Books and Paper in Historic Houses

This page covers preservation and conservation needs specific to book and paper collections in historic house museums. The content on this page is directed toward all caretakers of historic house collections including housekeepers, technicians, collection managers, curators, and conservators.

Wiki Compilers: Michelle C. Smith
Wiki Contributors: Luisa Casella, Sue Donovan, Perrine LeSaux

Copyright 2025. The AIC Wiki is a publication of the American Institute for Conservation (AIC). It is published as a convenience for the members of AIC. Publication does not endorse nor recommend any treatments, methods, or techniques described herein. Information on researching with and citing the wiki can be found on the Reference and Bibliography Protocols page.

Cite this page:

American Institute for Conservation (AIC). "Books and Paper in Historic Houses." AIC Wiki. June 30, 2025. https://www.conservation-wiki.com/wiki/Books_and_Paper_in_Historic_Houses.

Introduction

A wide range of paper-based collections may be found in historic house museums including books, framed and unframed works of art on paper, documents, scrapbooks, albums, wallpaper, ephemera, globes, screens, shades, paperboard boxes, paper labels and linings adhered to other objects, and more.

Why is special attention needed for collections in historic houses? The National Trust Manual of Housekeeping addresses this question in its introduction:

"...readers might question the need for a Manual specifically on the care of collections in historic houses, when there are books on the care of collections in museums. The simple answer is that, unlike museums, collections in historic houses are on 'open' display. This creates different challenges, because objects on open display are more vulnerable to damage and deterioration than those protected by museum display cases. In addition, many objects in historic houses, such as clocks and carpets, are still in use. What is more, many collections are on display in the houses for which they were originally made. So the objects cannot be considered on their own, but must be treated as part of a much larger, and often more significant, whole. Such awareness of context derives from the essential distinction between museums and historic houses, which is that collections include not only historic objects but also the whole interior in which objects are displayed."

Book collections in historic house libraries also face different challenges than most research libraries; for example, books are often on permanent display with their spines visible and cannot be rearranged, housing damaged books may not be possible, and reading rooms may not be available for researchers. A historic house museum may also be staged for a particular period of interpretation, and collection items that don't fit this period may need to be stored. Historic reproductions (or facsimiles) may be produced to protect vulnerable originals from the dangers of permanent display, and props may be introduced to fill gaps in the collection and assist in interpretation; these items can be expensive to produce and may also require special care to preserve.

This page is organized so that general topics that impact all paper-based collections in historic houses are discussed first; then, conservation needs specific to works on paper, books, and other paper-based materials are discussed in subsequent sections.

General Considerations

Housekeeping

Main article: Dust and Housekeeping

Because each historic house is unique, housekeeping will likely be different in each situation, but the goal should be to maintain as dust-free and debris-free an environment as possible. Dust that accumulates onto historical objects might seem innocuous, but for paper-based items it can have severe consequences. Dust changes the surface pH of paper, can attract pests, and can lodge in porous surfaces, causing discoloration and damage. In an historic house, preventive measures against dust, as opposed to active dusting, can go a long way towards extending the lifetime of the items within. Over-dusting and cleaning should be avoided, as there are risks associated with overcleaning as well, such as abrasions and damage from cleaning products. Preventive care such as regular walkthroughs, filtration systems on HVAC, clean mats (adhesive mats placed on the floor to trap dust and other particulates tracked in on visitors' shoes), and designated areas for visitors coats and umbrellas can cut down on the amount of dust falling on museum objects. Indeed, regular walkthroughs of the space are an essential aspect of housekeeping, as they allow caretakers to observe any changes to the condition of the building and the objects within and communicate any concerns to the team.

Agents of deterioration

Main article: Ten Agents of Deterioration

The ten agents of deterioration recognized by cultural heritage preservation professionals include physical forces; thieves, vandals, and displacers; fire; water; pests; pollutants; light; incorrect temperature; incorrect relative humidity; and custodial neglect and dissociation. A general understanding of how these agents impact books and paper-based collections will help caretakers anticipate, prevent, and respond to the problems they cause.

Environmental monitoring

Main article: Environmental Monitoring

See also: Integrated Pest Management

Environmental monitoring in a historic house museum will need to be tailored to the unique situation of the location. Small devices that record temperature and relative humidity can be placed in different areas of the building, with the data being downloaded either via USB or WiFi. It might not be possible to enact changes in either the temperature or relative humidity, but collecting the data is useful to obtain an understanding of how the building acts as an envelope for the objects within. Putting up cardboard tents with sticky traps (also known as blunder traps) to monitor insect activity is one of the best ways to track whether there is a pest infestation that needs to be dealt with. Small steps such as these can provide caretakers of historic houses with the tools they need to advocate for environmental controls, monitor trends, and stop infestations before they become devastations.

Storage and housing

Main articles: Housings and Choosing Materials for Storage, Exhibition & Transport

Even with many collection items on permanent display, collection storage is an important consideration for historic house museums. There may be collections that do not fit the period of interpretation that must be stored, or if a reproduction has been created of a collection item, the original will need to be stored. As previously mentioned, historic house museums often struggle with maintaining stable temperature and humidity. Storage cases and proper housings can help mitigate fluctuations. Storage environments should be monitored with regular "walk-throughs" to visually assess for any leaks or other disturbances, in addition to the passive monitoring described in the previous section.

