,humidifyndflattenolds ndcreases,ndreplaceweakand brokensewingwithsilkthread omatch heoriginal s closely s possible.They henmake ew overs oreplacehosethat remissingr offerdditionalrotec-tion o those hat re xtremelyorn.Once the reatmentf ndividual ol-umes scomplete,he onstructionfpro-tective rappersegins.' norder o arriveat a casedesignhatwouldbeaestheticallycompatible ith he ollection,nly raditionalapanesemodelswere onsidered. heprimaryeason or hoos-ing he implest raparoundase, hemaru hitsu,romthevarietyfdesigns hat xist s the argenumber fcases-approximatelyighteenundred-that eed o bebuilt. onsideringhemarginferror ossiblena pro-ject of this ize, the conservation eamhas relied ontwenty-first-centuryechnologyo assistntheproduc-tion f hehistoricases.Using he riginalimensionsfa book and a worksheet eveloped n Microsoft xcelthat utomaticallyalculates hedimensions or hefive

FIGURE . Conservation echnician hristine abianremoves inder's apefrom ne of theArt nstitute'sapanese rinted ooks.FIGURE7. In an effortodistinguishetween hetwomaingiftshatmakeup the ollection,wo differentapanese ook clothswere elected o coverthe cases. The FrederickW.Gookin MemorialCollection s seen ngold,while heMartinA. Ryerson ollection s housed ngreen.nrare nstancesinwhich multivolumeet s composedofworks nboth ollections,a band sused across he pine s a visual ndicator.

21


8/10

BINDING BEAUTY

boards nd hreeiners eeded ocompleteach ase, heyare able to producechitsumuchmoreefficientlyndwithoutmathematicalistakes.The needfor fficientroductionlso affectedeci-sions boutmaterialsnd adhesive.Whilewheat tarchpaste s used almost xclusivelynthe raft fJapaneseboxmakingndbookbinding,t also dries ery lowly.12Selectedn tsplacewas a fast-dryingolyvinylcetate(PVA), a vinyl esin imilarnapplication o commonwhite lue. woJapaneseook clothsmade rom blendofrayonndsilk, nd backedwith aper) rebeing sedto cover he ases,while machine-made esternaper(more ompatible ith VAthan apaneseaper) sbeingused to line them.Traditional oneclaspssecure ndcompleteach ase seefig. ).

At this ime,ll227books hatmake ptheGookincollection ave een reated,ehoused,ndrelocatedo apermanenttoragerea ntheDepartmentfAsianArt.While n additional32 tems rom heRyersonollectionhave also beenconserved, pproximately 372 itles

remain. heDepartmentf AsianArthasbegun ata-loguinghe ollectionlectronicallynbothJapanesendEnglish.Thiscomputer atabase,which ontains ewscholarshipnthe itlesn ourpossession,wes ts uc-cess to dedicated olunteers hograpple atiently iththe omplexitiesf ataloguinghematerialndepth.Research nJapanesellustrated ooks has seen asteadyncrease ince heI98os. n recent ears heArtInstituteas welcomed ountless cholars nd studentfrom apan,heUnited tates,ndelsewhereostudyurcollection.eldom oes a specialistisit s withoutmak-inga startlingiscovery f rare rpreviously nseenmaterial.WorksbyKatsushikaHokusai,for xample,comprise fulliopercentf theArt nstitute'soldingsofJapanese rinted ooks. Within hatnumber esidesthecollection's arest olume,Hokusai'sMiyakodori(Bird f heCapital),llustratedithmulticoloredmagesof cenesnand around do,allprinted ith reatensi-tivitynd skill seefig. ). Each llustrations accompa-niedbytwoor three hortkyoka poems at thetop.

FIGURE .KatsushikaHokusai Japanese, 760-i849).TheKomagata Ferry,rom heMiyakodoriBirdof theCapital), 8o2.TheArtInstitute'somplete opyof theMiyakodoris one ofonly wo known o exist.

