SPECIAL LIBRARIES—SPECIAL PROBLEMS: Preservation of Art Library MaterialsAuthor(s): Evelyn SamuelSource: ARLIS/NA Newsletter, Vol. 9, No. 4 (SUMMER 1981), pp. 141-145Published by: The University of Chicago Press on behalf of the Art Libraries Society of NorthAmericaStable URL: http://www.jstor.org/stable/27946551 .

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VOLUME 9, NUMBER 4 SUMMER 1981

SPECIAL LIBRARIES?SPECIAL PROBLEMS** Preservation of Art Library Materials

Abstract: Library preservation-conservation is a relatively new

field. While art librarians are receptive to preservation concepts, there is a scarcity of relevant literature pertaining specifically to art

library materials. This article explores the dual nature of the prob lems of art materials, their intrinsic attractiveness to mutilators and their physical liabilities. Preventive maintenance is suggested, and bibliographic references for further information are cited.

Of all the manifold materials in a general research library, art books are probably the most vulnerable to destruction. This sad state is due in large part to inherent characteristics of art books

which render them even more liable to mutilation and disintegra tion than the materials of other academic disciplines. Not only do art books hold a special fascination for unscruplous collectors of

prints and illustrations, but they suffer from built-in handicaps of format and structure which lead to their premature deterioration. This combination of tempting contents and anatomical fragility makes art books prime candidates for special handling and for

special consideration in the preservation program. This essay will outline some of the reasons that art books represent a distinct and

separate category in the preservation effort and suggest a program of preventive maintenance for art librarians to follow.

As a group, art librarians are perhaps more aware of the preser vation aspect of their curatorial function than librarians in other

subject fields. Involved with visual concepts and art objects, they necessarily have an enhanced sensitivity to the esthetics and value of the books entrusted to their care. They are cognizant of the fact

that, more than any group in the classification scheme, art books are valued as artifacts. Books may be shelved in the art section for esthetic considerations regardless of their subject content. This is

recognized by Wolfgang Freitag who suggests that: "It is logical that where the art division is responsible for the book as artifact

(e.g. for calligraphic examples on palm leaves, paper, and parch ment) and for illumination, illustration, typography, printing, bookbinding, and fore-edge painting, the library may become an exhibition gallery."'

Prices of art and illustrated books in the antiquarian market are

astronomical, as a glance at an out-of-print catalog will verify. The

high cost of illustrated books thus adds another argument for

special consideration in the storage, treatment, and protection of art literature. Regarding current publications, one suspects that illustrated books are manufactured more to be admired than to be read, and that publishers may devote less care to the structural

solidity of their "coffee table" titles than they might to a treatise on

history, biology, or mathematics intended for intense study.2 The rule of thumb that libraries allocate ten per cent of the total book and periodical budget for binding^ does not therefore apply to art materials owing to their exceptional characteristics. Art books tend to be heavier and bulkier than books in other fields, yet,

generally, their bindings do not compensate for the additional

weight.4 High on the list of the art division's priorities must be a

generous allocation for binding, repair, and containers to protect its valuable holdings.

Visits to the preservation departments of two great research

libraries also started me wondering whether the art library sent a

larger proportion of books for repair than do other divisions of the

library. This avenue of investigation was not fruitful, as preserva tion treatment is generally governed by a quota system. Thus, if there were indeed a disproportionate need for repairs in the art

division, the librarians could nevertheless send to the conservator no more than their monthly allotment.5 When questioned, how ever, one conservator admitted that "architecture" seemed to be

especially well represented in her preservation shop where the

quota system is not rigidly enforced;6 the other conservator

expressed the opinion that "art books are a special headache."7The

quota systems are, no doubt, derived from the numerical holdings of the various divisions. Should they not be revised to take into consideration the value and vulnerability of art books? And," fur

thermore, should such quotas continue to disregard the fact that art books are usually published in very small editions and are thus

exceptionally difficult to replace?

ILLUSTRATION AND MUTILATION: Who has not had the experience of browsingthroughaportfolio

of plates in a secondhand bookshop? Whatever does not consist

strictly of textual matter can usually be found in their bins. Starting with leaves from manuscript antiphonals, through colored maps and nineteenth-century costume plates, every kind of illustration is

represented. If there is a common denominator, it is that all were once parts of books and are now severed from their bindings. One

might speculate that perhaps the books were falling apart when received at the bookshop and that their condition gave rise to the

plan to sell the plates separately as a salvage operation. On the other hand, one can also calculate that the plates might fetch a better sum in the aggregate when sold individually than if they were offered as a unit.

