BPG Unusual Paper Supports

Conservation Specialties

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American Institute for Conservation (AIC). "BPG Unusual Paper Supports." AIC Wiki. May 10, 2025. https://www.conservation-wiki.com/wiki/BPG_Unusual_Paper_Supports.

Over-Sized Papers

General Description

Large-sized and non-traditional materials and presentation of many contemporary drawings challenge traditional definitions of drawing. These objects now function as independent works of art whereas previously they more often served as preliminary steps in the evolution of more monumental works. Curatorial departments in museums frequently classify drawings exceeding 32 by 40 inches as over-sized (Volent 1989, 30–31). (See also Papier Marouflage).

• Single sheet: Wide rolls of paper have been commercially available since the early 1880s. Artists today may make use of over-sized rolls and sheets which are available in a variety of fiber qualities, surface textures, etc.

Western paper (machine made)

• Arches watercolor - 44 1/2 inches by 10 yards;

• 100% rag barrier - 80 inches by 20 yards;

• Rives BFK 100% rag - 41 inches by 100 yards;

• Tableau (Technical Papers, Boston), abaca fiber (For example, oversize Leonard Baskin woodblocks prints [Man of Peace, 1952] were made on Tableau paper.)

Western paper (handmade)

• Emperor Sheets - 72 inches by 48 inches (Volent 1989, 30–31).

Japanese paper (machine made)

• Machine made papers are available in rolls 100 cm x 6100 cm;

• Handmade paper 60–70 cm x 100 cm;

• Paper Nao sells several Japanese roll papers in varying weights.

The relative unavailability and expense of good quality, over-sized papers or ignorance of the quality of the papers may lead students and established artists to rely on poor quality materials such as acidic photographic backdrop paper (initial pH 4.5) and impermanent industrial packaging papers. However, a paper that is chemically of poor quality might still be aesthetically pleasing to an artist. The initial use of the paper (i.e., packing or industrial use) might have a significance to the artist which a “good quality” paper may not have. Artists may also make their own over-sized papers (Volent 1989, 31).

• Multi-sheet supports: Over-sized works may also be composite works, regularly or irregularly composed of smaller sheets of similar or varied paper types, variously joined (e.g., butt joins, overlapping joins).

Inherent Problems

• The logistics of transportation, storage, exhibition, photo documentation, etc. require thorough planning.

• During manipulation for conservation treatments, transport, storage and display, large-sized papers are particularly vulnerable to mechanical damage. To treat large items, experience as well as adequate space, equipment, materials, and staff are needed. Even basic treatment procedures are complicated by an object's large size and problems which may occur are likewise further intensified.

• Presentation: Factors to consider include the limited availability and high cost of over-sized archival materials and, when available, their inherent physical limitations because of their large size (e.g., buckling of over-sized ragboards, heaviness of large glass sheets, warping of oversized Plexiglas sheets, etc.) and, finally, the desire of artists to exhibit drawings in the manner of monumental paintings on canvas (Volent 1989, 31). Many contemporary artists may not want works on paper to be glazed in any way, even during travelling exhibitions. (KDB) (See Matting and Framing: Treatment Variations.)

• Storage: If possible, “Oversized works of art on paper should be framed as soon as possible to prevent damage and deterioration” (Volent 1989, 34). Horizontal storage is sometimes the only feasible system. Note, however, that it can lead to flattening and transfer of media and to permanent cockling and curling of the support. Rolled storage on a large roll or Sonotube can be a useful tool to facilitate handling. Rolling is not recommended as a technique of storage although it has been used successfully in certain problematic situations (Potje 1988). If rolling is to be used, roll the object face out. (EW) Over-sized objects, such as posters, may be encapsulated in polyester film and then hung vertically using various methods and devices.

• Multi-sheet Supports: Non-alignment of grain directions causes planar distortions: the degree to which the natural grain directions, characteristic of some of these works, are to be retained should be specified before conservation treatment is undertaken.

Treatment Observations

• “Routine” conservation treatments may be complicated because conditions such as overall humidification and even pressure are difficult to achieve on a large scale, but they are possible. (See Albright and McClintock 1982; Eckmann 1985; Fairbrass 1986; Hamm 1988; Owen 1988.)

• Historically, large posters, maps, etc., were routinely adhered to cloth linings (cloth was available in sufficiently large widths and lengths) during production or by framers or restorers. Today, the conservator may use machine made Japanese paper with its “limitless” length for greater ease in lining over-sized Western papers, especially machine made ones (extremely large blueprints, wallpaper, posters, mechanical drawings, etc.). (See Nicholson and Page 1988; Lining)

• A treatment plan should incorporate designs and specifications for mounts, storage, proper handling and future transport, and display so that the work will be protected against new problems. This may involve consultation with the artist, curator, an historians, etc. (See Matting and Framing.)

• Multi-sheet supports: Careful inspection of joints may reveal that the piece was misaligned when made; was disassembled, trimmed and rejoined; or that pieces of different images were joined. (CS)

Some conservators advocate separating composite objects at the seam(s) and treating each section. However, detaching the overlaps of a multi-sheet support can be very risky because of differential expansion of loose versus edge-bound paper. It is difficult to predict new dimensions/alignment after detachment. General recommendations to disassemble or not are difficult to make. Each object must be individually assessed through thorough examination and testing. (For a successful treatment see Hamm 1988.)

Fans

General Description

Fans present special conservation problems because they are three-dimensional objects designed for use and made of a combination of materials. They may vary from simple screen fans (see below) to mechanically complex folding fans. A third type, the folding “brise” fan, has no paper leaf and will not be considered here. It is important to understand the structure in order to recognize causes of deterioration and to choose appropriate conservation methods.

Structure:

• Leaf: May be made of paper or skin. (Leaves of silk and other fabrics fall under the domain of the textile conservator and will not be considered here.) Folding fans were most often composed of two semi-circular leaves pasted together on either side of ribs. Single leaf paper fans are less common. Screen fans consisted of a rigid leaf (of jade, ivory, etc., which will not be considered here) or a flexible material stretched over a shaped wooden frame and then attached to a handle.

