Paper Painting: Using Acrylics to Repair Leather Bindings

Paper Painting: Using Acrylics to Repair Leather Bindings

by Breann Young, Intern, Collections Care Division on August 7, 2014

More Sharing Services

Breann Young applying 20% Lascaux 498HV in isopropanol to the spine of the William Dall field book, "Oahu and Vicinity," 1899, to consolidate the deteriorating leather, photo by Andrea Hall, 2014.

read more... Paper Painting: Using Acrylics to Repair Leather Bindings

Visual glossary | AICCM

Bellissima idea dovremmo farlo anche in Italiano un glossario con immagini.

Visual glossary | AICCM: "
Visual glossary
This is one of our best resources! Explore it today

Learn how to identify damage and deterioration by comparing it to our glossary image and description.

Download the images! They can be used to identify deterioration in your own collection and are invaluable in describing an object's condition. It will help you talk to a conservator about what treatment your object needs.

This resource has been compiled by conservators all over Australia under the guiding hand of Alice Cannon. The definitions used in this glossary are informed by those used in reCollections. 

 "



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Conservation Science Tutorials

Conservation Science Tutorials: "Conservation Science Tutorials

With the support of the Getty Foundation, FAIC has created a series of self-paced modules that review key science principles in conservation.  The modules are designed to

help mid-career conservators refresh their knowledge
prepare participants for workshops on specific topics
assist students about to enter a graduate conservation program
Modules in the series:

Adhesion
Analytical Techniques
Arrhenius Equation
Color
Enzymes
Redox Reactions
Refraction and Reflection
Relative Humidity
Safety in the Laboratory
Soaps, Surfactants, and Detergents
Statistics
Teas Chart
Weights and Measures

The tutorials were researched and written by Sheila Fairbrass Siegler
Instructional Design by Cyrelle Gerson of Webucate Us
Project Management by Eric Pourchot
Special thanks to members of the Association of North American Graduate Programs in Conservation (ANAGPIC) and the AIC Board of Directors for reviewing these materials.
This project was conceived at a Directors Retreat organized by the Getty Conservation Institute and was developed with grant funding from the Getty Foundation."



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Position at Cooper-Hewitt--Conservation DistList

Position at Cooper-Hewitt--Conservation DistList: "Paper Conservator
Cooper Hewitt, Smithsonian Design Museum

The Cooper Hewitt, Smithsonian Design Museum seeks a Paper
Conservator to work on the preparation of objects for mass
digitization for a fixed term contract.

The contract conservator will be responsible for carrying out
condition assessment of objects in the Drawings, Prints and Graphic
design and wallcoverings collections for digitization, determining
suitability for mass digitization methods and care and handling
needs of the objects during digitization, barcoding the collections
during assessment and rehousing of objects when necessary. The
conservator will work to develop appropriate rehousing methods for
barcoding purposes, will manage personal workflow to meet
established deadlines and work with conservation technicians to
streamline the project workflow. The work will be performed with
regular consultation with the CH Paper Conservator and Project
Registrar. The position will require both the ability to work
within a team and independently.

Applicants should have a Master's degree in conservation with a
specialization in works of art on paper from a recognized
conservation training program. Demonstrated ability to meet
deadlines without compromising high standards is essential.
Excellent oral and written communication skills are required.

This fixed term contract is for approximately 2-3 months full-time
with the possibility of extension. After this preparation phase,
additional work may be available during the mass digitization phase.
Work will be performed at the newly refurbished, state of the art
Cooper Hewitt offsite facility in New Jersey with free shuttle
service from and to Manhattan. Towards the end of the project, work
may also be conducted at the Cooper Hewitt museum site in New York.

For consideration, please submit via electronic mail a letter of
interest, resume, and full contact information for three
professional references to Perry Choe si< . >edu>. Only those
candidates selected for interviews will be contacted.

The Cooper Hewitt, Smithsonian Design Museum is an Equal Opportunity
Employer."



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belting - Learn about bookbinding and other book related topics

Questa è da provare quando faccio la prossima scatola. Il "belting the cloth" è una tecnica interessante anche se non faccio nella stessa maniera tutti i tagli. In pratica si monta tela e cartoni in contemporanea.



belting - Learn about bookbinding and other book related topics: "
There are many ways to build a box, one can cut the elements of the trays and assemble them prior to covering.
This method involves gluing the edges of the sides of the tray (we will call these the walls of the tray), taping these wall boards to the support board to keep them together while drying, letting dry a couple of hours, removing the tape and sometime sanding smooth.
After this, you can cover the trays with cloth, leather, paper or combinations of the above. If you have used this method, you know the pitfalls, like collapsing walls, slippery assemblies, bumpy lumps left by drying glue &c. &c.

When I use cloth, I prefer the "belting" method where the trays are assembled as the cloth is applied, thus eliminating several steps in a fail proof method, that is, if your boards are cut straight and square...
 

 

"



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ancora sul paper extract

Ho trovato questo articolo sul paper extract,  https://www.ischool.utexas.edu/~anagpic/2008pdf/2008ANAGPIC_Gordon.pdf mi sembra che, leggendo le conclusioni, ne esca abbastanza stroncato, mi spiace più che altro che il paper conservator abbia pubblicato un articolo senza verificare accuratamente che il prodotto non fosse dannoso per la carta. Aggiungo che così  ho invece trovato una bella fonte di articoli https://www.ischool.utexas.edu/~anagpic/studentpapers.htm 



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Conservation Conversations // Su-Su – come portare a tono con lo "sporco" ?

Questo articolo mi ha alsciato un po' perplesso, in pratica usa gli scarti di acqua di lavaggio concentrati per produrre una base per portare a tono la giapponese, ho un po' di dubbi sul fatto che sia neutra...



"CONSERVATION CONVERSATIONS // SU-SU
July 29, 2014 by Lauren Schott

Everyone who washes paper is familiar with the dramatic color transformation that takes place on the page after it is removed from its final bath. The evidence is left in the washing tanks; the water turns an unsavory yellowed color, and the paper is, to a degree, returned to its former glory.