For paper-based items on permanent display, consider acquiring exhibit cases for the most important or valuable items. These cases can be custom-built and can be equipped with desiccants and environmental data loggers. Grants can help support the cost. For historic house libraries on display, see the Book Housing section below for specialized housing options that avoid disrupting the viewing experience.

Documentation

Main articles: Documentation of Paper and Documentation of Books

Documenting the condition and care of of historic house collections is vital to their long-term preservation. These types of records may include logs of housekeeping activities; environmental and pest monitoring data; incident reports related to security or building issues, disasters, and emergencies; collection surveys or assessments conducted by consultants or interns; and item-level documentation created by conservators including condition reports, treatment proposals, and treatment reports. These records may be text documents, spreadsheets, images, or other formats. Any paper-based records should be scanned (but retained, if possible), and digital files should be named, organized, and stored following archival best practices. Maintaining these records over time helps caretakers identify and address recurring problems, is very useful when applying for funding, and will also help preserve institutional memory as staff members retire.

Health and safety

Main article: Category:Health & Safety

See also: Hazardous Collections and Historic House Hazards Project

Historic house settings can present many health hazards including mold, heavy metals (such as lead or arsenic), and pest-related illness (such as hantavirus from rodents). Appropriate Personal Protective Equipment (PPE) should be worn whenever health hazards are encountered. Depending on the scale of the hazard, hiring an outside professional such as a conservator, property restoration company, or Integrated Pest Management (IPM) specialist may be necessary.

Mold

Main articles: Mold and Category:Mold/Fungi

Cellulose is a prime food source for mold, making this hazard a particular concern for caretakers of book and paper collections. Mold growth on collections may result from a water event and/or from prolonged instances of incorrect relative humidity levels in collection spaces. In addition to being harmful to collections, mold presents major health and safety concerns for humans. Always wear appropriate PPE (mask, gloves, apron, and eye protection, as needed) in any situation where you might encounter mold; you cannot predict how you will react.

Heavy Metals

Arsenic is found in many historic houses in gameheads and other taxidermy where it is used as a pesticide, but it may also be present as a toxic pigment in green book-covering materials, particularly in Victorian-era publisher's bindings. For more information, see University of Delaware's Poison Book Project. Lead may also be present in pigments used in works of art on paper, although other lead sources (such as wall paint) in historic houses likely present a greater lead exposure risk. Wear gloves if you suspect the presence of heavy metals in materials you are handling.

Disaster preparedness and response

Preparedness

See: Emergency Preparedness & Response § Preparedness

A disaster plan provides the overall strategy for minimizing the impact of an emergency. The plan must be in place before the disaster occurs and should be regularly updated to reflect changes in staffing, storage locations, and collection priorities. The plan should consider the specific risks faced by your collection (such as hurricane, earthquake, fire, flooding, etc.) and should include a contact list, building maps, and a list of high priority items. Even a very basic plan is better than no plan at all. Prepare kits of disaster response supplies (PPE, plastic sheeting, paper towels, flashlight, clipboard, sharpie) stored in an area accessible to all staff, and note their location in the disaster plan.

Find and join regional cultural heritage disaster response groups specific to your area (for example, Bay Area Mutual Aid Network (BAMAN), Los Angeles Preservation Network (LAPNet), Texas Collections Emergency Resource Alliance (TX-CERA). These groups may provide access to supplies, training, and assistance. Consider scheduling disaster response training for staff such as fire extinguisher training and wet salvage. You may want to establish a contract or at least a contact with a property recovery company such as Belfor or Polygon Group. Get to know your local fire department, who should also be on your contact list. And finally, addressing known building problems in advance of a disaster and keeping up with regular building maintenance is essential.

Response

See: Emergency Preparedness & Response § Salvage and Recovery

In the aftermath of a disaster, swift and informed action is critical to mitigate damage to book and paper collections in historic houses. National Heritage Responders' Disaster Response & Recovery Guides offer useful quick guidance. Water events are a major concern for book and paper collections, and the first 48 hours are crucial in what can be saved. Stabilizing wet materials such as paper or books involves carefully separating pages and air-drying them to prevent adhesion and mold growth. Wet leather also may require special attention and handling. Wet collections must be handled carefully to avoid secondary damage such as media bleed or structural failure​. Ensuring airflow helps prevent mold, and absorbent materials can help drying. If drying is not immediately possible, freezing wet items is another effective measure to halt further deterioration until professional treatment can be arranged. Property recovery companies specialize in document recovery and offer freeze-drying for wet books and paper artifacts.

Although disaster response poses a great variety of challenges, it is important to document the condition of collection materials as much as possible. Using tools such as cell phone photographs and voice memos can save time. Using simple labeled pieces of paper appended to collection items will suffice. Labeling items and bags is crucial to be able to return items to the site in their proper location.

Regional disaster response hotlines are valuable resources for immediate assistance. The National Heritage Responders provide a 24-hour hotline at 202.661.8068 for institutions whose collections have been affected by emergencies. Additionally, regional networks (mentioned in the Preparedness section above) may offer localized assistance and resources for disaster recovery. The Heritage Emergency National Task Force (HENTF) also provides resources and coordination for cultural institutions during disasters.

Security

Because collections in historic house museums tend to be on open display, extra precautions are needed to protect materials from theft and vandalism. Adequate security for open displays may require guards, video monitors and other security arrangements. Small objects that could be easily pocketed or that are valuable should be exhibited in a case when possible, or reproductions should be used. Even reproductions and props may be costly to replace, however, so these may also need protection. Placement of tour paths should also take security concerns into consideration.