The crime of book mutilation by removing illustrations has a

long, documented history and accounts of notorious mutilators are

usually included with documentation of book theft. It has been said

that: "The psychological, legal, and sociological implications [of bibliokleptomania] alone would provide ample material for ten

years' worth of dissertations in some of our library schools."8

Although not discussed and investigated as intensively, mutilators, from the point of view of posterity, are even more destructive than book thieves. The stolen book re-enters the market subsequently to the theft, and thus it is not entirely lost; but the mutilated book is

permanently crippled. A famous early instance of mutilation is the case of Flacius

(1520-75), a German historian of the Reformation, who visited monasteries disguised as a monk, removed books, and also cut out individual leaves. Art librarians will not be surprised to learn that he was especially partial to engravings. An instrument for cutting plates from codices has been named for him, "das flacianische Messer" (cultellus flacianus).9

Another notorious mutilator is remembered for the practice of

cutting pictures from books for the purpose of illustrating a new text. The Reverend James Granger, who collected in this manner the illustrations for his Biographical History of England (\169) is

ISSN 0090-3515

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142 ARLIS/NA Newsletter, Summer 1981

immortalized with the eponymous verb "to grangerize," defined by Webster as: "to extra-illustrate; also to mutilate (books etc.) to obtain materials for extra-illustration."10

And, though it strains credibility, there have been persons, beneath contempt, who have clipped initials from manuscripts for the purpose of selling them.11

While mutilation for financial gain is a continuing problem, the

greater prevalence of grangerizing for academic projects is proba bly the most serious one in our country at present. A landmark article by J. Munn defined the issue succinctly: "To most of us

[librarians] these days, mutilation means just one thing,?the illus trated notebook made by students as a school requirement under the project method of teaching."12 Although the liberal availability of copying machines may help to ameliorate the mutilation of

periodicals and "reserve" books, the need for illustrations still seems to compel students to resort to the reprehensible practice of

grangerizing. A wet string, knowingly applied, can cleanly remove a plate from its signature to be carried out of the library unobtru

sively in a notebook. Close supervision and constant vigilance are the only means to counter this unfortunate situation.

Without being ill-intentioned, a student can also contribute to the loss of an illustration by tracing with a hard pencil. Repeated tracing of the same image will so weaken the paper's fibers that the

figure will eventually separate from its outline. Wise librarians

always have sheets of transparent plastic handy to protect their illustrations from the depredations of tracers.

PHYSICAL PROBLEMS RELATING TO PLATES AND ILLUSTRATIONS:

Illustrations are a sine qua non of art materials. They may appear in separate plate volumes, as unbound sheets in portfolios, or interspersed in the text. They may spread across a doublefold so that any cropping or rebinding would eliminate the central por tion. Such double-page illustrations must be hinged before rebind

ing so that no part of the plate is lost to view. If the illustration extends to the edge of the paper, a fold at the fore-edge is required. This should be reinforced with thin tissue and the thickness com

pensated for in the stub. Illustrations may also be tipped-in color plates which are easily

lost if they do not separate by themselves as the adhesive dries. A wise precaution is to paste them down with suitable harmless adhesive.13 The same applies to the numerous photographs used to illustrate dissertations in art history. Atter a tew years the

mucilage with which they were attached dries out and the photos separate from their support. Unless properly reattached, they will be gone forever. Some illustrations are even folded back upon themselves. The fold weakens the paper fibers which now become

prone to break. The resulting loss of half the leaf could be pre vented with a strip of guard tissue on the reverse.

In nineteenth-century books, illustrations are often pro tected with tissue paper interleaves. Ironically, "the sheets of tissue

paper often used to prevent offsetting of engravings onto their

facing pages..."14 results in foxing stains that spread from interleaf to the engraving and the facing page. Not only is the foxing unsightly, it is actually harmful, liams and Beckwith determined that "the tensile strength of the discolored areas is considerably less than the unaffected parts of the same leaf."15 Such tissues may be removed before doing further damage. It would be quite simple to detach the offending substance from the book block, but this method is feasible only where the guard tissue does not (as is

frequently the case) bear printed explanatory matter as, e.g., the title of the engraving. Horton's solution is to add loose barrier sheets on either side of the tissue. She recommends the same

procedure where acid migration from binder's boards is staining end papers.16

Regarding the problem of image transfer and offset, this occurs when the volume is assembled before the ink has had a chance to

dry completely. Carolyn Horton observed this phenomenon when

restoring a set of Audubon's Birds of America. She notes that the transfer (to the back of the plates) is most intense when the colors are brown or black.17 According to Horton, offset stain responds "to the usual bleach treatment,"'* which is best left to experienced conservators if, indeed, it is to be undertaken at all.