" read more: Conservation Conversations // Su-Su – Flash of the Hand:



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MEI Internship Project Begins: a 16th century German binding mystery solved! | Echoes from the Vault

MEI Internship Project Begins: a 16th century German binding mystery solved! | Echoes from the Vault: "MEI INTERNSHIP PROJECT BEGINS: A 16TH CENTURY GERMAN BINDING MYSTERY SOLVED!
29/07/2014 · by St Andrews Special Collections · in Rare Book Collection. ·

Opening a new mystery: St Andrews’ copy of vol. 1 of the 1489 printing of Alexander of Hales’s Summa universae theologiae
This summer, St Andrews began contributing information about its earliest printed books to CERL’s Material Evidence in Incunabula project. This project, initiated and directed by Dr Cristina Dondi, seeks to pull together all of the material evidence left by owners, booksellers, binders, and others appearing on all books printed prior to 1500. As an intern, I have begun the thrilling (and monumental) task of pulling together every mark found on St Andrews’ 150+ XVth century printed books.

The kind of research this project entails concerns the provenance of a book, which is to say its history of ownership.  From clues like signatures, shelf marks, and bookplates, it is possible with some careful digging to discover where a book was before it came to its 21st century resting place."



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APLAR - Applicazioni laser nel restauro CITTÀ DEL VATICANO 18 - 19 settembre 2014 Musei Vaticani

 "CITTÀ DEL VATICANO   18 - 19 settembre 2014
Musei Vaticani    "

Presentazione

APLAR è il nome del Convegno dedicato alle applicazioni laser nel restauro, settore dei beni culturali dal quale è stato derivato l'acronimo.

Nato nel 2007, in occasione della prima edizione tenutasi a Vicenza, il Convegno APLAR ha l’obiettivo di costituire un punto di riferimento e il veicolo per la disseminazione di pratiche, informazioni, ricerche, metodologie nel campo della conservazione e del restauro dei beni storici e artistici.

La sua principale finalità è quella di raccogliere e mettere a confronto le esperienze pratiche e quelle di ricerca, creando sinergie tra il ‘saper fare’ della collettività italiana e quella estera sul tema dell’ablazione laser.

Con l’edizione del 20I2, svoltasi a Roma, il Convegno APLAR ha iniziato a dedicare attenzione anche ad altre tecnologie strumentali utilizzate nelle pratiche della conservazione, aprendo ulteriori spazi di confronto e di informazione su tecniche, sistemi e metodi per la rimozione di sostanze superficiali e su argomenti relativi alla diagnostica e alla modellazione 3D alle diverse scale micro e macro.

APLAR, dunque, promuove un approccio interdisciplinare per sollecitare l’interesse dei restauratori, dei chimici, fisici, ma anche degli storici dell’arte, architetti, ingegneri, archeologi e, non ultimi, degli studenti.

Tutti gli incontri vengono pubblicati e resi fruibili attraverso la pubblicazione di Atti .

APLAR è inoltre aperta a raccogliere bibliografie e tesi sull’argomento, offrendo la possibilità di pubblicazione sulle pagine ad esse dedicate nel proprio sito web.

---

APLAR 5
La quinta edizione del convegno APLAR sarà tenuta nella Città del Vaticano. Le edizioni precedenti si sono svolte a Vicenza (16 giugno 2007), Siena (4 luglio 2008), Bari (18-19 giugno 2010) e Roma (14-15 giugno 2012). Continua...

APLAR - Applicazioni laser nel restauro:



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Paper Conservator Apply for jobs at the V&A - Victoria and Albert Museum

Paper Conservator

£ 25407 - 30537 Per Annum Full-time (36 hours per week)

The V&A is the world's leading museum of art and design. We enrich people's lives by promoting the practice of design and increasing knowledge, understanding and enjoyment of the designed world. The Conservation Department fulfils a major role in helping the Museum deliver its wider objectives. It has a worldwide reputation for the excellence of its practical work, for innovative ideas and for pioneering the scientific and ethical approach to conservation, also for sharing this expertise. We now have a fixed-term post available in the Conservation Department for a Paper Conservator. This is an exciting opportunity to work in a busy studio dealing with a wide range of paper-based objects. You should have a recognised qualification in Paper Conservation and relevant demonstrable working experience. This is a fixed-term contract from 1st October 2014 – 25th September 2015. Closing date for applications is midnight, Sunday 27th July. Interviews are to be held on Thursday 14th August. If shortlisted for interview you will be expected to bring a portfolio with 2 – 3 examples of your work.

Apply for jobs at the V&A - Victoria and Albert Museum:



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First Aid to Cultural Heritage in Times of Crisis | ICCROM

 "
Culture cannot wait!

Dates: 30 March-24 April 2015; four-week course

Application deadline: 22 September 2014

Place: Amsterdam with study visits to other cities in the Netherlands"First Aid to Cultural Heritage in Times of Crisis | ICCROM:



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Unusual binding? | Ligatus

 "Unusual binding?
Submitted by Nicholas Pickwoad on Fri, 11/07/2014 - 13:51

I saw this binding in the Stiftsbiblothek St Gallen earlier this year with a type of cover that I have never seen before. It is made up from two pieces of manuscript waste (written locally, 11th or 12th century), one on each side, which overlap on the spine, to which they are adhered. Read more on Nicholas Pickwoad 's Blog Unusual binding? | Ligatus:

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II Conferenza Nazionale sui Beni Culturali | Ordine Nazionale dei Biologi

 "II Conferenza Nazionale sui Beni Culturali


Si terrà a Roma, il 17 e 18 ottobre prossimi presso la “Casa dei Cavalieri di Rodi” in p.zza Del Grillo 1, la II Conferenza Nazionale sui Beni culturali dal titolo “La biologia per la valorizzazione dei beni culturali: competenze e opportunità”.

L’evento è stato organizzato dalla commissione permanente di studio dell’Ordine Nazionale dei Biologi “Tutela dei beni culturali”.

Di seguito riportiamo il programma delle due giornate formative e il modulo per la richiesta di partecipazione."II Conferenza Nazionale sui Beni Culturali | Ordine Nazionale dei Biologi:



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Fail to prepare for digitisation, prepare to fail at digitising! - Collection Care blog

 "Fail to prepare for digitisation, prepare to fail at digitising!

Planning a digitisation project can be a lengthy process with consideration required for strategic alignment, funding models, workflow, and metadata – all of which should be led by a clear definition of the overall purpose of the digitisation project. What must also be considered are the practical aspects of digitisation bearing in mind the condition and format of items, and identifying what needs to be done to items to make them camera ready.

There are potential risks from digitisation as books become objects when being copied, and therefore may not be handled, positioned or viewed in the conventional way. This increased handling can accelerate the normal process of wear and tear. In order to minimise these risks the items should be checked over before appearing in the imaging studio. These checks are run by our Preventive Conservation team who make initial condition assessments of items to be digitised; recommend any treatments to stabilise or repair items; and advise on handling and transport, camera equipment, lighting and cradles. We are Collection Care after all!

