If barrier sheets were added, trim the fore edge of the barrier sheets as described in “Trimming Pages,” p. 114, after the sewing is completed.
Stab-Sewn (Side-Sewn) Pamphlets
There are several types of binders available for multisec- tion pamphlets or thin, softcover books made of single sheets with no folds. The pamphlets and binders are sewn together near the binding edge, not through the folds. It is a very quick way of assembling pages, but pamphlets that are stab sewn do not open very well. Pages often crease and break off against the line of stitching, especially at the front and back.
If the materials are of permanent value, it is usually better to send them to the library binder. However, for very limited-retention items, this type of pamphlet bind- ing may be adequate. Conservation and library supply vendors provide instructions for attaching pamphlets to the various types of binder.
If there are pamphlets in your collection in old bind- ers that cannot be rehoused immediately, insert loose bar- rier sheets of buffered paper between the boards and the pamphlet for a short-term solution. Place the pamphlet in an acid-free envelope if more protection is needed.
depending on the size of the book. Don’t cover up more of the endpapers than necessary. Angle the corners of the cloth.
Wrap the cloth snugly around the spine and secure it temporarily with large clips, clothespins, or other clamps.
Feel through the new cloth to locate the line of sewing.
Mark five evenly spaced spots. With an awl, enlarge the sewing holes near the marks. Sew the cloth on, using the same pattern described for sewing pamphlets through the fold (fig. 5-169).
3. and 4. Same as above.
BOOK CONSERVATION TECHNIQUES Fig. 5-169
Section 1
MOST LIBRARIES AND MANY ARCHIVES PRESENT exhibitions from time to time. Library galleries are often community gathering spots where local artists exhibit their work. An institution can mount a show as part of its educational activities, to let patrons know about new ac- quisitions, to commemorate a particular event, or for various other reasons. Exhibitions are also a major activ- ity for historical societies. Designing and putting up an ex- hibition can be a big project and may take several months.
This is especially true when some of the materials are bor- rowed from other institutions or from private owners.
Our main goal is to make sure that documents, books, prints, and other objects on display are not damaged in the course of mounting them or as a result of environ- mental conditions over the duration of the show. In this section, we will address some matters relating to the pres- ervation of book and flat paper materials on exhibit.
This section is divided into six parts.
1. “Designing the Exhibition with Conservation in Mind” gives guidelines for safe exhibit practices, including environmental controls, security, insur- ance, and lending and borrowing.
2. “Mounting an Exhibition” discusses exhibit cases.
3. “Exhibiting Flat Paper Items” gives techniques for displaying flat paper items.
4. “Mounting, Hinging, Matting, Framing” gives instructions for mounting, matting, and framing artworks and paper.
5. “Preparing Books for Exhibition” addresses proper methods of displaying books, with detailed instructions for making mounts and cradles.
6. “Closing the Show” covers some of the details that need attention when the show is over.
Designing the Exhibition with Conservation in Mind 150
Environment in the Gallery 150 Length of the Exhibition 154
Security 154 Insurance 154 Lending and Borrowing 154
Condition Reports 155
Mounting an Exhibition 158 Exhibit Cases 158
Exhibiting Flat Paper Items 161 Use Facsimiles Whenever Possible 161
Rotating Exhibits 162 Relaxing Rolled Materials 162 Handling Large Materials 162
Folded Documents 163
Mounting, Hinging, Matting, Framing 163 Window Mats 163
Mounting Artwork or Documents 166 Framing 169
Preparing Books for Exhibition 170 Simplest Supports 171
Book Wedges 171 Polyester-Film Book Supports 178
Preventing Distortion 179 Exhibiting Books as Museum Objects 180
Closing the Show 181 Removing Materials from the Exhibit 181
Storage of Exhibit Materials 182 Think Ahead to the Next Show 182
Small
Exhibitions
Section 6
When a show is first being planned, the emphasis rightly falls on content and design. However, the physical safety of the materials must also be considered from the begin- ning. The designer of the show should work closely with a conservator or preservation specialist. If the library or archive does not have such a person on its staff, seek advice from other institutions. It is often helpful to con- tract with a conservator to provide advice and services during the planning and mounting of an exhibition. The availability of a conservator, on staff or on contract, may help convince an owner to lend materials to a show.
Some institutions and private owners stipulate that a conservator must be involved in the planning and mounting before they will agree to lend materials.
Contact institutions in your area for references to con- servators who have experience in setting up exhibitions.
Some aspects of a show, such as the size and shape of the gallery, are more or less predetermined. Some fea- tures of the space and display furniture may be less than optimal. But with a few exceptions, a gallery can be adapted to house an exhibition safely. Lenders generally want to know what sort of conditions will prevail during the time that their materials are on loan. By the same token, if another institution wishes to borrow materials from yours, it is your responsibility to determine how they will be housed and displayed.
As with any space containing collections, a main consideration is whether an acceptable environment can be maintained in the gallery for the whole length of the exhibition, 24 hours a day. If this is not possible, the space is not suitable for exhibiting original materials.