Loose plates in portfolios are one of the perpetual art library problems. The librarian may be tempted to have the plates bound

ARLIS/NA NEWSLETTER Volume 9, Number 4, Summer 1981

Editor: Pamela Jeffcott Parry

CONTENTS:

Special Libraries - Special Problems . 141

Artist Directories & Catalogs. 145

Library Security: A Follow-Up. 153 The Facsimilie Collection at the Met. 153 LC Plans Graphics Manual. 153

Reports of Conferences & Meetings. 154

ARLIS/NA News Section. 155 On Preservation. 164

Professional Literature. 166 New Docs in SuDocs. 167 Art Bibliography . 170 News & Notes. 170

Book Reviews. 172

ARLIS/NA Newsletter is published by ARLIS/NORTH AMERICA (Art Libraries Society of North America), 3775 Bear Creek Circle, Tucson AZ 85715 (602) 749-9112.

Address changes and membership information requests should be addressed to the Executive Secretary at the

above address.

Advertising Manager: Catherine M. Shanley, 663 Fifth

Ave., New York, NY 10022 (212) 757-6454.

Book Review Editor: Jack Perry Brown, Cleveland Museum

of Art Library, 11150 East Blvd., Cleveland, OH 44106(216) 421-7340, ext. 284.

Copyright ? 1981 by ARLIS/NORTH AMERICA

The Newsletter is offered on a subscription basis to members

only. Membership is open to all who are interested in visual

librarianship. Classes of membership are: Personal - $25;

Associated (Library Assistant, Student, Retired, Unem

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OFFICERS FOR 1981:

Karen Muller .Chairman Caroline Backlund. Vice-Chairman

Barbara Sevy . Secretary Theresa Cederholm .Treasurer

Wolfgang Freitag. Past Chairman

Regional Representatives East.Janis Ekdahl

Midwest.Nancy Harvey West.Winberta Yao

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ARLIS/NA Newsletter, Summer 1981 143

as this would prevent the loss of individual leaves and protect the entire set. Art scholars, however, much prefer being able to spread the plates on a surface for simultaneous comparison, which argues

against binding. Since the cost of boxes for a large number of folio size plates may be prohibitive, one might consider making portfo lios in-house. This type of protective container is economical and

effective, and instructions for construction can be found in the literature.19 .

CORRECT STORAGE FOR ART BOOKS, FOLIOS, AND PORTFOLIOS:

The format of art books requires special storage equipment, a

fact which is frequently ignored by library planners and architects.

Only very recently has this problem been addressed.20 In a general research library it is not certain that special furniture would be

specified for the art division, yet the average size of art books is

considerably greater than that of the standard novel or history text.

Thus, the shelving must be ten inches wide and allow fourteen inch intervals in height lest the books literally "end up" standing on their

fore-edges, a position which accelerates loosening of the leaves by straining bindings. Book supports must also be in proportion. The

ordinary six inch book-end could never prevent a row of art books from toppling over when one is removed from the row. Side flanges will prevent the accidental injuries to books which occur when a

volume is inadvertently pushed over a book-end and pages are torn. The base should be covered with cork or polyurethane strips to prevent slipping or a non-skid book-end can be improvised by

pasting thin strips of rubber on the bottom.21 A problem common to all art libraries is the stroage of folios,

i.e., books of more than fourteen inches in height. Keyes Metcalf, noted authority on library planning, suggests that one "watch out

for places used to house oversize books. They may require deeper shelves and the aisle will be unduly narrowed. Suitable locations can often be found along walls, stairs, or elevators."22 Although these suggestions have validity, they appear as a somewhat cavalier

brushing off of a serious problem worthy of more detailed consid eration. The importance of correct storage for oversize books in the interest of their preservation cannot be overstressed. A more

thoughtful approach is offered by Paul Banks: "It is extremely

important to provide adequate shelving for those oversize volumes

designated as "t's" or flat folios. The ruggedness of the structure of such volumes is rarely commensurate with their size, their weight, and with the beating they take because of their inherent unwieldi ness. Ideally each such volumes should have a separate shelf. If this is considered impossible economically, an alternative would be to

provide shelving for a maximum of three or four volumes each, but with adequate "transfer stages" where the top volumes of a stack

may be placed while a lower one is being extracted."23 Unless these

precautions are observed. De Candido warns: "If books are

shelved on their sides it is best if no more than three are placed on

top of one another. M ore are awkward to handle and may lead to

dropped books and sloppy shelving."24 The recommended storage for oversize books consists of shelves

equipped with nylon rollers for proper removal of books. Fixed shelves are not the optimal solution as the books will still be pulled forward by their headbands. Nor is it advisable to store such large and heavy books above shoulder height.