The outcome of pre-digitisation checks fall broadly under five headings which will be covered in this post, and we’ll share some examples of what to look out for."

read more: Fail to prepare for digitisation, prepare to fail at digitising! - Collection Care blog:

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Tape Removal from an 18th Century Binding | Current Projects

"TAPE REMOVAL FROM AN 18TH CENTURY BINDING
Posted by Abigail Bainbridge on April 22, 2014 · Leave a Comment 
By Anahit Campbell

The binding before treatment
Sellotape on books is never a good idea.
After removing pressure-sensitive tape that was placed on the cover of the signal book that I am conserving entitled Instructions for the Conduct of the Ships of War from 1792, I spent a significant amount of time researching and sampling methods to remove the adhesive residue that was left behind by the pressure-sensitive tape. Although the process involved a lot of thought and trial, I did enjoy the process, and in the end I was able to successfully remove the adhesive residue left behind by the pressure-sensitive tape, without damage to the delicate marble paper or leather beneath.

Pressure-sensitive tape removal using directed hot air blower
I began by removing the aged pressure-sensitive tape that adhered the reference number to the spine and cover boards. This was done by directing hot air at the tape while gently and slowly peeling the carrier layer back with a micro-spatula. Even though the carrier is removed, the adhesive layer often is left behind, like in the case of the “Signal Book” on the surface of the object.
[See Sibel Ergener’s blog post for more information regarding tape removal.]"

click to read more... Tape Removal from an 18th Century Binding | Current Projects:

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Workshops on the Conservation and Restoration of Japanese Works on Paper and Silk at Museum fuer Asiatische Kunst, Staatliche Museen zu Berlin

NATIONAL RESEARCH INSTITUTE FOR CULTURAL PROPERTIES, TOKYO

Workshops on the Conservation and Restoration of Japanese Works on Paper and Silk

at Museum fuer Asiatische Kunst, Staatliche Museen zu Berlin

December 3rd – 5th and December 8th – 12th 2014

The National Research Institute for Cultural Properties, Tokyo is pleased to announce two

workshops on the conservation and restoration of Japanese works of art on paper and silk

to take place in Berlin in December 2014. The workshops are free of charge, and will be

conducted in Japanese with consecutive English translation at Museum fuer Asiatische Kunst,

Staatliche Museen zu Berlin (Asian Art Museum, National Museums in Berlin).

Workshop 1: “Basic - Conservation of Japanese artworks on paper and silk -”

for Conservators, Restorers and Restoration Specialists, Curators, Researchers, and

Students of Asian Art and/or Restoration Sciences, December 3rd – 5th 2014

This three-day workshop is designed to introduce Japanese artworks on paper and silk through

lectures and demonstrations by Japanese specialists as well as practical exercises. Emphasis

will be on the formats, the materials and techniques, general principles of conservation and

restoration, as well as advice and practical exercises on the handling of scrolls.

Participation is limited to 20 and requires an application with the attached form part 1 by June

30th. Notification of selection will be send by e-mail on July 31th.

Workshop 2: “Advanced - Restoration of Japanese hanging scrolls -”

for Conservators, Restorers and Restoration Specialists, December 8th – 12th 2014

This five-day workshop is aimed at conservation and restoration specialists who already have

an advanced knowledge of Japanese restoration and conservation techniques. It is designed to

introduce the analysis of damages on Japanese hanging scrolls, emergency measures such as

reinforcement with paper strips (Japanese: orefuse), the removing and re-attaching of roller

rods as well as restoration techniques such as lining with Japanese paper through practical

exercises.

Applicants are required to have previously taken either “Basics for Japanese artworks

on paper and silk” or a similar Workshop of the National Research Institute for Cultural

Properties Tokyo such as JPC 2006 downward. Participation is limited to 10 and requires

registration with the attached form (part 1+2) by June 30th. Notification of selection will be

send via e-mail on July 31th.

Venue: Museum fuer Asiatische Kunst

Staatliche Museen zu Berlin

1st Floor Lecture and Event Room

via staff entrance: Takustr. 40, 14195 Berlin

Access: Subway U 3: Dahlem-Dorf , Bus X 11, X 83 (Dahlem-Dorf)

Suggestions for Accommodation:

Seminaris Campus Hotel Berlin, Takustr. 39, 14195 Berlin www.seminaris.com

Ibis hotel City West www.accorhotels.com/de/hotel-3571-ibis-berlin-city-west/

or the Motel one chain: www.motel-one.com/de/hotels/hotels-berlin.html

Application Form Part 1

for Workshop 1 “Basics - Conservation of Japanese artworks on Paper and Silk-”

for Conservators, Restorers and Restoration Specialists, Curators, Researchers, and Students

of Asian Art and/or Restoration Sciences, December 3rd – 5th 2014

Name:

affiliation / position:

e-mail:

address:

phone: facsimile:

if student, please state major: year:

Application Form Part 2

for Workshop 2 “Advanced -Restoration of Japanese Hanging Scroll-”

for Conservators, Restorers and Restoration Specialists, December 8th – 12th 2014

If you are applying for workshop 2 only, please provide details when you have previously

taken part in “Basics for Japanese Paper and silk conservation”, JCP or similar:

Please detail prior experience in conservation / restoration and in working with Japanese

materials, if any:

Please provide a short statement of interest indicating how participation is related to your

work:

Please return via e-mail to: a.hofmann_at_smb.spk-berlin.de

or via facsimile transmission to: +49-(0)30-8301-501 by June 30th 2014 at the latest.

Ligatus Research Centre www.ligatus.org.uk Survey

Ligatus Research Centre  www.ligatus.org.uk Survey: "Ligatus Research Centre  www.ligatus.org.uk
Introduction 
The Ligatus Research Centre at the University of the Arts, London produces internationally recognised research in the fields of book history and conservation.

Over the past 14 years the Centre has developed resources and tools to aid the understanding and description of the bindings on books and their condition. Many of these tools involve the application of innovative technology to organise knowledge and information so that it is easier to use.

The Centre's research has application to the growing academic field of the history of the book as the structure of books can reveal unique information about provenance, production, ownership and the book trade. Knowledge of book structures can also help to identify unique and distinctive attributes of books, the recording of which adds valuable copy-specific metadata to catalogue records.

The Centre is now investigating wider interest in its research and is developing services which will help people with the practical application of the tools and resources it has created.

This short survey takes 5 minutes to complete. Your answers will inform the future direction of the Centre's research and help to identify which services have the greatest potential to benefit the wider research community. Your participation is much appreciated.

