All posts by Casey Murphy

On Display: An Ode to Spring

“Give me the splendid, silent sun with all his beams full-dazzling.” –  Walt Whitman, Leaves of Grass


Stop by the Greenfield Library display case to see some items that made us think of this much-anticipated season. We’ve pulled from the Floricultural Cabinet and Florists MagazineNatural Histories: Extraordinary Rare Book Selections from the American Museum of Natural History Library, Wilderness; A Journal of Quiet Adventure in Alaska, and The Naturalist’s Library: Entomology from the Visual Resources and Special Collections to create a display gives a nod to rebirth and renewal. To me, there is nothing better than sitting in the grass reading Walt Whitman’s Leaves of Grass so come by, take a look at the display and check out a book to read in the park! Happy Spring, everyone!


Walt Whitman’s Leaves of Grass and other writings are available in several formats and multiple copies. Check here to view the titles and call numbers.

 

Floricultural Cabinet, and Florists Magazine – Greenfield Special Collections a 635.9 F663f

Natural Histories: Extraordinary Rare Book Selections from the American Museum of Natural History Library – Greenfield Special Collections 016.508 N219b

Wilderness; A Journal of Quiet Adventure in Alaska – Greenfield Special Collections 979.8 K41w

The Naturalist’s Library: Entomology – Greenfield Special Collections a 595.7 J284n

 

 

This display was selected and arranged by Circulation Assistant Casey Murphy.

Making a Custom Book Cradle: My First Conservation Workshop

On May 16th I had the pleasure of attending my very first conservation workshop entitled Book Cradles for Reading Rooms and Exhibitions by the Conservation Center for Art and Historic Artifacts (CCAHA) hosted at the Ewell Sale Library and Archives at the Academy of Natural Sciences of Drexel University.  Renee Wolcott, Book Conservator and Mellon Fellow at CCAHA, led the demonstration with assistance from CCAHA’s Education Program Manager, Stephenie Schwartz Bailey.  There were 15 participants, including myself, from the tri-state area.

Ms. Wolcott began our morning with a slideshow explaining vulnerable book mechanics and a brief history of the book from medieval times to the present day. She explained how binding has changed throughout the centuries and how that has affected the aging of books. We then moved on to a discussion of the importance of book cradles, where to purchase them, which materials are best for rare books, and, lastly, how to construct them yourself.

Book cradles are an essential part of a library’s arsenal to maintain our precious collections. Rare books have a number of sensitivities that must be taken into consideration to assure the item is being handled and exhibited as safely as possible. Wolcott explained that a book is “happiest” when closed. They’re built closed, whether sewn or glued, and the opening and closing of them puts stress, even with the slightest use, on the spine. Over time, the spine can begin to break down. This is especially common in older volumes but is still prevalent in newer items. Sometimes, a book may have very stiff pages that require the use of a book strap to keep it flat. A book strap is a thin piece of plastic, generally made out of polyurethane or polyethylene, which can be wrapped around the text block to hold it open for viewing. Some books have glued spines, some have weak paper that can pull out from the spine, and some have weak joints. Book cradles assure that the right amount of support is given to the book to prevent further damage.

There are many commercial book cradles available for purchase. Unfortunately, not all of them are made from things that are good for your books. For approximately $500, you can purchase a beautiful mahogany book cradle from an Internet supplier. Even though it is visually appealing, it is not only high in price but wood can “off-gas”, meaning it will release chemicals and, in turn, potentially damage the item it’s supporting.  Do your research before purchasing book cradles! You’ll want to look for something that supports the entire book including the spine and is made of a material that will not break down over time or release harmful chemicals. Polyethylene and acrylic are great alternatives.

On a budget? You can make your own! How to construct your own is exactly what the workshop was about. With an inexpensive rag-based mat board, you can make custom book cradles for just about anything in your collection. Ms. Wolcott provided each participant with a piece of board, an x-acto knife, a ruler, triangle, scissors, archival double-sided tape, and a pencil. Each person was given a copy of the “Hardy Boys”, to work with.  You begin by finding the position in which the book can open without fighting back, its comfortable resting point. Then, draw the template based on how the book will be open. (See images below.) The entire process takes about 15 minutes between the measuring, cutting, and folding.  Just about anyone can build a cradle as long as you can hold a ruler and an x-acto knife! The process is primarily based on scoring the board and folding into either a mountain (up) or a valley (down) based on the shapes of your item and they way its spine needs to be supported.

Above diagrams from a handout provided by the CCAHA.

 

Ms. Wolcott and her assistant were very helpful, friendly, and open to all questions. The workshop was highly informative and a very pleasant experience. Please visit the CCAHA website for more information on workshops and seminars.

My template:

Template for my cradle.
This is the template I drew up based on the book they gave me. I was given the title page to display which is why the left side is so much higher than the right. The left page is not important to the viewer.