• Paper: Chinese fans were made from mulberry paper or shorter fibered papers. The leaves of Japanese fans were made of several sheets of laminated gampi. Western fans were made of antique or modern laid paper or wove paper; a paper imitation of skin, called “chicken skin” was also common.

• Skin: Range of types, qualities and finishes were used.

• Decoration: Painted or printed, with appliques of many materials.

• Sticks or Handle: In folding fans the visible, often decorated, parts of sticks terminate in the narrow and more fragile ribs which are inserted between the two leaves. Sticks are held together at the base by a rivet. Heavier guard sticks, to which two free ends of leaves are pasted, strengthen the fan when in use and protect it when closed. In stretched leaf or screen fans, a handle was fixed to the screen with a small nail or rivet. Handle or sticks could be made of many materials, including ivory, tortoise shell (genuine and imitation), bone or wood.

Inherent Problems

• Causes of deterioration: Natural aging of component materials is often accelerated by poor environmental conditions and acidic storage materials, such as custom-made wood or cardboard boxes. Combined use of various materials with different reactions to temperature and humidity changes causes many problems. Sticks over time become brittle, leaves less flexible and adhesives may either dry out or, in the case of fish glue, soften in excessive temperatures. Sticks are made of materials with grain structure which, especially due to their thinness, makes them prone to shrinkage and warping. Damage to the sticks results in damage to the leaves, since the leaves are subjected to increased stress with less mechanical support. (Damage to sticks will not be considered further since it falls into the area of the objects conservator.)

• Use: As costume accessories, fans were subjected to constant manipulation, resulting in breaks, losses, tears and abrasion along the folds. They also suffered from exposure to light, dust, candle soot and other grime, oil from skin or foods, and many other deleterious conditions. As objects for collection they were again exposed to light and dust, and were often stored open, making them more susceptible to warping and sometimes impossible to reclose.

• Past repairs: Materials used in the past for repairing leaves included parchment, glassine tapes, stamp hinges, silk, pressure sensitive tapes, and various papers and adhesives. Repairs were usually made without an understanding of their mechanical effects. Past repairs were almost always applied to the surface of the leaf, rather than between its layers. Sometimes repairs were unsightly and concealed part of the decoration, and sometimes they added bulk, causing distortions and impeding flexibility of folding leaves. Some repairs have caused irreversible damage.

Treatment Observations

• New repairs and fills are made after cleaning the leaves, consolidating media, removing accretions, various residues, and old repairs. Ideally, repairs to the mount should be made between the two layers of the leaves so they will be invisible and will not cover any design areas. It is sometimes possible to use moisture applied locally to separate the leaves at breaks in the folds and then insert repairs, or even to completely disassemble, repair and reassemble the fan. Often, however, the original materials are very brittle or the media is extremely water sensitive, making it necessary to make unobtrusive repairs on the verso of the mount. Potential repair materials include thin Japanese paper, wheat starch paste, or methyl cellulose or nylon gossamer or polyester web coated with a thermoplastic or solvent-reactivated adhesive. Cleaning, repair, and replacement of missing sticks may be carried out by an objects conservator. If possible, the rivet holding the sticks together should be removed so a folding fan can be opened for treatment When this is not possible, treatment must be more limited. Simple repairs can be complicated by need for triangular supports under damaged areas and for finger pressing instead of weighting of repaired areas. It may be necessary to construct triangles of mat board faced with polyester web to support mounts which require repairs but cannot be opened out flat. Treatment of screen fans is less complex.

• Exhibition: Fans are extremely vulnerable while on display. Exhibition mounting must ensure that they are not under tension (a flat or slightly angled display is generally safer than a vertical display) and that the weakest structural area, i.e., the folds in the paper leaf, are adequately supported. Fans left open and unsupported may be damaged by irreversible warping of the sticks and flattening of the leaf. Mounts should be ramped to follow the gradual rise of the sticks toward the guard on the right and may be pleated to support the folds. It may also be helpful to secure the sticks to the mount with, for example, an interlacing ribbon of polyester web, and provide a support for the head of the fan, where the sticks are rivetted together. Screen fans may also require specially designed mounts to protect and support them (Maxson 1986, 33–38).

• Storage: If a fan is stored closed it will inevitably be subjected to the wear and tear of opening and closing whenever it is examined or displayed. Many conservators, however, feel this is less damaging than the irreversible warping of the sticks that often occurs during long term storage in the open position. Each fan should be considered individually. Closed storage is recommended unless precluded by extremely brittle leaves, flaking media, three-dimensional decorations (sequins, beads, etc.), extremely warped sticks and mounts, or repairs that prevent closing. To avoid abrasion at the folds, the closed fans, wrapped in acid-free tissue, can rest on their guards with padding material around them to keep them secure and correctly closed.

Screens (LP)

General Description

Japanese - Wooden grid covered with multiple layers of paper (see Toishi and Washizuka 1987; Koyano 1979). Western - see van der Reyden 1988.

Inherent Problems

• Problems include hinge failure, punctures, tears and splits, distortion due to humidity fluctuation, media flaking, and cleavage between layers.

Treatment Observations

• Major repairs should be undertaken by a specialist trained in screen and scroll mounting. Remedial repairs, consolidation of media, reattachment of layers, and mending of tears and punctures may be attempted if not too severe or structural. A portable suction disc has been used to pull sunken puncture areas into place.

Papier-mâché

General Description

Many examples of papier-mâché are found dating from ancient China to modern time. The term papier-mâché is used to refer to two different materials. (See van der Reyden and Williams 1986.)

• Literal definition: Paper macerated back into pulp and then cast or molded into a form. Popularized in Europe in the mid-eighteenth century for ornamenting architecture and furniture. (See Cast or Molded Paper).