Professor Nicholas Pickwoad
Director
Ligatus Research Centre
"



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Princeton University - Jobs at Princeton : Posting Details

The Rare Books Conservator is responsible for the physical care and conservation treatment of rare books and bound manuscripts held in the special collections throughout the Princeton University Library. These materials are characterized by rarity, uniqueness, and complex technical problems. They inspire and support the research and teaching of students, faculty, and scholars. 

Within this context, the Rare Books Conservator performs all aspects of book conservation designed to preserve the books' historical, artifactual, and intrinsic value while insuring their ability to be used. The Rare Books Conservator should be comfortable assessing, discussing, recommending, and performing treatment and stabilization of bound books and manuscripts across a spectrum of traditions. She or he should approach each treatment with sensitivity, and be versatile, calling upon their knowledge of materials and techniques drawn from deep experience with the craft. 

The Rare Books Conservator works in close association with Preservation Office staff including the Head, Library Preservation and the Rare Books, Paper, and Collections conservators. As part of this team, and in close collaboration with curators throughout the library, she or he formulates preservation and conservation priorities and treatment, as well as housing strategies for Princeton University Library's rare and unique bound materials. 

While the emphasis of this position is on single-item treatment, the Rare Books Conservator contributes to the overall preservation effort by advising our colleagues throughout the Library on care and handling of rare materials during use, collection storage and transport, exhibition, and digital imaging. In addition, she or he will be called upon to provide training to staff and/or interns. This position reports directly to the Head of Library Preservation. 
Princeton University is an equal opportunity employer and complies with applicable EEO and affirmative action regulations.  read more: Princeton University - Jobs at Princeton : Posting Details:



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Crowfunding restauro libri Certosa di Padula

 "Crowfunding per restaurare i libri della Certosa di Padula
Il progetto vede la nascita di una simbiosi importante tra Confindustria Salerno, rappresentata dal presidente Mauro Maccauro, e la Soprintendenza BAP di Salerno e Avellino, guidata da Gennaro Miccio.

  Diana Della Mura18 Giugno 2014

Al via la raccolta fondi sulla piattaforma Derev per il restauro di cinque libri della Certosa di Padula." continua a leggere ... Crowfunding restauro libri Certosa di Padula:



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Ligatus Summer School 2014 | Ligatus Summer School

 "Ligatus Summer School 2014 .
22 – 26 September: The History of European Bookbinding 1450-1830.
29 September – 3 October: Identifying and recording bookbinding structures of the Eastern Mediterranean.
6 – 10 October: Byzantine bookbinding: a practical workshop.
This year’s Ligatus Summer School will take place in the beautiful city of Ljubljana in Slovenia, and will be hosted by the Archives of the Republic of Slovenia.

The price is £300 per week per participant, and this includes fees for teaching only. Travel, food and accommodation would need to be arranged individually by each student."Apply online by clicking hereLigatus Summer School 2014 | Ligatus Summer School:



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Severe Flood Closed Five Libraries in ex-Yugoslavia

Панчевачко читалиште - Severe Flood Closed Five Libraries in ex-Yugoslavia: "
Severe Flood Closed Five Libraries in ex-Yugoslavia



Many cities in Serbia, Bosnia and Croatia have suffered major damage in heavy floods these days. When it comes to libraries, book funds and equipment were destroyed in Doboj, Čelinac and Šamac (Republic of Srpska, BIH), Maglaj (Federation of Bosnia and Herzegovina, BIH) and Obrenovac (Serbia).



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The book rustlers of Timbuktu: how Mali's ancient manuscripts were saved | World news | The Guardian

 "The book rustlers of Timbuktu: how Mali's ancient manuscripts were saved
When Mali's historic city was taken by rebels, thousands of priceless ancient manuscripts came under threat. We report on a dangerous operation to smuggle the archive to safety"

read more: The book rustlers of Timbuktu: how Mali's ancient manuscripts were saved | World news | The Guardian:



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Mostra sul restauro librario! -

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What Causes "Old Book Smell"? | Mental Floss

"What Causes "Old Book Smell"?
   11.7K   Share
Matt Soniak
filed under: Big Questions, books, science

“A combination of grassy notes with a tang of acids and a hint of vanilla over an underlying mustiness” is how an international team of chemists describes the unique odor of old books in a study. read more...What Causes "Old Book Smell"? | Mental Floss:

FRANCESCHINI APPROVA LE LINEE GUIDA PER CONSEGUIMENTO QUALIFICHE RESTAURATORE E COLLABORATORE RESTAURATORE

FRANCESCHINI APPROVA LE LINEE GUIDA PER CONSEGUIMENTO QUALIFICHE RESTAURATORE E COLLABORATORE RESTAURATORE:

FRANCESCHINI APPROVA LE LINEE GUIDA PER CONSEGUIMENTO QUALIFICHE RESTAURATORE E COLLABORATORE RESTAURATORE

Pubblicato il 21 maggio 2014

FranceschiniBanner

Il Ministro dei beni e delle attività culturali e del turismo, Dario Franceschini, ha approvato le linee guida applicative dell’articolo 182 del Codice dei Beni Culturali e del Paesaggio riguardante la disciplina transitoria per il conseguimento delle qualifiche di restauratore e di collaboratore restauratore di beni culturali.

L’articolo 182 del Codice prevede che, in attesa dell’attivazione di specifici corsi universitari, la qualifica di restauratore e di collaboratore restauratore di beni culturali si acquisisca mediante un’apposita procedura di selezione pubblica, da concludersi entro il 30 giugno 2015. Le linee guida, adottate come previsto sentite le organizzazioni imprenditoriali e sindacali più rappresentative, costituiscono l’indirizzo interpretativo per la valutazione dei requisiti in possesso degli operatori interessati. In particolare: dei titoli di studio, delle attività di restauro svolte e delle competenze autocertificate. Le linee guida saranno consultabili sul sito www.beniculturali.it non appena vagliate dagli organi di controllo. Il bando per l’apertura dei procedimenti telematici sarà anch’esso pubblicato nei prossimi mesi.

 

Roma, 20 maggio 2014

Ufficio Stampa MiBACT

Tel. 06.67232261

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The Fix: Binding Waste – Smithsonian Libraries Blog

 Notate un post solo sul riciclo delle carte scritte nelle indorsature, quando ne potremo scrivere uno in Italila senza apparire ridicoli ?



"THE FIX: BINDING WASTE
BY ERIN RUSHING« PREVIOUS
This post was written by Vanessa Haight Smith, head of Preservation Services.

