Broken bindings: a closer look at conservation (part II)

This is part II of a two-part series on the challenges of conserving Nicholas Crouch’s library. Part I may be viewed here.

Most of the treatments will use a combination of Aerocotton, sewing threads and Japanese papers. These materials are chosen for their strength, quality, and flexibility; are toned using acrylic dyes with a good light fastness, and adhered in place using a 25% wheat starch paste. The size of the book, scale of the problem and condition of the leather are all important factors to weigh up when choosing a suitable treatment. Where the outer leather is beginning to split at the head and tail, often it is enough to lift the leather and insert bridges of toned material between the spine and the board. This pulls the boards back into place, and gives support to the unbroken board attachment.

Before (left) and after (right) treatment, showing how toned Japanese paper can be used to bridge splitting joints

Where the board is completely detached, more is required to make sure that the repair is durable. Given the condition of the leather, it is better to find solutions that interfere as little as possible with the original leather. If possible, sewing threads can be an excellent mechanical board attachment. Inserted into the middle of a section close to the joint, the sewing threads are twisted round the support, frayed out and adhered to the upper edge of the board. Toning in situ or covering with toned paper can further disguise the treatment, and consolidate the attachment.

The principal aim of conserving the collection is to make the objects accessible to readers  while preserving their original materials and structure, key components of Crouch’s collection. After treatment the books will still be fragile and should be handled with care: aspects such as restricted opening and degraded leather are inherent to the object. However, boards will be reattached and torn pages repaired making the objects far more accessible to researchers of both the content and the bindings.

By Nikki Tomkins
Project Conservator