• Popular definition: Strips of paper laminated with an adhesive. In Western culture, laminated papier-mâché became popular in mid-eighteenth century as a base for Japanware (imitation East Asian lacquer). Pieces of paper adhered together with flour paste or a mixture of paste and glue were pressed between boards or metal plates, drenched in linseed oil for waterproofing, and dried in a hot stove. The finished product could be treated like wood (sawing, dovetailing, and screwing was possible). In the mid-nineteenth century the paper panels were softened with steam and forced into metal molds in order to form the paper into a variety of objects (e.g., trays, architectural moldings, chairs). They were sometimes coated with a gesso ground and varnished after drying. The surface would later be smoothed with pumice and decorated with paint, gilding, or inlays. There are many contemporary patents for papier-mâché processes similar to nineteenth century techniques.

Other examples of laminated papier-mâché include objects for religious ceremonies found in many cultures (e.g., masks, Mexican piñata) and papier-mâché sculpture and reliefs made by contemporary artists. The latter may be adhered with any available modern adhesive and may have surface coatings of various paints, synthetic or natural resins, or waxes. Some contemporary artists combine the basic principle of laminated papier-mâché (strips of paper laminated with an adhesive) with folding, bending, and compressing the wet laminate or with peeling, scraping, or otherwise manipulating the dry surface. Some work with wet sheets of paper that they fuse using only pressure, with no additional adhesive. Under these conditions, long-fibered papers will fuse best.

Inherent Problems

• Traditionally made papier-mâché articles should be kept in the same environmental conditions as wood since they share the same major problems – splitting and warping due to extreme fluctuations of relative humidity. In high relative humidities or with the application of moisture, varnished finishes are susceptible to bloom. With time the varnish darkens. Extreme care is necessary in treating varnished surfaces since the paint and gilding is often very vulnerable. In proximity to direct heat the surface may peel. Layers sometimes delaminate. Contemporary works may be less rigid and more “paper-like” and may require the environmental conditions generally recommended for works of art on paper.

Treatment Observations

• Delaminating layers can be readhered with wheat starch paste or methyl cellulose.

• Fills can be made using paper pulp mixed with dilute wheat starch paste or methyl cellulose. (LG)

Cast or Molded Paper

General Description

The recent revival of interest in hand papermaking accounts for the growth of interest in cast paper. Paper sculpture or relief is formed by pouring a thick, liquid pulp into a mold or over a low-relief shape, by dipping a substrate, such as string or strips of paper into the pulp or by applying paper pulp by hand to a mold or to a substrate that will remain part of the work.

Inherent Problems

The many variables which can affect the finished product produce many possibilities for inherent problems.

• Pulp source: Cotton rag or linters are the most common fiber stock, either purchased as pre-processed blocks or sheets or pulped from rag paper or by the artist himself. Less conventional pulp sources include fabric remnants, plant materials, and miscellaneous papers such as brown paper bags or toilet paper. Some of the materials used may invite future attack by mold, bacteria, or insects. Cast shapes will be stronger if made of long fibers. Pre-processed cotton linters are sometimes insufficiently beaten. As a result the fibers may not be well fibrillated, inter-fiber bonding will be weak, and the finished work will have little strength. Repulping pre-formed papers also produces works with less strength because the fibers, already cut and beaten to make the sheet, are further shortened. Sometimes foreign elements such as glass, wire, etc. will be added to the pulp slurry. Their future degradation or mechanical interference with inter-fiber bonding can weaken the work.

• Additives: Paints, dyes, dry pigments may be added at any stage, and can have varying degrees of stability. The same can be said for sizings, such as starch, gelatin, cellulose ethers, and commercial sizes (e.g., Aquapel, Hercon 40). Some sizings also cause vulnerability to mold, bacteria, and insects.

• Water quality will affect the longevity of any paper support.

• Pulping method: The Hollander beater will produce the best quality pulp. A kitchen blender will cut and not fibrillate the fibers, so the resulting work will have less strength. Preprocessed dried pulp is simply hydropulped (i.e., mixed with water in an agitator such as a modified washing machine). Variables in beating include: fiber to water ratio; beating speed and time; sharpness of beater blades and their proximity to the bed plate. The pulper, vat, and utensils can be sources of foreign materials, such as trace metal particles which can lead to rust and foxing.

• Forming process: The two main methods are a) pouring pulp into a mold and b) forming a wetleaf upon a mold and then modifying the wetleaf on the mold or after couching. Examples of mold materials include tin, wire, plastic, latex rubber backed with a plaster mother mold, etc. A vacuum process may be used during casting. Coating preformed materials (e.g., string, paper strips) with paper pulp is another possibility. The mold or substrate may be another source of foreign materials such as trace metal particles.

• Drying: Works may be restrained or allowed to warp during drying. This may affect their future response to humidity changes. Possible drying methods include air drying; pressing followed by air drying on a number of surfaces including felts, glass, wood, metal, or the mold itself; heating; vacuum drying.

• Surface treatment: The dried work may be sanded, burnished, stamped, carved, painted, or coated with a varnish or acrylic medium. Other objects may be attached to the surface.

Treatment Observations

• Conservation: Because of the great potential for inherent vice and the often limited treatment possibilities, external factors which may cause deterioration must be carefully controlled. Humidity must be kept low enough to prevent mold growth. A stable humidity level will help prevent the cockling and warping that may result from the different moisture sensitivities of the various materials combined in the work, and can minimize delamination to which discreet layers of different materials may be prone. The chosen humidity level must take into account the requirements of any non-cellulosic materials included in the work.

• Possible treatments include surface cleaning; local stain removal using poultices; consolidation; and repair of mechanical damages. Mounting, matting and framing methods must provide adequate support and depth for the work. For example, stronger hinges of non-woven polyester with synthetic polymer adhesives and contoured backboards might provide the support that is needed.

Embossed Papers

General Description

Relief is formed when paper, under pressure, is made to conform to a depression in a printing plate. Usually achieved through an intaglio process, though occasionally by relief or planographic processes. Can be done with or without printing inks (i.e., blind embossing). Embossing effects are incidental to some printing techniques (e.g., platemarks; light embossing of most woodcuts due to pressure used to print the block).