My cradle without book:

Finished cradle.
Side view of finished cradle.

My cradle with book:

Finished cradle displaying book.

The book pictured above is Out of the Dust by Karen Hesse, Greenfield Open Stacks 813 H463o 1997.

 

Interested in book conservation or restoration? Please take a look at the following titles in the Greenfield Library:

1. Basic Book Repair with Jane Greenfield [videorecording] written and directed by Mark Schaeffer; produced by Visual Education for the H.W. Wilson Company.

Greenfield Videotapes GV17

2. Bookbinding & Conservation by Hand: A Working Guide by Laura S. Young.

Greenfield Open Stacks 686.302 Y85b

3. Books, Their Care and Repair by Jane Greenfield

Greenfield Open Stacks 025.7 G837b

4. Simple Repair and Preservation Techniques for Collection Curators, Librarians and Archivists

Greenfield Open Stacks 025.84 G956sr 1981

 

Library staff recommendation: Whole Green Catalog

Whole Green Catalog: 1,000 Best Things for You and the Earth
Edited by Michael W. Robbins, Introduction by Renée Loux, Forward by Bill McKibben

Greenfield Open Stacks 640 W62r

Whole Green Catalog is a manual written in tidbits for living a greener lifestyle. From cleaning and gardening to medicine and pet care, Whole Green Catalog takes you by the hand and explains just how easy it is to keep our planet in mind in our everyday lives. It’s bigger than recycling; it’s about eco-friendly design and assuming responsibility for the mark we make on our planet.

There are tips on raising backyard poultry, growing your own food, and finding the most energy-efficient products. Did you know using your dishwasher may actually be saving water? Newer models (made within the last ten years or so) may use as little as half the energy and one-sixth the amount of water needed to wash dishes by hand!

 

Dancing Around the Bride: Cage, Cunningham, Johns, Rauschenberg, and Duchamp

at the Philadelphia Museum of Art, October 30, 2012 – January 21, 2013

Curated by Carlos Basualdo and Erica F. Battle, Dancing Around the Bride explores the complex relationships between five of the most important artists of the twentieth and twenty-first centuries.  The works of composer John Cage, choreographer Merce Cunningham, and visual artists Jasper Johns, Robert Rauschenberg, and Marcel Duchamp come together to paint a portrait of postwar avant-garde art.  With live performances of Cunningham’s pieces paired with Johns’ stage decor, the museumgoer is submerged in the work in a way the sole display of objects could never achieve.  Duchamp’s 1912 painting, Bride, becomes the central and key aspect to the exhibition. Each of the represented artists had been influenced by this piece and by Duchamp’s practices. The consideration and employment of chance and the use of everyday things in Duchamp’s work informed the creative output of each artist.

“Bride” by Marcel Duchamp, 1912 via ARTstor

In honor of this groundbreaking exhibition at our beloved museum, we have put together a selection of materials to both delight and inform in the Greenfield Library.  Please also stop by the Music Library on the the 3rd floor of the Merriam Theater building to delve into the recordings and scores of John Cage with additional visual materials on the artists represented in the exhibition.  You may also enjoy taking a look through some of our online databases such as Oxford Art Online, Oxford Music OnlineARTstor, International Encyclopedia of the Dance, Naxos Music Library, and Dance in Video where you’ll be able to see high quality images of the artists’ various works, listen to recordings, or stream performances of dance pieces.  We have everything you need to explore the lives and works of these incredibly influential artists!

Beach Birds for Camera, composed by John Cage and choreographed by Merce Cunningham

“First Landing Jump” by Robert Rauschenberg, 1961 via ARTstor

“Target with Four Faces” by Jasper Johns, 1955 via ARTstor

 

Currently on display and available for check-out in the Greenfield Library:

X : Writings ’79-’82 by John Cage

Merce Cunningham edited by Germano Celant

Robert Rauschenberg edited by Ealan Wingate and Emily Florido

Rauschenberg at Gemini: an Exhibition Organized by the Armory Center for the Arts by Jay Belloli

Jasper Johns: 35 years [with] Leo Castelli edited by Susan Brundage; essay by Judith Goldman; design by Smatt Florence

Jasper Johns: an Allegory of Painting, 1955-1965 by Jeffrey Weiss

Étant donnés: Manual of Instructions by Marcel Duchamp

Inventing Marcel Duchamp: the Dynamics of Portraiture edited by Anne Collins Goodyear and James W. McManus

Merce Cunningham: A Lifetime of Dance

Merce Cunningham Dance Company, Robert Rauschenberg Collaborations: Three Films by Charles Atlas: Suite for Five, Summerspace, Interscape

General admission to the Philadelphia Museum of Art is free to all UArts students with a valid ID.