Working with a conservator

While this page aims to empower all caretakers of historic house museums to take actions to preserve their collections, there may be times when advice or treatment from a conservation professional is needed; see sections below on what paper conservators and book conservators can offer. The American Institute for Conservation (AIC) provides a guide for Hiring a Conservation Professional on their website. You can locate a professional conservator using AIC's Find a Professional tool.

Works on paper

While furnishings and paintings may often be considered the most important or valuable items in the collection, "the significance of any paper item in an historic house should not be underestimated." In addition to framed works of art on paper, these collections include everyday papers and documents which may contain important annotations or be arranged in a significant order, potentially offering rich information to curators and researchers that helps reveal the story of the historic house.

Understanding the basic materials and structure of paper collections is important for planning for their care. Under the broad umbrella of "paper" we include handmade and machine-made papers, cardstock, and paperboard, and we also consider other non-paper writing and drawing substrates such as parchment. During production, papers may be treated with additives such as sizing to alter their absorption or other qualities, and they may be coated to become more glossy. Media may be applied to paper in the form of printing ink, writing ink, watercolor, or dry/soft media such as chalk, pastel, charcoal, or graphite. Letters, cards, maps, newspapers, and other documents may be folded in a variety of styles. Maps or other large works on paper may be backed with cotton or linen fabric, and are sometimes fitted with wooden dowels for hanging. Framed works on paper include many components including the artwork, mat, hinges, adhesive, backing board, hanging hardware, glazing, and the frame itself. Adhesives may be present as part of the item's original construction or as a repair, along with tape, textile or paper backing, varnish, and other materials.

For wallpaper, globes, and other paper-based materials, see below.

Deterioration and damage

Main articles: Support Problems and Media Problems

Iron gall ink deterioration can cause cracking and loss to the paper support

Physical damage to paper can include soiling, abrasion, cracking and flaking of media, creasing, tearing, and delamination. For framed and glazed works on paper, failure of hanging hardware or poor storage can result in broken glass that can tear, cut, or puncture works on paper. Extreme shifts in relative humidity (RH) can cause dimensional changes to paper as it expands or shrinks. This can cause cockling of the sheet and even separation of the media, in the most extreme cases. If paper is exposed to liquid water and becomes wet, similar problems occur of cockling and disruption of media, which can bleed or be lost entirely. Even clean water will leave tideline staining if the paper only becomes partially wet, and dirty floodwater may introduce contaminants.

Paper and its media are highly sensitive to both visible light and ultraviolet (UV) radiation. Paper fibers can darken and yellow, and pigments and dyes can fade. Chemical agents in the form of environmental pollutants, such as sulfur dioxide, can hasten deterioration of paper. Tobacco and coal smoke residues can also accumulate over time and cause discoloration and degradation. Biological agents impacting paper include mold, which may be brought on prolonged increased RH, and insects, particularly silverfish, which thrive at higher RH levels and graze the surface of paper, often avoiding media.

Inherent problems in paper include acidity and impurities (such as lignin), particularly in more modern papers (post-1800), which are often made from wood pulp and may contain alum-rosin sizing. Poor-quality framing materials including acidic mats and wooden backing boards can cause mat burn and other damage from acid migration. Iron gall ink, a common writing ink, can become chemically unstable over time (depending on its formulation and storage environment) and may even eat through paper, leaving behind losses. Foxing are small brown stains that commonly appear on paper and can have a variety of causes (including aspects of the paper's manufacturing), but tend to be hastened by increased relative humidity.

Past repairs and historic housekeeping practices

Adhesive tapes can deteriorate and discolor over time; a conservator can remove them.

Problematic past repairs that may be encountered include pressure-sensitive adhesive tape (such as Scotch tape or cellotape), which can darken and deteriorate over time and cause staining, as well as well-intentioned repairs done with paper and adhesive that may be misaligned, stiff, discolored, or otherwise unsightly. Varnishing unframed works on paper, particularly maps, is a historic practice that may have been part of past housekeeping or caretaking efforts. While intended to protect the paper, varnishes unfortunately tend to darken and embrittle over time, disfiguring the work. In general, reversal or re-treatment of previous repairs should be undertaken by a conservator.

For glazed framed works on paper, you may sometimes observe wear along the lower edge of gilt frames due to repeated or over-cleaning from past housekeeping. Frames may also exhibit previous repairs, especially if the frames were not of good quality to begin with.

Present-day housekeeping

Housekeeping for paper includes establishing best practices for handling, display, and storage to avoid damage; periodically cleaning glazed framed works only; responding to collection accidents and emergencies; and engaging the services of a conservation professional when necessary. Housekeeping is a preventive conservation activity, and housekeepers will likely be the first to observe signs of major problems. Works on paper should be periodically inspected for signs of mold, insect damage, or other issues, and any observed damage should be documented.

Handling and using/studying paper items

When staff or researchers are handling paper collection items, food and liquids should be kept away, and clean, dry hands should be used. Gloves reduce tactile sensitivity and are only necessary for personal safety (in cases of mold, for example) or when handling photographic or other sensitive materials. Take care to maintain the order of papers, and be aware of sensitive image materials that can smudge. When moving works on paper, if the paper is in good condition you can lift using diagonally opposite corners. For all other papers, use a support paper or board underneath. Be aware of drafts or breezes that can catch sheets of paper. Use caution when unfolding or unrolling paper; brittle sheets may need conservation treatment before handling is possible. If rolled papers can be safely unrolled, use weights. Vulnerable items should only be handled by trained staff.