History: Earliest known deliberate embossings are fifteenth century paper-covered wax seals and rare “sealprints” made by pressing dampened paper over a wooden relief. Mid-eighteenth century Japanese Ukiyo-e prints were embossed by burnishing areas of the paper over an inked or uninked concave block. At the same time in Europe embossed chiaroscuro woodcuts and wall papers were produced. In the early nineteenth century various commercial items, such as book covers and hats, were made by embossing paper. In the 1830s uninked areas of lithographic stones were scratched out to create embossed highlights. In the late nineteenth century, after learning of the embossed ukiyo-e prints, Europeans first looked at embossing in its own right as a way to create an image. Among their innovations were color lithographs embossed by a second printing over an uninked intaglio plate, the first blind embossed print, and the “gypsographic,” made by printing on an inked or uninked molded plaster plate. Embossing was widely popularized among printmakers after World War II.

Popular contemporary embossing techniques:

• Embossed lithographs and serigraphs: The dampened proof is run through an etching press over a relief or intaglio plate, or over another proof to which objects have been attached to give it texture.

• Collagraph (which emerged in the late 1950s): The artist makes a collage of materials which serves as the plate. Color and texture are produced simultaneously, as the inked collage is run through an etching press.

Inherent Problems

Many variables affect the character of the embossing.

• The plate: May be one of those mentioned above, or a less common type, such as cement, plaster, etc. With too much depth the stress can exceed the elasticity of the paper causing fibers to rupture and the paper to crack.

• The press: The etching press provides the high pressure needed for most embossing, but some artists use hydraulic presses for very deep relief. Too much pressure can cause cracking due to excess stress on the paper.

• The paper: Long-fibered papers are better able to undergo the plastic elongation needed to conform to the shape of the plate and retain embossing without bursting. Since the paper is dampened before embossing to take advantage of the increased plasticity and flexibility of the swollen cellulose fibers, the moisture sensitivity of the paper is important. Heavy papers generally produce better quality embossing and retain it better on drying. Handmade rag papers are better than machine made papers which have a stronger directional response to water.

Treatment Observations

• With any treatment care must be taken not to damage or reduce the relief. Drying and flattening without flattening the embossing is problematic for printmakers, as well as conservators who have to consider this before undertaking any aqueous treatment. The dimensional stability of the paper may be a deciding factor in whether or not to treat the object. Sometimes embossed and unembossed areas of the same sheet will have very different dimensional responses to moisture. Some embossed prints require a great amount of moisture to relax and flatten all areas. Soft felts or blotters can be layered and “sculpted” to protect relief areas as the print is dried under pressure. A heavy embossed paper may be able to withstand, and may even require, a surprising amount of weight to flatten it. Conversely, to retain more delicate embossings it may be necessary to limit the use of flattening techniques until the work is almost dry. Stretch drying is a possibility but may reduce the embossing as the paper contracts. Another possibility is drying on the suction table, with relief areas masked out, if necessary, to prevent their contraction under vacuum pressure.

• Repairs to embossed areas must be made with papers that are flexible enough to conform to the embossing. Mends can be held in place by finger pressure, while drying with wads of cotton covered with a non-woven polyester, or other malleable, absorbent materials.

• Mounting, matting and framing must provide adequate support and depth.

Wallpaper (MH)

General Description

Early wallpapers were made from single sheets of handmade laid or wove paper which had been joined to create the desired length. Hand painting, stencilling and wood block printing were the most common early decorative methods. Later wallpapers were often created from machine made (continuous roll) paper with roll printing and silk screening as the common decorative methods. The paper pulp available for wallpaper varied in quality and could include remnants of rags (cotton and linen) as well as inclusions of colored fibers, silk, wool, and straw. With machine made paper the use of soft and hardwoods, processed in a variety of ways, became very common. Wallpapers originating in the East (like Chinese export wallpaper) may be of a plied construction and composed of a variety of East Asian fibers. For design media, one may encounter inks, watercolor, gouache, distemper, water- and oil-based mediums, organic and inorganic pigments, and natural and synthetic dyes. One may also encounter mica, metallic elements, embossing, flocking (chopped textile fibers adhered to paper) and glazes on wallpaper.

Inherent Problems

• Damage to structural components (e.g., plaster) and secondary mounting materials as well as the wallpaper itself; media friability.

Treatment Observations

• The type of damage will dictate if the wallpaper can be treated in situ or if removal is required. Treatments include plaster repairs, readhering cleavage between mounting layers, media consolidation, compensation, and rehanging/protection.

Globes

General Description

The heyday of terrestrial and celestial globes occurred from 1500 to 1850. During this time globes were usually constructed for use as scientific and mathematical instruments. Two graduated circles on the globe allowed it to be used as a practical working instrument — the meridian ring which runs through the poles and the horizon circle which passes around the Equator. Globes were constructed from a variety of materials such as gold, silver, glass, parchment, bond, and cloth. Generally, the globe sphere is hollow. Inside the shell there is often a single wooden rod connecting the North and South Poles; there is a metal pivot at each pole to which the shell is nailed. However, an x-radiograph of the sphere may reveal a complex internal structure of wooden ribs running from the Poles to a wooden ring at the Equator. Traditionally, shells were made of papier-mâché by pasting the paper scraps over a plaster form. Once the papier-mâché dried, the shell was cut around the Equator and the halves lifted away from the mold. The papier-mâché shell was covered with plaster and trimmed to the correct thickness using a semi-circular template. Shells were also formed of other materials, such as felted manilla fibers. To balance the globe, if necessary, a bag of lead shot was inserted inside the shell at the Equator before plastering.

This description deals with globes with paper gores on their outermost surface. The gores were sometimes cut and split to ease their application to the sphere. A circular section called a calotte was prepared to fit over each pole. The first printed maps appeared in the 1470s using copper and wood engraving techniques. A map was intaglio printed on the flat paper gores. The sections were then wetted and stretched down onto the globe. The number of paper gores used to cover the surface of a sphere ranged from 8 to 36, with 12 being the most common. Often the globe gores were given a protective coat of varnish.