When repairing older books, the Smithsonian Libraries conservators occasionally uncover evidence of recycling by the original bookbinders.  Paper from damaged and discarded volumes was frequently used when binding new books.  Why use a new, clean sheet of paper when a leftover scrap would work just as well?
With the development of moveable type in the mid fifteenth century, numerous manuscripts were replaced with printed copies and eventually, the discarded parchment became useful material for new bookbindings.  While the use of binding waste has varied throughout the centuries (having been used on all parts of books from covering material to paper repair) we most frequently see it used to line spines."read more: The Fix: Binding Waste – Smithsonian Libraries Blog:



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Extra Extra Large Art: — NEDCC CONSERVATION TREATMENT OF THE GARIBALDI PANORAMA

 "CONSERVATION TREATMENT OF THE GARIBALDI PANORAMA

 

Large objects are not usually a challenge for the Northeast Document Conservation Center’s conservation lab. The Center’s facility is equipped with specialized sinks and work tables that accommodate even very large objects, such as wall maps, posters, wallpaper, architectural drawings, works of art on paper, and other oversize materials.

NEDCC’s paper conservators recently worked on a project that could be classified as EXTRA EXTRA large. The Garibaldi Panorama is among the longest paintings in the world, measuring 260 feet long and 4½ feet high. From the Anne S.K. Brown Military Collection at the John Hay Library of Brown University, the two-sided work of art on paper depicts the life story of Italian patriot Giuseppe Garibaldi, who played a major role in the unification of Italy.



read more: Extra Extra Large Art: — NEDCC:

vincitori del bando "L’mpiego dell’Hanji, la carta coreana.

vincitori del bando "L’mpiego dell’Hanji, la carta coreana. Workshop sulla conservazione della carta http://ita-milano.mofa.go.kr/worldlanguage/europe/ita-milano/mission/news/index.jsp
Di seguito riportiamo in ordine alfabetico la lista dei vincitori del bando “L’mpiego dell’Hanji, la carta coreana. Workshop sulla conservazione della carta” -
ABATE Eleonora - BARZAGHI Laura - CATTANEO Barbara - DELIA Federica - DIAZ GONZALEZ Elisa - ORTEGA BOLDO Sara - PETRELLA Gaia - PIGNATTI MORANO Gianlorenzo - RUELLO Stefania - ZORZELLA Lucia I vincitori verranno contattati individualmente nei prossimi giorni. Ringraziamo anche i numerosi partecipanti esclusi, invitandoli a presentare domanda per le prossime attività che organizzeremo. Controllate periodicamente il sito del Consolato per essere informati.

Meet Our Adopt a Book Conservators - Collection Care blog

Meet Our Adopt a Book Conservators - Collection Care blog

Meet Our Adopt a Book Conservators

By adopting books at the British Library, donors have helped directly support the work of our conservators for over 25 years. We are very pleased to introduce our Adopt a Book conservators and tell you a little more about what they do in a new series of blog posts.

Kim Mulder, our new Adopt a Book conservator, is neither new to the British Library, nor new to conservation. She has already worked in the British Library conservation studio for 1.5 years on fixed term contracts and has extensive conservation experience. She previously worked in a number of institutions including Stedelijk Museum Amsterdam, Museum Boijmans-van Beuningen in Rotterdam, and The Netherlands Cultural Heritage Agency.

Kim has contributed significantly to several strands of our conservation programme including treatment on core collection items and running repairs. She has done extensive work on our War Office maps and also supports the Library’s major project to digitise some 60,000 maps and views in King George III’s personal collection by assessing their condition and managing any conservation treatment required.

Kim’s particular interest is in large paper objects. She says: “I like working on large format items because they come with their own set of challenges and parameters. I find them fulfilling to work on, but my training and experience allows me to work on a broad spectrum of objects.”

- See more at: http://britishlibrary.typepad.co.uk/collectioncare/2014/05/meet-our-adopt-a-book-conservators.html#sthash.NyNNnZOG.dpuf

Adapt and Evolve : Conference 2015 | Icon Book and Paper Group

Adapt & evolve : East Asian materials and techniques in Western conservation

CONFERENCE

from 08 April 2015 to 10 April 2015

Organized by:
Icon Book & Paper Group, United Kingdom

Location of event: London, United Kingdom

More info: http://icon.org.uk/index.php?option=com_content&view=article&id=2297%3Abapg-news&catid=9%3Abook-a-paper-group&Itemid=16

Description :
This conference aims to explore the introduction, formalisation and evolution of East Asian materials and techniques that have become part of paper conservation practice across the globe. During the conference, speakers and delegates will look into how these practices, materials and techniques have been adapted and developed within the conservation of Western book and paper collections. The conference will draw together key speakers from across the international conservation community, providing delegates with a fresh view of current research into materials and techniques borrowed from Japan, China, Taiwan and Korea. The conference will provide opportunities for delegates to take part in practical workshops and will feature a wide variety of trade stalls, including papermakers from East Asia. The two-day conference will be proceeded by a day of studio visits where delegates will have an opportunity for to book into pre-arranged tours of conservation studios in London.

Registration for the conference will open in August 2014

Call for papers to be published April 2014

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Home | Ligatus Summer School

Home | Ligatus Summer School: "Ligatus Summer School 2014
22 – 26 September: The History of European Bookbinding 1450-1830.
29 September – 3 October: Identifying and recording bookbinding structures of the Eastern Mediterranean.
6 – 10 October: Byzantine bookbinding: a practical workshop.
This year’s Ligatus Summer School will take place in the beautiful city of Ljubljana in Slovenia, and will be hosted by the Archives of the Republic of Slovenia."



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Associate Conservator for Paper & Book Materials the Walters Art Museum

About the Walters Art Museum: "Associate Conservator for Paper & Book Materials"

Associate Conservator for Paper & Book Materials

Job Location : Conservation

The Walters Art Museum is offering an exciting opportunity to an energetic and professional conservator to work in a very active museum laboratory that focuses on preventive collections care, treatment, research and public outreach.    

The Walters is a dynamic museum with collections from around the world including a legendary collection of illuminated medieval manuscripts that is a major national treasure of the United States. The Conservation and Technical Research Division staff members work collaboratively across all divisions of the museum and are committed to professional activities both nationally and internationally.  

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Disaster Response and Recovery

Disaster Response and Recovery: "Disaster Response & Recovery

AIC's disaster response and recovery efforts encompass facilitating the American Institute for Conservation - Collections Emergency Response Team (AIC-CERT) training; working through FAIC with the Smithsonian Institution and the U.S. Committee of the Blue Shield to help recover cultural and historic artifacts damaged by the 2010 earthquakes in Haiti; assisting in the Northeast after Hurricane Sandy in late 2012; assembling guides and information; as well as partnering with other organizations and their disaster response and recovery efforts.