The risks of damage due to handling can be mitigated by making digital copies available for research use (see reproductions/facsimiles section).

Displaying

Due to the sensitivity of paper-based artworks and documents, long-term display of originals may not be advisable if reproductions are an option. Whether originals or facsimiles are used, glazed frames offer protection to works on paper on display and should be considered, but may not be the correct option in every case. See the matting and framing section below for important considerations for displaying framed works on paper.

When displaying unframed works on paper, display vitrines offer protection from dust, visitors, fluctuations in RH, and (if appropriate coatings are present) UV radiation. Sheets of paper being displayed in methods other than on a flat surface, for example, sheet music on a piano, should be provided with a support board or sheet of card behind the object. Display of original works on paper without frames or vitrines is discouraged, although it may be necessary for objects such as large wall maps on dowels. In such cases, the item should be positioned away from the tour path and out of direct sunlight, and may require more frequent monitoring and dusting.

Housing and storage

See also: Housings § Flat Paper Housings

The storage environment for paper collections needs stable relative humidity and as light- and dust-free an environment as possible. Temperature and humidity in storage environments should be monitored using recording devices, and the data should be regularly collected and reviewed. All unframed paper collections should be stored within housings. Maintain original document housings when possible, though they may require modification (such as barrier materials to protect documents from an acidic original box), and protect them with a secondary housing. Loose documents can be housed in paper or polyester sleeves (see Encapsulation), folders, and cartons. Works of art on paper can be housed in storage mats stacked in solander boxes or similar. Oversized works on paper may already be folded or rolled and can remain so; rolls should be rolled around tubes (not inserted inside them) and then placed in boxes (see Housing of Oversized Prints and Drawings). Works of art with soft or friable media are best stored in permanent glazed framing (see Matting and framing section), otherwise they should be placed in sinkmats that prevent contact with the image, within boxes.

Cleaning

Cleaning unframed works on paper is much harder than it may appear and should be left to conservators.

For glazed framed works on paper, dust can be removed from the frame with a brush and vacuum cleaner without removing the picture from the wall. Glass can also be dusted, however, glazing over works of art containing unfixed media (particularly charcoal and pastel) should never be cleaned without a specialist's advice, as dusting can generate static electricity that can lift media off the paper. Acrylic glazing should not be dry brushed or wiped, as this will likely attract more dust by static electricity. For further cleaning, the work can be carefully removed from the wall and laid on a padded surface. Clean glazing with a soft cotton cloth dampened with distilled water only, unless you are able to consult with a specialist who can identify whether the glazing has any coatings that may be damaged by other cleaners. Dust the back of the frame as well while it is off the wall. This is also an opportunity to check that the hanging hardware is sound (see Matting and framing section).

First aid

Caretakers of historic houses (who may not be conservators) will be the first ones to respond to collection damage incidents such as broken frame glass, torn paper, water events, mold, and insect damage. The following basic steps should be taken to mitigate damage until a conservator can be brought in to assist.

If possible, leave a frame with broken glass where you found it until a conservator can respond; the sharp edges of broken glass can easily cut or puncture the work on paper when it is moved. Retain any broken pieces of the frame molding. If the item must be moved, carefully move it to a place where it won't need to be moved again until it can be treated, keeping it in the same orientation as when you found it. Torn works on paper should not be handled and should be stored in a folder; do not attempt to repair with tape. If paper collections become wet they should be dried as quickly as possible to avoid mold growth, but handling wet paper is risky and a conservator should be consulted immediately to provide advice for your particular situation. Similarly, mold and active pest infestations demand immediate attention from a specialist, but until the affected materials can be assessed they should be isolated (clear plastic zip bags work well) and stored in a cool, dry location. Always wear PPE (gloves, mask, etc.) when handling materials contaminated with mold or pest droppings.

Matting and framing

• understanding the frame package
• significance of historic mats
• safely opening and assessing original frame packages
• replacing frame components (see Matting and Framing § Adapting Old Mats and Frames) such as glazing, backing boards, and hardware
• creating new frame packages; hinging (should be done by conservators or professional conservation framers)
• considerations for frames in fluctuating environments (see Matting and Framing § Precautions for Uncontrolled Environments)
• safely hanging frames on the wall

Reproductions/facsimiles

Factors to consider

Caretakers must weigh the benefits and potential negative impacts of the creation and display of a reproduction or facsimile. For example, a facsimile document may be made for display so that the damaged original can be preserved, but some guests may not understand the concept of a facsimile, or they might not feel as strong a connection to a display when it's "not the real thing." Another factor to consider is whether accompanying elements of the original item, such as mats and frames, should be re-used or reproduced for the display. Storage space is another consideration, as originals that were previously displayed will need to be stored. Cost is another factor; high-quality reproductions involve digitization and printing at high resolution with appropriate inks and paper, and the associated costs may require outside funding through grants or other means.

Production

The production of high-quality reproductions or facsimiles for display can potentially take a substantial amount of time, so any requests should be made well in advance of exhibition deadlines. Local universities with a robust research library may be performing high-resolution digitization and could offer partnerships or other services.

Care and maintenance

See also: Matting and Framing and Exhibition, Supports, and Transport

Despite the fact that facsimiles are not original documents, they still need care and maintenance as part of a display. Facsimiles in frames still need to be dusted and monitored for damage. It may also be necessary to periodically replace facsimiles if fading is observed, since reproductions may be put under brighter lights than originals.