The printed paper on the horizon circle was adhered to a thin layer of gesso and varnished. Usually, the gores and the horizon circle were sized before they were varnished.

Inherent Problems

The composite nature of globes, the hidden intricacies of their internal structures, their sizes if large, and their shape present unique problems. In addition, it was common practice to update and recover the gores because of their utilitarian function.

• Mechanical damage: The surface of the globe gores becomes abraded if the sphere is inaccurately mounted in its stand or if the globe drops in its horizon ring. The internal wooden structure, papier-m&acaron;ché and plaster components may warp and move, resulting in plaster cracks. Fractures radiate out from holes in the sphere, with associated losses of ground, paper, and design. It is not uncommon for the bag of lead shot inside the globe to burst. The paper surface on the horizon circle may also suffer from losses, discoloration and soiling.

• Discoloration of the varnish layer: Dust settles directly on the Northern area of the globe. Therefore, the Southern Hemisphere is usually cleaner and has a tougher coat of varnish. The varnish layer and surface dirt may obscure information recorded on the globe gores.

• Insect, microbial damage: The wood, paper, glue, and paste used to construct globes can become infested, including the inner wooden structure and the wooden stand resulting in losses of component materials and weakening of the globe's structure.

Treatment Observations

• Examination: The construction and condition of both the external and internal components of the globe must be determined using established non-destructive methods. Directing an x-ray beam at different points of the sphere will provide information about the internal structure of the globe. Examination under ultra-violet fluorescent illumination will help identify the varnish layer, retouches, and patches. An infra-red vidicon imaging system can intensify surface information on the sphere that is hidden by a discolored varnish layer and surface soiling. Details about the maker, the construction location, and the date should be recorded. This information may be contained in the cartouche or nameplate on the sphere. The stand and any metal components should also be examined and described in the examination record. Refer to Baynes-Cope 1985; Lewis, Leanne, and Sumira 1988; Sumira 1989; and van der Reyden 1988.

• Surface cleaning: It is essential to remove the globe from its horizon circle and meridian ring before cleaning. Brush the surface of the sphere with a soft brush followed by dry cleaning, wiping with a slightly dampened swab, or the application of a thick poultice of methyl cellulose. The materials used to color the globe gores and horizon circle, usually watercolors, may be extremely fugitive. Solvents, such as dilute ammonium hydroxide may help remove surface dirt and speed drying time. Dismantling and immersion of the globe gores in water is a drastic measure. Upon drying, the paper gores may shrink, thereby distorting the intended geographical distance. Repositioning the gores on the sphere requires great skill as they must be adhered accurately with a very slippery paste while they are saturated with moisture.

• Varnish removal: It is preferable to remove varnish mechanically. If deteriorated and originally applied over size layer, the varnish will flake off cleanly when abraded with a scalpel edge or point. The varnish layer may sometimes be removed mechanically using a tool (e.g., a rounded orange stick – a manicurist's tool). This avoids the use of chemicals and can result in dramatic cleaning.(LP) Rapid acting solvents on a small swab of cotton wool should be used if a decision is made to remove the vanish layer in this way. The use of chemicals should be limited since rinsing opportunities are restricted while the gores are adhered to the sphere. It may not be possible to remove the varnish layer if the globe was varnished without sizing the paper support. Solvents may drive the surface dirt into the paper, staining the globe gores.

• Reducing dents: It may be possible to apply moisture from within the sphere if a hole has occurred in the area of the dent. Unobtrusive dents may be left as is. Bridges constructed of aluminum mesh or fiberglass will support damaged areas on the inner papier-m&acaron;ché shell.

• Repair of damaged plaster: The damaged area should be allowed to dry out before starting to in-fill. Apply the filling material in several applications to speed the drying time. A base coat of dental plaster “Kaffir D” (10:1 with water) will minimize the amount of shrinkage (Leyshon 1988). An example of a plaster mix for filling damaged areas (resembling original composition of the plaster used for the Senex globes): 1 part rabbit skin glue gelatin; 9 parts kaolin (B.P.); 1 part finely precipitated chalk (pure calcium carbonate – can be varied with gypsum or French chalk). The mixture was applied hot and allowed to dry between each application. Sizing the final coat of plaster reduces its absorbency.

• Repairs to internal structure (e.g., retrieving the lead shot bag and reconstructing the North and South Poles). See Baynes-Cope 1985.

• Repair of damaged paper support: Repair missing areas with chamfered infills of paper similar to the original in thickness, density, color, translucency, chain and laid lines, and surface texture. More than one thickness of paper may be required for fills on different areas of the sphere. Old plaster is extremely porous. Applying an impervious layer to the plaster base may be required before the fill is adhered. Blot the repair with a soft absorbent blotting paper to reduce drying time.

• Revarnishing: If a decision is made to revarnish the globe following treatment, tests must be conducted to identify a varnish which will be deposited only on the surface of the globe gores, thereby retaining reversibility and the refractive index of the paper (van der Reyden, 1988). The porosity of the paper must also be determined. Resizing of the gores is often necessary.

• Display: A hemispheric dome structured out of ultraviolet filtering Plexiglas will help protect the globe. The dome can be fitted to the horizon ring (Leyshon 1988).

Varnished Wall Maps

See bibliography

Boxes (EW)

General Description

Paper based boxes have been used to house items such as hats, books, and games. The basic construction of a box and its lid consists of laminated boards stitched or glued together and covered in the interior and exterior with a variety of papers. Some boxes are made from thick, stiff paper that was scored, folded, and glued to form an enclosure, such as a box for a deck of cards.

Inherent Problems

• The quality of the board and paper used to construct these boxes is generally acidic and deteriorates over time under adverse environmental conditions. The boards themselves can warp and sag. Adhesives at the joins weaken and fail, and the boards become detached or are lost. If the boards were stitched together the threads can loosen and break. The papers on the interior and exterior can delaminate, crack along seams, and become abraded and stubbed from general use. Poor storage conditions also present the problems of surface dirt, insect accretions and water damage.