22


9/10

Hokusaihad chieveduch ame s an artist hat he extsseem o act as accompanimentso the xquisitemages,ratherhan he therway round. he Art nstitute'sol-ume s one ofonly wo urvivingompleteopies mongthe our nown o exist.The conservationndcataloguingfthismportantcollection ill lmost ertainlyake nother ixto sevenyears o complete.Within hat ime, s we continue ouncoveranddiscover)he ollection,e knowwewillbechallengedythedelicatematerialshatwe will reat ndbe inspired ytheexquisite xamples fprintingndartistryhat ach ndividual olumedisplays.We alsoknow hat here illbe momentsfpure elight,s whenwe found tagawaHiroshige's layfulokkyo ageboshiZukushiCollection f mprovisedilhouettelays; eefig. ).

FIGURE .UtagawaHiroshige. romSokkybKageboshiZukushi seefig. )

23


10/10

NOTES

17. There re antalizinglues opararealgar'sse n the road ollar swell,whereithasbeen mployedooutlineriangularhapes freservedroundolor. he fad-ing f his olor as enderedhe ontrastith he eservedreas ery aint.18.Orpiment,narsenic ulfide, asmore paringlysed,detectednly ntheinscriptionnd n the all lumes.19.The ight-fadingf rseniculfidess awell-knownhenomenonhat asbeenrecentlylarifiedn everal apers ndhas lsobeshown o occur nthedark; eeVincentaniels ndBridgeteach, TheOccurrencendAlterationfRealgarnAncient gyptian apyri, tudies nConservation9 2004),pp. 73-84;D. L.Douglass, hichanghing,ndGeWang,TheLight-InducedlterationfRealgartoPararealgar, mericanMineralogist 7 (1992), pp. 1266-74; nd KarenTrentelman,eonStodulski,ndMark avlosky,CharacterizationfPararealgarandOtherLight-Induced ransformationroducts romRealgarbyRamanMicrospectroscopy,nalytical hemistry8, 10 1996), p. 1755-61.nthe ast,pararealgarasbeenmisidentifiednmanynstancessorpimentue o the act hatthe wo igmentshare veryimilarisual ppearancend he ame haracterizingelement,As),whennvestigatedith lementalnalyticalechniques.hanks otheadvances nanalyticalnstrumentation,n recent earsnumerous xamples ffindingsfpararealgarnpolychromegyptianrtifactsave een ublished:eeA.Rosalie avid t l., Raman pectroscopicnalysisfAncientgyptianigmentsArchaeometry5,4 (2001),pp. 461-73;Edwards et al. (note16); and PeterVandenabeeletal., Spectroscopic xamination f TwoEgyptianMasks:ACombinedMethodApproach,Analytical etters 3,15 2000), pp. 3315-32.Pararealgarasalsofound n a numberfpapyrus bjects; ormore nthese,eeGreennote 6), p.88-89; aniels ndLeach above); ndLuciaBurgiondRobinJ.Clark, Comparativeigment nalysis fSixModern gyptianapirynd nAuthenticOne of thei3thCenturyB.c. byRamanMicroscopy nd OtherTechniques,ournalfRaman pectroscopy1 