Storing originals

See also: Housings and Preservation Housing Materials and Formats

Storing the original documents in proper environmental conditions is crucial to their preservation for posterity. Manuscripts, prints, and drawings should be kept in archival folders or boxes and stored in conditions between 59-77 degrees Fahrenheit and 45-55 % RH +/- 5 (see Environmental Guidelines). The storage areas should also be monitored for pests and dust.

Interactive facsimiles

Interactive facsimiles, such as pages in a guest book that will be flipped through, may need to be replaced more frequently. Interactive digital media, such as on an iPad, may need daily or twice-daily cleaning. Signage about why the historic house curators considered it important to be handled (i.e., to show how thick or thin a piece of paper is; the delicacy of brush strokes...) should be visible, along with how the facsimile was created and why the original cannot be handled in the same way. Due consideration should be paid to the cost and effort of replacement of interactive facsimiles. If deemed appropriate, interactions with the facsimile could be limited to tour guides, docents, or caretakers of the historic home.

Conservation

What paper conservators can offer

• production of high-quality facsimiles
• advising on preventive conservation steps to prevent further deterioration
• technical study and analysis
  • identification of media (and in particular, unfixed media in glazed frames) and printing methods
  • study and research of historical papers and mats
  • imaging of underdrawings or faded inscriptions
• rehinging artwork; replacing frame package components
• assessing damage via a condition survey
• conservation treatment
  • surface cleaning
  • washing and stain reduction
  • tape, adhesive, and varnish removal
  • tear repair
  • removal of old linings

You can locate a professional conservator using the American Institute for Conservation's (AIC) Find a Professional tool.

Factors to consider for conservators

• budgets, staff, and storage space may be limited; provide realistic advice
• display and storage environments may be uncontrolled with more extreme highs and lows of temp and RH than experienced by larger institutions, consider whether this should impact your choice of adhesives or other materials

Books

Books have long held a special place in historic houses. Libraries held the keys to the world when traveling was dangerous, long, and difficult, so the arrangement of books and the titles themselves can be quite meaningful to each specific historic house. Books are composite structures, made of a textblock that contains the information to be transmitted (usually in paper or parchment), and the binding that protects the textblock and holds it together. The materials of the binding may be made of bookcloth, leather, parchment or other textiles, all of which are attached by the means of glues or starches. The custodian of the historic house must be aware of these components in order to provide the best care and preservation for the volumes.

Deterioration and damage

• starches & glues attract pests (silverfish, etc.)
• wood: boring pests
• slumping textblocks
• tears to textblock
• tears to headcap from pulling off shelf
• detaching spines on hollows

Interactions of books and bookshelves

[when shelving damages books/when books damage shelving; microclimates] [discuss furniture modification (cabinet doors or glass covers) for security; discuss original bookcases and original furniture that is integral to the collection]

Past repairs and historic housekeeping practices

[leather dressing; amateur repairs; historic cleaning methods]

Present-day housekeeping

[overview; monitoring and recording condition]

Handling and using/reading

• use care when removing books from shelves; do not pull on headcaps
• support other books on shelf when removing a book so that they do not fall; leave a slip where the book was removed
• clean dry hands (or gloves if metallic or photographic components are present)
• handle books on a table while seated
• use book supports to limit opening angle

Housing and storage

[discuss “invisible” housing options such as the book shoe and 4-flap enclosures with Mylar spines]

A long strip of mylar on top of a shelf will prevent the dust from falling directly on historical items if the historic home cannot place their items in storage or exhibit cases. [insert image or description of shelf in Monticello?]

Cleaning

• Dusting

First aid

• Responding to water damage and mold
• Simple page mending (heat-set)
• Placing piece of matboard or archival board under textblock to prevent slumping
• Dealing with loose parts

Reproductions/facsimiles

Important books that will be displayed open in the historic house, such as an account book, guest book, or page with inscription, are good candidates for reproduction. Books on permanent display are at risk of damage due to cumulative exposure to light and other environmental issues, as well as the physical strain on the binding from being in an open position over a prolonged period. Local bookbinders can recreate books in the style of the original, or it may be possible to purchase a similar style book on auction sites or antique book sites. A reproduction of the desired display page can be created by a conservator and either bound or laid into the reproduction binding. [describe example of guestbook signed by Rosa Parks at the NY Tenement Museum where conservator included multiple copies of the relevant opening]

Additionally, reproductions of missing portions of books may be created during conservation treatment in order to maintain visual continuity in a library on display. For example, a reproduction spine could be created based on intact books in the collection and then applied to a book with a missing spine, either as part of a rebacking conservation treatment, or even just as a book jacket.

Factors to consider

Many of the factors to consider when making a facsimile or reproduction of a book in a historic house are similar to those discussed in the section about flat/unbound items, but books have the added complication of being 3-D objects. With this complication come more questions, such as the intent of use and display of the book: why does the book need to be recreated? is it vital to the experience of the historic house for the book to be handled and paged-through? could a life-size image of a bookshelf or of a particular book accomplish the same effect as a facsimile of the book?

Books take up more space than unbound paper items, and it is necessary to find proper storage locations for both the originals and the facsimiles. If using original display method, like a bookshelf, caretakers must ensure that it is in good condition and can withstand the weight of the new books.