• The artifacts in the box itself can also contribute to its overall condition. Boxes which have held heavy items suffer from loose or completely detached bottom boards. The action of removing and returning an item to its box can cause abrasions to both artifacts.

Treatment Observations

• Conservation treatment: Boxes offer a unique challenge to paper conservators. Traditional methods of repair need to be modified to conform to the three dimensional shapes of these objects. Bulldog clips, clothespins, and small clamps can be used to hold tears and splits in place after mending. Smaller boxes can be wrapped with Teflon tape or Ace bandages to secure a mend or adhesive in place. Often with small boxes, a secondary support needs to be constructed and placed inside the box in order to provide additional support prior to wrapping. Losses can be inserted with a board similar in thickness to the original and covered with toned Japanese or Western paper as necessary. Mends or reinforcement may need to be placed on the interior and exterior in order to provide additional overall support to the box. Water damage may require inpainting since aqueous treatment can be difficult to carry out due to paper layers and the shape of the item.

• Storage and display: Empty artifact boxes should be displayed and stored with an interior support which helps to maintain the box's shape and prevents the lid from sagging. This can be constructed from thin, acid-free board as a series of vertical, accordion folded strips or as a scored, folded, and taped open ended form. Boxes which hold artifacts can be stored on a secondary support of acid-free corrugated cardboard slightly larger than the dimensions of the box to allow for a hand hold. The box itself can be held in place by attaching twill tape to the underside of the secondary board and tying the tape over the box. Artifact boxes can also be placed within a custom-made or commercially made storage box.

Other Objects Made By Distortion of Planar Sheet

Scoring, folding, rolling, and curling are the basic methods by which the flat plane of a sheet of paper can be shaped into a three-dimensional form. Adhesives or fasteners may be used to keep the sheet in the distorted form.

General Description

Examples: Japanese origami; ritual paper facsimiles of clothing, household objects, etc., used in buddhist funeral rites; paper models for sculpture, engineering designs and architecture; foldouts in illustrations (e.g., books of hand-drawn landscape, theatre set and architectural designs containing fold-out elements to be considered as design options); puppets; lamp shades; contemporary works of art made by folding, bending, weaving, curling, and otherwise distorting paper; quilling.

Strength of the object is determined in part by the properties of the paper used. Paper folds and curls more easily along the grain. The density of fibers and how tightly they are compacted affects ease of compression for folding. Internal additives like fillers or sizes play a role in how paper responds to deformation, especially in bulky papers of low fiber density. Surface coatings can stiffen paper, making it resist folding or curling, and resulting in flaking of the coating. The tensile strength of the paper, an indication of how much the paper can stretch before it ruptures, is partially determined by fiber length. In general, longer fibered papers have greater tensile strength and fold endurance than short fibered papers because “...the wire side of the sheet inherently contains a slightly larger proportion of larger fibers to fine and a greater filler ratio than the felt side...less cracking at the fold is encountered when the stronger wire side of the sheet is kept to the outside fold area where more tension prevails” (Byers 1971, 104). Another factor is the stress to which the paper is subjected when curled or folded. In folding, the outer surface must cover a wider radius than the inner surface. It will be stretched under tension while the inner surface will be compressed. If the stress on the outer surface exceeds the elasticity of the paper, fibers will rupture and the paper will crack (Byers 1971, 104). Scoring reduces this problem by stretching or breaking fibers, thus reducing the number of fibers which must be bent. The strength of a folded paper object is also affected by the integral strength of the geometric form which has been constructed. When properly constructed, pyramid shapes like the cone and the equilateral triangle are the strongest geometric forms. The failure of adhesives and fasteners also contribute to the weakening of three-dimensional paper objects.

Inherent Problems

• Deterioration of the object with aging is affected by environmental factors and all the inherent vices of its materials and construction, but can be especially devastating because the breakdown of the paper (or adhesive) can lead to the collapse of the three-dimensional structure. The three-dimensional construction may preclude, or at least complicate, more interventative treatments like washing and lining. Techniques may be borrowed from treatments used in textile conservation, such as the use of minisuction tables with shaped heads that can be inserted where needed for local washing or solvent treatment.

Treatment Observations

• Display and storage: Among the standard considerations for works of art on paper, relative humidity deserves special attention. Embrittlement caused by low humidity may result in breaking at the folds or the areas which most support the weight of the object, while the increased flexibility that occurs in high humidity may result in sagging and sometimes collapse of the object. Even in the best of conditions structural support is often required, both in storage and display.

References

See also General References

Wallpaper

"Conservation of Wallpaper." Special issue of the Journal of the American Institute of Conservation. Spring, 1981.

Clise, D. & Draper, B. 2007. "Jean Zuber et Compagnie’s Le Paysage à Chasses at Willow Wall: Removal, Treatment, and Reinstallationof an Early Nineteenth-Century Scenic Wallpaper". The Book and Paper Group Annual. Volume 26, pp. 9-20.

Entwisle, E.A. A Literary History of Wallpaper. London: B.T. Batsford, 1960.

Frangiamore, Catherine Lynn. Wallpapers in Historic Preservation. Washington, D.C.: National Park Service, U.S. Department of the Interior, 1977.

Gilmore, A.M., 1981. "Wallpaper and Its Conservation: An Architectural Conservator's Perspective", Journal of the American Institute for Conservation, Vol. 20, No. 2, Conservation of Historic Wallpaper, pp. 74-82.

Greysmith, Brenda. Wallpaper. New York: MacMillan, 1976.

Harroun, S.G., Bergman, J., Jablonski, E. and Brosseau, C.L., 2011. "Surface-Enhanced Raman Spectroscopy Analysis of House Paint and Wallpaper Samples from an 18th Century Historic Property". Analyst, Volume 136. Pp. 3453-3460.