AIC-CERT


AIC-CERT  (The American Institute for Conservation - Collections Emergency Response Team) responds to the needs of cultural institutions during emergencies and disasters through coordinated efforts with first responders, state agencies, vendors and the public. For 24-hour assistance from trained volunteers, call (202) 661-8068.

View more

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Jobs (Getty Trust)

Jobs (Getty Trust): "Jobs

"

The Getty Conservation Institute (GCI) Science department (http://www.getty.edu/conservation/about/science/index.html) is seeking an individual with a background in Materials Science and Engineering to fill the position of Scientist, which is a five-year, limited-term position.

The Scientist will join the research team for the Managing Collection Environments Initiative, which was launched at the end of 2013 (http://www.getty.edu/conservation/our_projects/education/managing/index.html). The Initiative focuses on the research and development of sustainable environmental control and management strategies for collections in museums, libraries, archives, and other repositories. The initiative will have several complementary activities—including, field testing, education, and information dissemination—in an initial program of work that spans five years.

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Collections Care Supervising Conservator

Collections Care Supervising Conservator

New York Public Library, United States

Job location: Long Island City, NY, USA

More info: URL

Description
Overview:

Within the New York Public Library’s Barbara Goldsmith Preservation Division, the Collections Care unit is responsible for treatment, repair, and stabilization of general collections in various formats; creation of protective enclosures and housings; deacidification; collection surveys; integrated pest management; emergency preparedness and response, including mold remediation; and promotion of preservation policies and standards. The unit is batch production oriented, and provides a high volume of quality deliverables. The program’s development and outreach activities align with the Preservation Division’s efforts to safeguard the Library’s collections and support the Library’s strategic priorities for widespread and ongoing physical and digital access. Continue reading…

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The purple Codex Rossanensis: spectroscopic characterization and first evidence of the use of the elderberry lake in a 6th century manuscript

I pre-print dell'intervento di ieri alla'Accademia dei Lincei di Marina Bicchieri sono già disponibili on line sul sito della Cornell University.



[1404.6414] The purple Codex Rossanensis: spectroscopic characterization and first evidence of the use of the elderberry lake in a 6th century manuscript: "The purple Codex Rossanensis: spectroscopic characterization and first evidence of the use of the elderberry lake in a 6th century manuscript

Marina Bicchieri
(Submitted on 25 Apr 2014)
The Codex Rossanensis is a 6th century Bizantine illuminated manuscript written on purple parchment and conserved at the Museo Diocesano in Rossano Calabro, Italy. It is one of the oldest surviving illuminated manuscripts of the New Testament. The challenge of the analysis of the Codex Rossanensis lies in the lack of analytical information on the pictorial media used in the Early Middle Ages. Even though old-medieval illuminated manuscripts have been deeply studied from the historical standpoint, they have been rarely described in their material composition. This paper presents the results obtained during the measurements campaign (June 2012 - November 2013). The spectroscopic analyses performed by Raman, micro-FTIR and XRF allowed for the complete characterization of the pictorial palette, the inks, the support and the material used in a previous restoration treatment. To the author knowledge the article shows the first experimental evidence of the usage of the elderberry lake in a 6th century illuminated manuscript."



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The San Gemini Conservation and History of Book Structures Course – a teacher’s view by Flavio Marzo | International Institute for Conservation of Historic and Artistic Works

The San Gemini Conservation and History of Book Structures Course – a teacher’s view by Flavio Marzo | International Institute for Conservation of Historic and Artistic Works:

The San Gemini Conservation and History of Book Structures Course – a teacher’s view by Flavio Marzo

Submitted by Barbara Borghese on 17 Apr 2014

San Gemini Preservation Studies is a summer field school that organises lectures, research, fieldwork, workshops and fieldtrips in the disciplines of historic preservation, restoration and conservation. It is located in central Italy, in the city of San Gemini in Umbria. Flavio Marzo, tutor of one of the courses, talks about his teaching experience

The programme is the result of the collaboration between scholars from various international universities, institutions and local preservation groups, fostering a multidisciplinary approach to historic preservation. All the academic activities are run in English.
In 2013, a new course on the history of book structures and their conservation was added to the curriculum in order to complement the one already existing focusing on the conservation of art on paper.
I was the tutor of the course - I am a book conservation manager at the British Library and have been working in London since 2005 having moved from Italy where I graduated in book and paper conservation.
I have been teaching book conservation and running workshops since 2006, and in 2011 I was approached by Max Cardillo, Director of the San Gemini Preservation Studies Programme, who offered me the opportunity to start a new course on history of book structures and their conservation/restoration.
It was obviously an extremely interesting and flattering offer but also a very challenging one. Teaching is complex, especially without a ‘proper’ academic background; teaching conservation is even more complicated because you have to be able to create a successful and appropriate balance between theory and practical exercises most of all make it reach a professional standard.

My past teaching experiences focussed on organising short workshops customised for professionals interested in practising specific historical bookbinding techniques; the course I was asked to prepare for the San Gemini School was a month-long introduction to the conservation and history of book structures, a very different proposition altogether!
The first year being now over, I can say that, after receiving feedback from my students that the challenge was quite successfully overtaken.
The aim of the course is to offer people from different backgrounds an exhaustive overview of what book conservation and book history.
One month can be a very short time when you’re trying to condense information that could easily fill a three year course with, so what I decided to do was to collect as much material as possible from my past professional experiences and to organise it in a way that was meaningful to and understandable by students with different level of expertise and backgrounds.
I believe that a good balance between theory and practice is essential if you want to gain a real understanding of book structures. The physicality of books is still perceived as a secondary feature; for many institutions it is not yet a priority to provide training on conservation and preservation issues.
Therefore I organised the classes in the mornings of presentations about the history of the book and the theory of restoration/conservation and afternoons of practical workshops.
Morning theoretical sessions were supported by video and audio material specifically prepared for the course
Luckily in 20 my year’s career I have been able to collect a vast amount of material and documentation comprising of interesting case studies from the various collections I have been working on (Italy, UK, Greece, and Egypt). This has been the source from where I collected and organised the material that I have decided to share with my students. There is a lot that can be taught from literature but many of the things I talk about come from my personal working experience.
The course has been structured to cover the history of the codex from its appearance in the western world up to modern times. The majority of the material used has western roots but I also included material on eastern and Islamic traditions.
The first weeks were spent mostly on the history of western book structures and the production of facsimiles of historical sewing structures.
The use of different materials and techniques and their impact on the final result were examined and discussed along the way, including the making of dummies and the comparison with known available literature sources.