Production

The full digitization of books in preparation for a facsimile can be long and expensive, with the amount of pages, metadata, and storage required. But if interaction with the book, e.g. flipping pages is necessary to the experience of a book in a historic house, this investment may be worth the time and expense. Providing access to the digitized book is also an option, adding the benefits of zooming in and out and reducing wear on a physical book. However, providing an iPad on which to provide visitors this digital experience has its challenges as well, such as electronic obsolescence, powering the device, and ensuring proper use of the device.

The creation of digital images necessitates the long-term storage and preservation of these files. Historic houses should be prepared to either host these files and be committed to their preservation, or pay a vendor who can provide this service.

Care and maintenance

Despite the fact that a facsimile book would not be the "real" object, it is still an object in the historic house into which time, funding, and care has been placed. As such, while changes in temperature and humidity are not as serious for a facsimile on display as for an original display, the new item still needs to be cared for to prevent it from degrading quickly and requiring another expensive replacement. Facsimile books on permanent display still need to be monitored for dust and light fading.

Storing originals

Once the facsimile books are on display, the originals can be preserved per Environmental Guidelines. Originals should be keep in storage conditions between 59-77 degrees Fahrenheit and 45-55 % RH +/- 5. Originals can be placed in custom-made housings that provide support and protection (see BPG Housings)..

Conservation

Conservators can safely perform mold remediation treatments on water-damaged books

What book conservators can offer

Book conservators are trained to perform in-depth treatments on books from different geographic locations and time periods. If volumes in the historic house collections are in poor condition, book conservators can offer curated advice about the creation of custom-made housings and environmental adaptations to improve the preservation environment. Book conservators may also be contracted to create these housings and perform treatments such as board attachments, page mending, rebinding, and other interventions. Their education involves weighing the ethical implications of performing a treatment with the tangible benefits of improving an object's stability. You can locate a professional conservator using the American Institute for Conservation's (AIC) Find a Professional tool.

Factors to consider for conservators

Conservators will need to take into account the unique situation of a historic house when taking on the conservation of items in these collections. For example, the aesthetics of libraries on display in these houses may be of the utmost importance, so treatments would more likely focus on spine appearance. Furthermore, conservators would need to consider and adapt their adhesives of choice to environments that might not have tight control of temperature and humidity. Some adhesives could soften in warm temperatures, causing books to stick in packed shelving, which is why using a trained conservator is vital to ensuring the long-term preservation of this cultural heritage, because conservators know the characteristics of the materials they use.

Other paper-based materials

Wallpaper

See also: Unusual Paper Supports § Wallpaper

Historic houses are commonly decorated with original wallpapers, often with many layers of wallpapering campaigns. These are functional works of art and are often integral to the historic interior. Wallpaper can also be found lining trunks, on fire screens, hatboxes, and on folding room dividers. Reproduction wallpaper can also be found in historic and reconstructed houses.

It is important to understand the materials of wallpaper. Early handmade hanging papers were made on unbleached rag paper, and adhered together to make lengths. The paper had a ground of glue size and whiting, then layers of paint, often distemper. The paint is often a thin and lightly bound which can be prone to flaking. The distemper can also be soluble in water therefore any interventions regarding wallpaper should be left to a conservator. Wallpaper can be flocked (often with wool fibers) which easily abrade and fall off. Flocked papers were made on pigmented varnish grounds, but varnish grounds could also be found on non-flocked papers. Patterns could be hand applied, though that is rare in Western culture, reserved mostly for murals. More often they were stenciled or block-printed. There can also be embossment which would be prone to damage from pressure.

The manner in which the wallpaper is hung can vary, but can have a great impact on the preservation of the paper. Early papers were simply tacked to the wall with brads or tacks. Often borders were applied to conceal tacks, or refine unsightly edges of the wallpaper, and then later simply for style. Walls made of brick, or stone might be prepared in various ways with wood rails and stiles allowing for canvas to be stretched and tacked to the edges. The canvas would then be sized and a layer of paper was pasted down before the decorative wallpaper was applied. The wallpaper could also be applied directly to the wall as is common today. Of course there were many deviations from this over time and as suited for the rooms to be decorated such as eliminating the canvas and applying directly to wooden surfaces.

Conservation treatment

[discuss cautions around removal] Removing original wallpaper may not always be the best decision. There is always a risk of damage in this process and careful consideration must be made about recontextualizing the space. What will be put up in it's place? Can the original be stored safely?

Always work with a conservator if deinstalling wallpaper. They will be able to propose treatment avenues to meet your institution's goals.

Prior to conservation treatment: Depending on the time period of the wallpaper and the historic home, there may be examples of it in late 19th-century architectural journals (Frangiamore, 40). "Fireboards," or pieces of wood that were used to cover a fireplace opening, were often covered with wallpaper to match the walls, and these may have been stored in the historic home and forgotten (Frangiamore, 41).

Preserving wallpaper in place

Consider leaving a small section of the original wallpaper in place on the wall. Covering this section with glazing will protect the paper, keep it in context, and show what the original looks like next to the new reproduction (if used).

The wall substrate has a great impact on the stability of the wallpaper. Wallpaper has been installed in varying ways over the centuries and varies across geographic regions as well. Generally, the acidity of wood will cause discoloration to paper if in direct contact. "[continue on about substrates]"

[discuss issues of building structure that may affect the treatment. e.g. building sags and corners of wallpaper are stressed; treatment is dependent on addressing structural treatment first] Tears in wallpaper may be the result of structural problems of the building. If this is not addressed first, attempts to repair the wallpaper will be futile. This may require the additional help of an architectural preservationist. Once the building is stable, lifting wallpaper can be re-adhered to the wall. Addition of a lining paper may be helpful to prevent future stress or discoloration and help with reversibility in the future.