Lynn, Catherine. Wallpaper in America from the 17th Century to World War I. New York: W.W. Norton, 1980.

Mapes, P. 2015. Historic Wallpaper Conservation. [Accessed 7th April 2015].

McClelland, Nancy V. Historic Wallpapers from Their Inception to the Introduction of Machinery. Philadelphia and London: J.B. Lippincott, 1924.

McClintock, T.M., 2002. "Case Studies on the Effect of Conservation on the Appearance of Historic Wallpapers". Restaurator. Vol.23, pp. 165-186.

National Park Service. 2007. Wallpapers in Historic Preservation: History of Wallpaper Styles and their Use. Published: 26th April 2007. [Accessed 2nd April 2015].

Nylander, Richard. Wallpapers for Historic Buildings. Washington, D.C.: The Preservation Press, 1983.

Oman, Charles C. and Jean Hamilton. Wallpapers: An International History and Illustrated Survey from the Victoria and Albert Museum. New York: Abrams, 1982.

Shelley, M. 1981. "The Conservation of the Van Rensselaer Wallpaper". Journal of the American Institute of Conservation. Volume 20, Number 2, pp. 126-138.

Teynac, Francoise, Pierre Nolot, and Jean-Denis Vivien. Wallpaper: A History. New York: Rizzoli International Publications, 1982.

Vitale, T. & Messier, P. 2004. "Historic Wallpaper Digitally Remastered: Early Twentieth-Century Block-Printed English Wallpaper in the Yin Yu Tang House at the Peabody Essex Museum", The Book and Paper Group Annual, Volume 23, pp. 109-113.

V&A. 2015. Flock Wallpapers. [Accessed 1st April 2015].

Welsh, F.S. 2004. "Investigation, Analysis, and Authentication of Historic Wallpaper Fragments". Journal of the American Institute of Conservation. Vol. 43, No. 1, pp. 91-110.

Restrained Papers

Harding, E.G. "The 'Inlaying' of Works of Art on Paper." Letter to the editor and response from Jane McAusland, Paper Conservation News No. 40, Dec. 1986, pp. 2-;3.

Over-Sized Papers

Albright, Gary and T.K. McClintock. "The Treatment of Oversize Paper Objects." Postprints of the AIC Book and Paper Group Meeting. Washington, DC: AIC, 1982, 6 pages.

Eckmann, Inge-Lise. "The Lining of a Super-Sized Contemporary Drawing." AIC Preprints. Washington, DC: AIC, 1985, pp. 36-43.

Fairbrass, Sheila. "The Problems of Large Works of Art on Paper." The Paper Conservator 10, 1986, pp. 3-9.

Hamm, P. Dacus. "Treatment of an Oversized, Hand-Drawn Shaker Map." Book and Paper Group Annual 7, 1988, pp. 17-22.

Nicholson, C. and Susan Page. "Machine Made Oriental Papers in Western Paper Conservation." Book and Paper Group Annual 7, 1988, pp. 44-51.

Owen, Antoinette. "Treatment and Mounting of a Poster ‘Angleterre’ by A.M. Cassandre." Journal of the American Institute for Conservation 24, No. 1, 1984, pp. 23-32.

Potje, Karen. "A Travelling Exhibition of Oversized Drawings." Book and Paper Group Annual 7, 1988, pp. 52-57.

Volent, Paula. "Consideration in the Acquisition and Care of Oversized Contemporary Drawings." Drawing 11, No. 2 (July/August) 1989, pp. 30-34.

Three-Dimensional Paper Objects

Evetts, Debora E. "Treatment of Folded Paper Artifacts." The Book and Paper Group Annual 6, 1987, pp. 35-39.

Florian Papp Gallery. Rolled, Scrolled, Crimpled, and Folded: The Lost Art of Filigree Paperwork. New York: Florian Papp Gallery, 1989.

Newman, Jerri, Margaret Leveque, and Leslie Smith. "An Interspeciality Approach to the Conservation of Multi-Media Objects." Preprints of Papers Presented at the 15th Annual Meeting of the AIC. Vancouver, 1987, pp. 84-98.

Nichols, K., Elgar, J., Gausch, K. 2006. "Illuminating the Way: Conservation of Two Japanese Paper Lanterns" Journal American Institute of Conservation, Volume 46, pp. 123-136.

Two nineteenth-century Katsushika Hokusai paintings in the form of paper folding-lanterns were conserved for the exhibition "The Allure of Edo" at the Museum of Fine Arts, Boston. The paintings had been dismantled from their original mounts, and in doing so they were severely damaged. The article describes the conservation treatment and the process of determining the original shape of each lantern. Polyethylene foam mounts were made and the paintings, which were relined, were adhered to them. The treatment was successful and the article exemplifies a unique and complex treatment that returned the paintings to their intended three-dimensional format.

Tombs, Rebecca. "Three Dimensional Objects of Paper." Unpublished paper Queen's University Art Conservation Program, Kingston, 1982.

Fans and Screens

Armstrong, Nancy. The Book of Fans. Surrey: The Colour Library International Ltd, 1978.

Hendry, Heather and Juliet Baines. 2018. "A Local Mending Technique for Japanese Screens". Journal of Paper Conservation, 19:3, 115-117.

Kakoauei, M., Kakouei Ezbarami, M., and Kumaran, S., 2014. "History, Technology, and Treatment of a Painted Silk Folding Screen Belonging to the Palace-Museum of Golestan in Iran". Fibres & Textiles in Eastern Europe, Vol. 22, No. 2(104), pp. 69-75.

This article is a case study illustrating the treatment of a historical Chinese folding screen from the Palace-Museum of Golestan in Iran. The main aim of this study was to develop the conservation treatment using paper conservation techniques as a basis. To restore the folding screen, a method often used in paper conservation was adopted. Self-adhesive heat reactivated Japanese tissue paper was attached to support the silk, in order to avoid stitching through the painted surface. Tengujo Japanese tissue, with Lascaux 498 HV diluted with water (10%) were selected for the repairs. Lascaux 498 HV has a pH of 8 – 9, great flexibility, is reversible and soluble in acetone, toluene and xylene but insoluble in water once dry. The self-adhesive tissue paper was reactivated at 50 °C with a heated spatula. Koyano, Masako. Japanese Scroll Paintings, a Handbook of Mounting Techniques. Washington, D.C: FAIC, 1979.