In this first year we were able to create four different facsimiles of historical sewing structures up to their full coverings and decoration.
It was a real challenge and I have to admit that I was pleasantly surprised by the amazing commitment of my students and the quality of the final results. On top of the practical sessions that included the making of the

facsimiles, the course gave us the opportunity to work in the local historical archive, where an absolutely amazing historical collection of manuscripts and printed books is kept and preserved.
Working on originals consisted of preparing detailed condition and structural assessments of some of the most interesting pieces housed in the archive. Those items were analysed and possible conservation treatments proposals were drawn up.
This exercise proved extremely useful because it gave the students the opportunity to work along with professional conservators while also providing the chance to observe and study original material and their physical features, practiced previously on the facsimiles (some of the manuscripts in the collection date back to the XIV century).
After the assessment different kind of protective enclosures for library and archive material were created by the students, some to be kept with their own facsimiles and other, prepared with archival material, to be used for the housing of the original manuscripts previously analysed.
Along with the visits to the local archive, all the different aspects of preventive and non-invasive conservation techniques were presented to the students through presentations and discussions. Environmental control practices, minimal and in-situ interventive techniques, re-housing solutions and pest control monitoring exercises were described and discussed with the students during the morning sessions.
Preventive conservation trainings, focussing on handling techniques, together with the theory of workflows optimisation in libraries, were also topics covered during the last two weeks.
An on-going digitisation project involving the local archive collection has also provided the opportunity for the students to develop and apply some tools on how to mitigate possible risks associated with digitisation processes.
Together with my own month-long contribution to the course, other colleagues from British and Italian institutions were brought in to share their experiences and to teach specific topics like parchment conservation and box-making techniques.
At the end of the month, a visit to the Vatican Library conservation studio was organised. This trip gave the students the opportunity to speak to other book conservators in their working environment and to visit a fully equipped professional book, paper and parchment conservation studio.

I am obviously very happy about my experience but I am even more satisfied as a result of the feedback I received from my students.
The heterogeneous background of the students from emerging professionals to seasoned practitioners created an atmosphere filled with very different expectations.
Regardless of backgrounds and expectations, everyone was able to gain a new perspective on library and archival material and gained new knowledge that was relevant for their own specific needs.
Some of the students will decide to join the conservation profession, other will use what they have learned to care for the collections they are responsible for, and some will simply add a new skill to their academic curricula.
However the aim of the course was not to form fully trained book conservators but simply to change the perception of books and their physicality and give an understanding of what it’s involved in caring for them. I hope and believe that we achieved that aim.

For more information about the courses and how to book for future sessions go tohttp://sangeministudies.info

All images used in this article are courtesy of Flavio Marzo, all rights reserved

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L’IMPIEGO DELL’HANJI, LA CARTA DI GELSO COREANA WORKSHOP SULLA CONSERVAZIONE DELLA CARTA Biblioteca Trivulziana e Laboratorio di Restauro Castello Sforzesco, Milano 5-6 giugno 2014

 

L’IMPIEGO DELL’HANJI, LA CARTA DI GELSO COREANA

WORKSHOP SULLA CONSERVAZIONE DELLA CARTA

Biblioteca Trivulziana e Laboratorio di Restauro

Castello Sforzesco, Milano

5-6 giugno 2014

 

Bando per la presentazione di candidature alla borsa di studio per restauratori di carta con una media esperienza (almeno 5 anni)  

In occasione del 130° anniversario dei rapporti diplomatici tra Corea e Italia, il Consolato Generale della Repubblica di Corea (Corea del Sud) e la Biblioteca Trivulziana del Castello Sforzesco di Milano sono lieti di supportare la partecipazione di restauratori di media esperienza al progetto “L’impiego dell’Hanji, la carta di gelso coreana, nel workshop sulla conservazione della carta”

 

Luogo del workshop:

Il Workshop si terrà presso il Laboratorio di Restauro della Biblioteca Trivulziana, Castello Sforzesco a Milano. La partecipazione è consentita ai 10 restauratori che verranno selezionati dal Comitato organizzativo del workshop.

 

Scadenza  per l’invio delle domande

Il termine ultimo di presentazione delle iscrizioni è il 12 maggio 2014. Tutte le domande devono essere presentate elettronicamente (via email) entro le ore 17.00(CET) di lunedì, 12 maggio 2014. I documenti devono essere presentati in formato in PDF o Microsoft Word secondo le seguenti istruzioni:

nell’oggetto della mail dovrà essere indicato “L’impiego dell’Hanji, la carta di gelso coreana workshop sulla conservazione della carta – Inserire il PROPRIO NOME”. Le domande dovranno essere inviate amilano@mofa.go.kr

Criteri per l’invio delle domande

Le domande per le borse di studio dovranno includere i seguenti documenti:

-            Una lettera motivazionale indirizzata al Comitato (una pagina)

-            CurriculumVitae redatto secondo il Formato europeo (http://europass.cedefop.europa.eu/en/documents/curriculum-vitae/templates-instructions)

Le domande dovranno essere inviate entro il 12 maggio all’indirizzo e-mail: milano@mofa.go.kr

Obiettivo delle borse di studio e idea del workshop:

Le borse di studio intendono supportare i restauratori di libri e opere su carta, italiani e stranieri di media esperienza (almeno 5 anni), che parteciperanno al workshop. Questo workshop di due giorni offre una compensione teorica e pratica della storia della carta di gelso dell’Asia nordorientale, riservando una particolare attenzione alla carta coreana Hanji e al suo utilizzo nella attuale conservazione della carta occidentale.

Obiettivo del workshop:

Il workshop prevede di fornire ai restauratori gli strumenti per identificare ed apprezzare le caratteristiche della carta di gelso dell’Asia nordorientale, e per comprendere il suo grande contributo nella pratica moderna di conservazione della carta occidentale. Le carte coreane, cinesi e giapponesi sembrano avere caratteristiche simili, ma ad un'occhiata più attenta alle materie prime e ai metodi di lavorazione emergono le differenze. Ai partecipanti sarà offerta una breve panoramica sugli sviluppi principali della storia della produzione della carta nell’Asia nordorientale, unitamente ai metodi di produzione contemporanea. E’ prevista una presentazione di immagini al microscopio delle fibre di diverse carte dell’Asia nordorientale ed una spiegazione su come distinguerle e identificarle. Questa presentazione sarà seguita da uno studio di diversi campioni di carte create utilizzando varie materie prime, procedure e metodi di asciugatura. I partecipanti potranno poi imparare come applicare questa conoscenza, basata sulle ricerche attuali, nella scelta delle carte più appropriate nel trattamento di un oggetto. I partecipanti possono portare le proprie carte asiatiche utilizzate per i trattamenti di conservazione.