[discuss delicate flocking, distemper, and raised/embossed designs]

Reproductions

Wallpaper can be reproduced by printing from a digitally altered file or made by hand. Companies like Adelphi can work with fragments and create new wallpaper that is similar. It is important to retain the files, fragments, and extra wallpaper if considering reproducing a wall hanging. There are specialized conservators that can help with deinstallation of original papers, as well as stabilization and housing. Treat the reproduction like you would an original, especially if hand printed, as this is a dying craft.

Globes

See also: Unusual Paper Supports § Globes

Globes are often found in period rooms and have particular needs due to their varying material components, and moveable parts.

[add more on structure and materials] It may be tempting for guests to turn the globe, but repeat handling can cause damage. Globes are often hollow and created from delicate paper mache structures. In addition, there can often be metal components that should not be handled with bare hands. The guests will not know if there are structural issues with the globe and may force it to move when it shouldn't. It is best to leave handling of globes to the collections' caretakers only or keep them in a case. If there is unfiltered sunlight entering the space, keep the globe out of direct light. If this cannot be avoided, it may be best to turn the globe every few months so there is not prolonged exposure to only one area. If the space where the globe is displayed is not accessed regularly by guests, it is best to keep the globe covered to prevent light exposure and dust accumulation.

Globes are often varnished. These varnishes will start to yellow over time, and impact legibility of the maps. Varnish removal may be considered by a conservator, but only if the removal will be necessary in treating the paper or paper structure.

Screens

• see also wallpaper

Wallpaper was used on room divider folding screens, fire screens, and chimney boards. In all cases the paper will act as a filter to pollution in the air, especially ash from a fireplace or window screens to the outside. In the case of fire screens, there could be evidence of singes from stray embers. Screens are also prone to punctures from improper handling or human error. Folding screens were often recovered resulting in many layers of paper.

Paperboard boxes

See also: BPG Support Problems § Boxes

• act of removing lids from paper boxes can cause damage structurally or to the delicate distemper wallpaper designs
• consider use of silica inside of closed boxes in uncontrolled environments
• see also wallpaper

Paper linings in trunks and boxes

• often prone to significant damage due to micro enclosure catalyzing iron degradation, mold growth, and insect activity
• store with silica if in an uncontrolled environment closed
• consider a mylar insert to protect the paper from dust collection if displayed open
• inherent issues with iron components of the trunk's hardware may be unavoidable, but careful control of the environment could help slow process of iron degradation to the paper

Paper labels adhered to objects

• those in situ are prone to damage from contact with substrates that may be acidic such as wood
• can be torn or abraded easily
• consider covering with mylar film or a thin plexi cover
• consider if the label can be removed by a conservator and stored separately

Bibliography

Costain, Charlie. "Framework for Preservation of Museum Collections." Canadian Conservation Institute Newsletter no. 14 (1994): 1-4.

Frangiamore, Catherine Lynn. Wallpapers in Historic Preservation. Washington, D.C.: Technical Preservation Services Division Office of Archeology and Historic Preservation National Park Service U.S. Department of the Interior, 1977.

The National Trust Manual of Housekeeping: The Care of Collections in Historic Houses Open to the Public. Butterworth-Heinemann, 2008.

Waller, Robert R. "Risk Management Applied to Preventive Conservation." In Storage of Natural History Collections: A Preventive Conservation Approach, edited by Carolyn L. Rose, Catharine A. Hawks, and Hugh H. Genoways. Society for the Preservation of Natural History Collections, 1995.

Further reading

Brommelle, N.S., Garry Thomson, and Perry Smith, eds. Conservation Within Historic Buildings: Preprint of the Contributions to the Vienna Congress, 7-13 September 1980. London: The International Institute for Conservation of Historic and Artistic Works, 1980.

Bülow, Anna E., Belinda J. Colston, and David S. Watt. “PREVENTIVE CONSERVATION OF PAPER-BASED COLLECTIONS WITHIN HISTORIC BUILDINGS.” Studies in Conservation 47, no. sup3 (September 1, 2002): 27–31. https://doi.org/10.1179/sic.2002.47.s3.006.

Butcher-Younghans, Sherry. Historic House Museums: A Practical Handbook for Their Care, Preservation, and Management. New York: Oxford University Press, 1993.

Canadian Conservation Institute, ed. The Conservation of Heritage Interiors: Preprints of a Conference; Symposium 2000 the Conservation of Heritage Interiors, Ottoawa, Canada May 17 to 20, 2000 = La Conservation Des Intérieurs Patrimoniaux. Ottawa: Canadian Conservation Institute, 2001.

———, ed. “Treatment Approaches: Wallpaper.” In The Conservation of Heritage Interiors: Preprints of a Conference; Symposium 2000 the Conservation of Heritage Interiors, Ottowa, Canada May 17 to 20, 2000 = La Conservation Des Intérieurs Patrimoniaux. Ottawa: Canadian Conservation Institute, 2001.

Costain, Charlie. “Framework for Preservation of Museum Collections.” Canadian Conservation Institute Newsletter 14 (1994): 1–4.