Maxson, Holly. "Design and Construction of a Support for a Folding Fan." The Book and Paper Group Annual 4, 1986, pp. 33-38.

Nishio, Y. 2001. "Maintenance of Asian Paintings II: Minor Treatment of Scroll Paintings", The Book and Paper Group Annual, Volume 20, pp. 15-26.

A well explained article describing how to repair tear, areas of loss, creases and damaged chords on Asian scroll paintings. The article is aided with images, diagrams and step-by-step explanations on how to carry out treatments.

Toishi, K. and H. Washizuka. Characteristics of Japanese Art That Condition Its Care. Japanese Association of Museums, 1987.

Webber, Pauline. "The Conservation of Fans." The Paper Conservator 8, 1984, pp. 40-58.

Papier-Maché

Moir, Gillian. "The Care of Papier-M&acaron;ché." History News 35, No. 6, June 1980, pp. 57-58.

van der Reyden, Dianne and Don Williams. "The Technology and Conservation Treatment of a 19th Century Paper-Mache Chair." AIC Preprints. Chicago Meeting. Washington, DC: AIC, 1986, pp. 125-142.

Globes

Baynes-Cope, A.D. The Study and Conservation of Globes. Vienna: Internationale Coronelli-Gesellschaft, 1985.

Lewis, Gillian, Anne Leane, and Sylvia Sumira. "Globe Conservation at the National Maritime Museum, London." The Paper Conservator 12, 1988, pp. 3-12.

Leyshon, Kim Elizabeth. "The Restoration of a Pair of Senex Globes." The Paper Conservator 12, 1988, pp. 13-20.

McClintock, T.K., 2002. “Observations On The Conservation Of Globes”, Studies in Conservation, Volume 47. Special Issue: Contributions to the Baltimore Congress, 2-6 September 2002. Works of Art on Paper Books, Documents and Photographs: Techniques and Conservation. Pp. 135-138.

Globes are also often made from plaster, wood, metal, and have varnished and painted surfaces. A conservator of globes must also have conservation knowledge on these materials in order to make the treatment credible.The article gives reasons to why the conservation of globes falls under the role of the paper conservator rather than an objects or decorative arts conservator, even though the object is not solely made out of paper. McClintock writes that it is on the globe’s paper surface that the design and function of the globe is found, and it is the paper which is the most susceptible to damage. The author also explains the structure of a globe, describing the way the paper is prepared in order to paint and varnish it, without damaging the paper, as well as the wooden and metallic components that make up its structure.

McClintock, T.K., Bigrigg, Lorraine & LaCamera, Deborah. 2015. "Case study: conservation and restoration of a pair of large diameter English globes", Journal of the Institute of Conservation, 38:1, 77-91, DOI: 10.1080/19455224.2015.1007072

The globes illustrated in these case studies were in very poor condition and hard to read. This article not only looks at the conservation treatment of the globes but also at the development of filling losses using digital photography and archival printing, which helped maintain the integrity of the globes as works of cartography. It was possible to use digital photography to recreate the losses because the same globe gores were printed in an Atlas, and could be used as models to reproduce the scans.

Sumira, Sylvia. "Conservation Treatment of Globe Surfaces." IIC Preprints, Brussels Congress: Cleaning, Retouching and Coatings. John S. Mills and Perry Smith, eds. IIC, 1990, pp. 56-58.

Stevenson, E.L. Terrestrial and Celestial Globes: Volumes I and II. New Haven: Yale University Press, 1921.

van Der Reyden, Dianne. "The Technology and Treatment of a Nineteenth Century American Time-Globe." The Paper Conservator 12, 1988, pp. 21-30.

Varnished Wall Maps

Boodle, Katie. 2024. "The 'One-Day' Conservation Treatment Method for Wall Maps at the Northeast Document Conservation Center." Book and Paper Group Annual Special Issue: 1 - 9.

Boodle, Katie and Natalia Paskova. 2024. "An Investigation into Alternative Recreations for Surface Coatings on 19th-Century Wall Maps After Conservation Treatment." Book and Paper Group Annual Special Issue: 10 - 20.

Brückner, Martin. 2024. "Varnished Maps and Social Chemistry in Early America: A Material History." Book and Paper Group Annual Special Issue: 21 - 38.

Edmondson, Thomas M. 2024. "An Aqueous Alternative for the Removal of Varnish from 19th Century Wall-maps." Book and Paper Group Annual Special Issue: 39 - 41.

Hendry, Heather. 2024. "Varnished Maps Treatment Protocol at the Conservation Center for Art and Historic Artifacts." Book and Paper Group Annual Special Issue: 42 - 50.

Irwin, Seth. 2024. "Mapping the Crossroads: The Conservation of County Wall Maps from the Indiana State Library." Book and Paper Group Annual Special Issue: 51 - 62.

Schneider, Cher. 2024. "ICA Treatment of Map of Pike County Ohio." Book and Paper Group Annual Special Issue: 63 - 68.

Stockman, Denise, Emma Guerard, Malena Ramsay, and Eleonora Del Federico. 2024. "Initial Characterization of Wall Map Varnishes Using UVA, Solubility Tests, and ATR FTIR." Book and Paper Group Annual Special Issue: 69 - 77.

Wanser, Heather, and Holly Krueger. 2024. "Treatment of a 19thc Varnished Map in the Library of Congress Geography and Map Division." Book and Paper Group Annual Special Issue: 78 - 81.

Zukor, Karen. 2024. "Temporary Facings on a Varnished Wall Map." Book and Paper Group Annual Special Issue: 82 - 84.

History of this Page

This page was created in April 2025 by Sandrine Blais from the BPG Support Problems page.