 

Il programma giorno per giorno

 

Giovedì 5 giugno 2014

h.09.00

Arrivo dei vincitori alla Biblioteca Trivulziana e Laboratorio di Restauro, Castello Sforzesco, Milano

Mattina:

Questa sezione teorica introdurrà ai restauratori selezionati la storia e le caratteristiche dell’arte cartaria coreana, cinese e giapponese, in aggiunta ad una panoramica sulla produzione contemporanea di carte dell’Asia nordorientale. Ai partecipanti saranno mostrati alcuni dei fattori che possono modificare la qualità della carta durante il suo processo di fabbricazione. Immagini al microscopio delle diverse fibre della carta dell’Asia nordorientale saranno presentate con set di diversi campioni di carta, in modo che i partecipanti possano studiare le carte di prima mano  ed esaminare le fibre, la formazione del foglio, il contenuto  alcalino e il risultato dei diversi proccessi di produzione e metodi di asciugatura.

Nella seconda sessione, i partecipanti costruiranno un pannello per l’asciugatura in stile asiatico usando un supporto a nido d’ape (Tycore), rivestito di carta di gelso coreana Hanji e collato con dispersione acrilica. Questo tipo di pannello per l’asciugatura è relativamente facile da realizzare ed è leggero e resistente. I pannelli per l’asciugatura possono essere utilizzati per asciugare oggetti quando hanno bisogno di essere essiccati distesi o quando non possono essere sottoposti a pressione. Questa tecnica è stata sviluppata partendo dall’utilizzo di un muro, o di un tavolo, o di un karibari board nella tradizione della conservazione coreana, cinese e giapponese.

Pomeriggio:

I partecipanti realizzeranno una carta di piccole dimensioni utilizzando strumenti semplici e frammenti di carta occidentale fatta a mano e Hanji. Questa pratica non solo aiuterà i partecipanti a capire le tecniche basilari di produzione della carta, ma contribuirà anche alla creazione della propria carta di risarcimento con il giusto peso e colore.

I partecipanti esamineranno diversi materiali per la colorazione della carta di gelso, come acquerelli, colori acrilici e coloranti reattivi per fibre. I partecipanti potranno realizzare campioni di carte pretonate, utilizzando materiali diversi di cui verranno discussi vantaggi e svantaggi in termini di colore,  stabilità, applicabilità e convenienza.

I partecipanti studieranno come utilizzare l’Hanji per spianare le carte occidentali. Spianare alcuni oggetti realizzati con la carta occidentale è spesso difficile perché essa ha fibre corte e sono sensibili all’umidità. A differenza delle caratteristiche di tessuti non tessuti in poliestere, la carta di gelso può essere usata per facilitare le procedure di spianamento, grazie alle sue fibre lunghe e ai suoi diversi gradi di elasticità.

Dopo aver fatto asciugare l’Hanji incollata sul pannello di asciugatura, i partecipanti applicheranno una dispersione acrilica sull’intero pannello. Tale applicazione rende il pannello più resistente all’umidità e all’abrasione.

 

Venerdì 6 giugno 2014

h.09.00- 13.00

Laboratorio di Restauro della Biblioteca Trivulziana

Durante la mattina, i partecipanti apprenderanno alcuni dettagli per i risarcimenti e foderature utilizzando la carta tradizionale coreana Hanji. I partecipanti fodereranno un oggetto in carta occidentale con della Hanji di leggera grammatura. Apprenderanno le tecniche di asciugatura degli oggetti foderati utilizzando il pannello di asciugatura che essi avranno realizzato. I partecipanti utilizzeranno anche molteplici strati di Hanji con della gelatina per risarcire lacune alle pergamene.

Educatore ospite: Minah Song

Minah Song è un’esperta Senior della conservazione di Opere d'Arte su Carta presso il Conservation Center for Art and HistoricArtifacts (CCAHA) di Philadelphia, USA. Ha conseguito un master in Storia dell’Arte dell’Asia orientale presso l’Academy of KoreanStudies in Corea e un Master in Conservazione presso il Camberwell College of Arts di Londra, UK. Lavora su una gran varietà di opere d’arte in carta, mappe, disegni architettonici, materiale archivistico, pergamene e oggetti asiatici. Tra i suoi progetti di ricerca:

“Permanence, durability and uniqueproperties of Hanji” redatto con Jesse Munn (“AIC Book and PaperAnual”, Vol. 32, 2004: 127-136);

“Conservation of a group of Early 19th century Chinese Export Flora Paintings (presentato all’IncontroAnnualedell’AICnel 2007);

“The History and Characteristics of Korean Books and Bookbinding”- in “Journal of the Institute of Conservation”, Vol. 32, no. 1 2009:53-78);

“Can West meet East?- Different Approaches to Conservation of East Asian Art” presentato alla conferenza “East Asian Art: Historic Context & Modern preservation of paper-based Works Conference”, 2010);

“Korean paper, Hanji, its History, Techniques and Properties” presentato alla conferenza “Paper from the East Conference” di Londra, 2011);

“Handmade Asian Papers from a Conservator’s point of view” (“Guild of Books Worker’s Journal” in attesa di pubblicazione).

 

Pranzo

 

h.15.00  

Bibiloteca Trivulziana (evento aperto al pubblico)

Nel pomeriggio il workshop terminerà alla Biblioteca Trivulziana presso il Castello Sforzesco con un momento di discussione libera e riflessione.

Tutti i partecipanti, unitamente alla autorità dei due Paesi, nonché al pubblico e alla stampa interessati all’evento, avranno la possibilità di vedere il Codice Trivulziano di Leonardo da Vinci, conservato presso la Biblioteca Trivulziana ed esposto qui per questa occasione speciale insieme ad una copia del JIKJI, il primo volume esistente stampato a caratteri mobili in metallo (1377), originario della Corea e conservato presso la Biblioteca Nazionale di Francia.

https://www.bncf.firenze.sbn.it/biblioteca/laboratorio-di-restauro-conservazione-libri-manoscritti/

restauro del libro: Periodici sulla conservazione e il restauro del patrimonio culturale consultabili on-line

restauro del libro: Periodici sulla conservazione e il restauro del patrimonio culturale consultabili on-line:



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