D’Ambrosio, Terrance, and David Joyall. “Chinese Export Wallpaper at Jekyll Island’s Mistletoe Cottage - Part 2.” NEDCC Stories (blog), July 28, 2021. https://www.nedcc.org/about/nedcc-stories/jekyll-island-wallpaper-part-2

Digitization, digital restoration, and reproduction of wallpaper from a historic home. Imaging was done in sections and stitched together. Arsenic containing pigments were a handling consideration during handling of the original wallpaper. The images were restored in Photoshop to improve aesthetics before producing the reprodution based on pigment evidence. Paper was selected (“Wall-Art”) that could be installed by a hanger instead of a team of conservators. A custom print profile was created for this paper for improved color accuracy in printing.

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

Hamburg, Doris A. “The In-Situ Conservation Treatment of a Nineteenth-Century French Scenic Wallpaper: ‘Les Paysages de Télémaque Dans l’ile de Calypso,’” n.d.

Hamm, James, and Patricia D. Hamm. “Historic Wallpaper in the Historic Structure: Factors Influencing Degradation and Stability.” Studies in Conservation 25, no. sup1 (January 1, 1980): 170–75. https://doi.org/10.1179/sic.1980.25.Supplement-1.170.

Hamm, Patricia, and James Hamm. “The Removal and Conservation Treatment of a Scenic Wallpaper, ‘Paysage à Chasses,’ from the Martin Van Buren National Historic Site.” Journal of the American Institute for Conservation 20, no. 2 (1981): 116. https://doi.org/10.2307/3179695. “Historic Wallpapers: Conservation and Replacement,” n.d.

Kallaste, Kadri. “Preservation of Wallpapers in Historic Interiors: Basic Considerations and Maintenance Options.” eConservation Journal, no. 1 (2013): 57–69.

Karnes, Cyntia, Julie Ream, and Elizabeth Wendelin. “Wallpapers at Winterthur: Seeing Them in a ‘New Light,’” n.d.

Lynn, Catherine. Wallpaper in America: From the Seventeenth Century to World War I. 1st ed. New York: W.W. Norton, 1980.

Maekawa, Luana. “Chinese Export Wallpaper at Jekyll Island’s Mistletoe Cottage - Part 1.” NEDCC Stories (blog), July 20, 2021. https://www.nedcc.org/about/nedcc-stories/jekyll-island-wallpaper-part-1

Chinese import wallpaper from the ceiling of Mistletoe Cottage at Jekyll Island was deinstalled using PPE and stored on site. One panel in good condition was sent to NEDCC for conservation and to make the digital reproduction from. Hazardous friable pigments and mold were identified which added precautions and the disposal of mold damaged panels. The wallpaper was consolidated, washed, locally bleached, mended, filled, and lined.

Mapes, Phillipa. “Historic Wallpaper Conservation,” n.d.

McClintock, Thomas K. “The In Situ Treatment of the Wallpaper in the Study of the Longfellow National Historic Site,” n.d.

McClintock, T.K. “Wallpapers.” In Caring for Your Historic House, edited by Charles E. Fisher and Hugh C. Miller, 116–26. New York: Harry N. Abrams, 1998.

Merritt, Jane, and Julie A. Reilly. Preventive Conservation for Historic House Museums. American Association for State and Local History Book Series. Lanham: AltaMira Press, 2010.

NEDCC Stories. “Hard Work Worth Doing: Conservation Treatment of Historic Wallpapers at Theodore Roosevelt’s Sagamore Hill.” Accessed August 5, 2024. https://www.nedcc.org/about/nedcc-stories/sagamore-hill-wallpaper.

Network, Greater Hudson Heritage, P. Brendler, K. Sclafani, and Z. McWhirter. The ABCs of Collection Care. Greater Hudson Heritage Network, 2023. https://www.greaterhudson.org/abcs-of-collection-care.html.

Price, Emily. “Heritage Properties.” In The Curation and Care of Museum Collections, edited by Bruce A. Campbell and Christian Baars. London New York: Routledge, 2019.

Schulte, Elizabeth Kaiser. “Wallpaper Conservation at the Longfellow National Historic Site: Parlor and Dining Room,” n.d. Shelley, Marjorie. “The Conservation of the van Rensselaer Wallpaper,” n.d.

The National Trust Manual of Housekeeping : Care and Conservation of Collections in Historic Houses. Rev. ed. Manual of Housekeeping. Swindon, Wiltshire: National Trust, 2011.

U.S. General Services Administration. “09720 WALLPAPER CONSERVATION AND RESTORATION | GSA.” USA Government, June 3, 2019. https://www.gsa.gov/real-estate/historic-preservation/historic-preservation-policy-tools/preservation-tools-resources/technical-procedures/09720-wallpaper-conservation-and-restoration?

Government procedures for Wallpaper Conservation for contract work in historic houses including guidelines for removal of wallpaper, documentation, conservation, materials, and installation of reproduction wallpapers.

Waller, Robert R. “Risk Management Applied to Preventive Conservation.” In Storage of Natural History Collections: A Preventive Conservation Approach, edited by Carolyn L. Rose, Catharine A. Hawks, Hugh H. Genoways, and Society for the Preservation of Natural History Collections. Washington, D.C: Society for the Preservation of Natural History Collections, 1995.

External links

• FAIC’s Handling and Maintenance of Historic House Collections webinar

History of this page

This page was created in July 2024 following the BPG Wiki Discussion session on this topic at the 2024 AIC Annual Meeting in Salt Lake City, Utah.