2000), p.395-401.20. Modernonsolidantsave een pplied ver ome reas f he aintedurface.Twocommonmodernonsolidants-polyvinylacetatePVA) ndpolyethylmeth-acrylate/methylacrylateB-72)-were etectednvarious reas.21. For descriptionfbinding edia nEgyptianaintingsith list f cientificfindings,eeRichardNewman ndSusanaM. Halpine, TheBindingMedia ofAncientgyptianainting,nDaviesnote ),pp.22-32.22. Formore nthis, ee theproceedingsftwo nternationalymposia, heOxalate ilms: riginndSignificancentheConservationfWorksfArtMilan:Vega, 989);ndTheOxalate ilms n theConservationfWorksfArtBologna:Editeam,996).KORBEL AND KATZ, BINDING BEAUTY: CONSERVING A COLLECTION OF JAPANESEPRINTED BOOKS, PP. 16-23.i. Recordsndicatehatiteracyevels ere t40to5opercentormen nd bout spercentorwomen y he 86os, hichncludedll amuraind goodnumberfpeasantsndmerchants.ven f he ost f bookwas oohigh or large egmentof he opulation,nabundancefpublicendingibrariesxisted.eeMatthiForrer,irakuya oshiro,ublishertNagoya: Contributiono heHistoryfPublishingn19th-CenturyJapanAmsterdam:.C. Gieben,985),.77.See alsoR.P.Dore,EducationnTokugawaJapanLondon:Athaloneress, 984),p.254,317-22.2.Kozoisthe iberrom he nner ark f heAsiaticree roussonetiaapyriferia,alsoknownspapermulberry.ee Matt .RobertsndDonEtherington,Bookbindingnd heConservationfBooks: Dictionaryf escriptiveTerminologyLibraryfCongress,982).3.Colophons ecame equiredn1722, hen hey ad to containhedate f hepublication,he uthor's ealname, ndthepublisher'snformation.his was awayfor he hogunal uthoritiesoregulatehepublishingndustry,nd somescholars elievet also dentifiedotentialnemies fthe hogunate.eeForrer(note ), p.73.4. bid., .68.5.Theart fbookbinding,swell s those fpapermakingndprinting,volvednJapan romnventionsriginatingnChina.Kojirokegami,apanese ookbinding:Instructionsrom Master raftsmanNewYork:Weatherhill,998).6.During heHeianperiod,more ommonlynown sClassical apan,he apaneseimperialourtwas t tsheight.he erawas alsomarkedy he ise f he amuraiandbygreatulturalvolutionsn iteraturend he rts. ormore,ee bid.7.Althoughoda's s the arliest, ost ompleteataloguefRyerson'sollection,tis nnoway completeccount f hemuseum'sllustratedookcollection s awhole. eealsothe elatedrticlesyToda ndHelenGunsaulusnBulletinf heArtnstitutefChicago 1,4 Apr. 927),pp.52-53;21,9 (Dec.1927),pp.110-112;2,I (Jan. 928),pp.8-9; nd25, Nov.1931),. 109.8.Lignins a complex olecularystemoundn he tructurefwood. n theman-ufacturefwood-pulp aper roducts,ts resencereatlyastenseteriorationyproducingcids hat reak own he aper ibers.9.Methylcelluloses a plant-basedmulsion sed saweak dhesive rthickening

agentn varietyf pplicationsncludingoultices.n this ase,waters held n us-pensionong nougho reversehewater-solubledhesivesriginallysedonthebooks.1o. hepurpose f ny nclosures toprotectts ontentsrommechanicalamageand,nvaryingegrees,omitigatehe ffectsfdirt,ollution,nd ight.ii. Severalmodifications,ased olely na need o shelve he ooksverticallynalimitedmount f pace,weremade o the onventionalaru hitsu esign.Mostnotablere he bsence f he idge tripnthe rontlap f hewraparoundaseand he epositioningfbone lasps nveryhin olumes.12. tarchastes remade rom ice rwheat rainsrom hich he roteinompo-nent asbeen emoved,eavinghe tarch ehind. hey reused s an adhesivenconservationracticeecausef heirurity,eversibility,nd trength.DAHM, TARNISHED BY TIME: THE TECHNICAL STUDY AND TREATMENT OF A REDIS-COVERED OLD MASTER DRAWING, PP. 24-29.i. The dates re stimatedrom arious istoricalources.eeAstrid iimpel,TheLife fPieter astman, nPieter astman: eermeesteranRembrandt,d.AstridTiimpelndPeter chatbornAmsterdam:embrandtouse, 991),p. 11.2.Judahnd Thamar nd ophonisbaeceivinghe oisoned up re ublishednEW.H. Hollstein, utch and Flemish tchings, ngravings,nd Woodcuts,a.1450-1700,ol. o0Amsterdam:.Hertzberger,949),. 35, o.I andp.37,no.23,respectively.hePreachingfSaint ohnhe aptist, hich asbeen n oan otheArt nstituterom he iocese fSpringfield,llinois, ince 998,sreproducednKurt riese,ieter astman,ein eben nd eine unst: inBeitragurGeschichtderHolland.MalereimXVII.Jahrh.Leipzig: linkhardtndBiermann,911),l.27.3.All n-paintingascarriedutwithwatercolor.water-solubleayerfmethylcellulose asapplied irstn order o solate he aper rom he n-paintingediaand ofacilitateheir utureemovalfnecessary.4.For morenformationn this rocess,eeMargo .McFarland,TheWhiteninEffectsf Peroxide elsonDarkened ead White aint, ook ndPaperGroupAnnual 6 1997), p.55-66.5.A watermarks a trademarkmpartedopaperbywires n thepapermaker'screen,rmould.Watermarks,isible nly n transmittedight,re ften ancifudesigns articularoapapermanufacturer.6. Forthe arliestnown se of his ersion f he trasbourgendwatermark,eeEdwardHaewood,WatermarksAmsterdam:aper ublicationsociety,970), .67.For xamplesf hiswatermarkoundnprints yRembrandtndhis ollowerseeNancy sh nd helleyletcher,atermarksnRembrandt'srintsWashingtonD.C.: National alleryfArt, 998), p.181-87.7.Titian's onumentaloodcutsbetternown hanAndreani'sopy, ut he ri-entationnd ize of he rawingndicatetwasAndreani'sersionndnotTitian'thatwas themodel or heArt nstitute's ork. or an llustrationfPharaoh'sArmyrownedn theRedSea, eeDavidRosandndMichelangelouraro,itianandtheVenetianWoodcut,xh. at. Washington,.C.: InternationalxhibitionFoundation,976), . 70.8. This onnection askindly uggestedyPeter lack f heHunterian useumandArtGallery,niversityfGlasgow. heRubens rawings undated utpre-sumably ouldhave een xecutedetween6oo nd16o8,when he rtist as nItaly.he Louvre atalogueuggestshat he riginal esignource ouldhave eena frescoyGiulioRomano r,more enerally,he chool fRaphael. eeFritz ugt,Musee du Louvre: nventaire eneraldes dessins esecolesdu Nord Musiesnationaux,949),ol.2,p.22, cat. 038.9.Formore nLastman'sollecting,eeTiimpelnote ),p. 12, n.39-ZUCCARI, ViLIZ, AND FIEDLER, SAINT JOHN IN THE WILDERNESS: OBSERVATIONSON TECHNIQUE, STYLE, AND AUTHORSHIP, PP. 30-45.Theauthors ould ike othankhe ollowingolleaguesor heir enerousfforttoprovideccess opaintingsnd researchmaterials: runoMottin, entre erecherchetderestaurationesmus6es eFrance; tephenonadies,incinnatirtMuseum; laireBarry, imbell rtMuseum, ortWorth; afael omero senjoandAdelinallinGutiirrez, adrid; harlotteale,Metropolitanuseum fArt,NewYork; armen arrido, useodelPrado;RhonaMacBeth,eanWoodwardand reneKonefael, useum fFineArts, oston; teven ornhauser,adswortAtheneum,artford;oHedley,Wallace ollection,ondon;RitaAlbertsonndPhilip lausemeyer,orcesterrtMuseum;ndPatricia arland, aleUniversitArtMuseum. pecial hanks oto Richard ewman f heMuseum fFineArts,Boston,or ngoingssistance,hichncludednalyzingamplesromaintJohnntheWilderness. egratefullycknowledgeridleyMcKim-Smith'snspirationawork nVelizquez ndher nthusiasticnterestn his roject.We are lsogreatlyndebtedo RachelBillinge, avidBomford,shokRoy,andMartinWyld t theNationalGallery,ondon, or rovidingdvice; ccess opaintingsndresearchiles; opies fX-raysnd technicalhotographs;nalysisof amples;ndfor roducingheX-rayfAlonsoCano'sTheVisionfSaint ohnthe vangelist.

IO5

conserving a japanese printed book

Documents