STRUCTURAL PROBLEMS OF ART BOOKS: Apart from their dimensions, art books have other built-in

weaknesses. Foremost among these is the very paper used to print them. "The introduction of the half-tone process and the printing of illustrations in color necessitated the development of china clay or coated papers. The paper normally used for book work was not smooth enough even when calendered and super-calendered for the new printing processes. To get clear impressions china clay

mixed with barytes was added to the wet pulp. The resulting glossy, smooth glaring white material was excellent for fine printing but for bookbinders and librarians it was a disaster."25 To elucidate this somewhat drastic statement, there are a number of ways in which coated papers, nowadays the preferred book stock for art

publications, rebel against the constraint and protection of their

casings. For one thing, the admixture of clay makes the paper heavier than uncoated paper and thus its own weight causes it to

sag forward at the fore-edge. If the volume is large enough and the

stitching weak, the entire sewing structure may disintegrate. Nor is this problem overcome with adhesive binding. Far from it! The slickness of the coating prevents a proper bond with many adhe sives and thus art books on coated paper" display a distressing tendency to fall apart."26 Exhibition catalogs, a major resource of art libraries, are frequently adhesive bond and printed on coated

paper. The incidence of books barely surviving the initial collation

during the accession process is fairly high. De Candido recom mends prophylactic oversewing where feasible.

It needs further be mentioned that books made of coated stock are especially vulnerable to water damage. Even a high humidity can cause pages to adhere to one another.28 This militates for strict adherence to environmental standards for art collections, control of temperature and humidity, and constant monitoring of condi tions. Since the paper coating is simply a clay covering or additive, once the book has been soaked with water and air dried the pages will be firmly glued together and it is unlikely that any technique can be developed to separate them. A reported instance of salvage of water-damaged books made o? coated stock was published by John Martin after the flood at the Corning Museum of Glass, where, according to his claims, ninety-five per cent of the coated stock was saved?the first time that such success has been achieved.29 It must be remembered that considerable resources were dedicated to resuscitating the Corning Museum Library and that great advances in salvage procedures for water-damaged library materials have been made since the flood in Florence. Judi cious use of freeze-drying is responsible for this singular success record.

CARE OF LEATHER BINDINGS: Where the art librarian is in charge of the "book-as-artifact"

there will certainly be a group of books in leather and parchment bindings.30 Since there is a large body of literature devoted to advice on the care of leather bindings, and some of it is

controversial, an attempt to do justice to this aspect of preservation of art books within the confines of this paper would be hopelessly inadequate. References to selected authorities will have to suffice.31 For books that are rare or esthetically significant, it is wise to refrain from spine labelling (as even the innocent-looking pressure sensitive labels will pull off the outermost layer of leather when

detached). Keep ownership marks to a minimum: let the book bear an appropriate bookplate and have the call number lightly pencilled on the verso of the title page. For external visibility of the call number, have that typed onto acid-free "identa-strips"32 which will extend an inch or two above the book's upper edge. An occasional cleaning and dressing will help to prevent "red rot," which is due to acidic deterioration. The leather becomes dry, reddish brown, and porous, and tends to peel or powder.

Parchment and vellum bindings have a tendency to warp, dueto the desiccation of the animal hide. Parchment is therefore best kept in a relative humidity of 60% at a temperature between 60? and 70? F. "If a parchment becomes too dry and brittle it can be relaxed between sheets of damp blotting paper."33 Parchment should not be washed, but if cleaning is deemed necessary "it should be dried

quickly in a good draught."34

THE CARE OF PHOTOGRAPHS AND MICROFORMS:

Art librarians are not exclusively concerned with books. In the

configuration of the art complex within a larger institution it is

customary for the art division also to be responsible for the housing of such visual materials as photographic archives and microforms. In terms of photographs, we are not going to consider the

photographic print as work of art or historic document. There are, however, such photographic corpi as art libraries acquire on a

subscription basis. The Corpus Photographicum Rudolf Gernsheim or the Bartsch illustrations distributed by the Warburg Institute consist of glossy prints. They are of purely research value as distinguished from the artifact value of the drawings or

engravings they represent. They can therefore be handled in a routine manner, unlike art photographs which would need to be

preserved in a very different way. The greatest enemy of photographic materials, negative or posi

tive, on film or on paper, is light. Storethem out of light and "when

they are being sorted or viewed by researchers, they should not be

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144 ARLIS/NA Newsletter, Summer 1981

exposed to bright sunlight or fluorescent light when daylight is

adequate."35 Another great potential of damage to photographic materials is

improper handling. Fingers deposit oil and perspiration, so it is advisable to wear white cotton gloves when working with photos and to touch only the outside edges. If dust and fingerprints adversely affect a photograph, it is easy to imagine what they can do to a microform. The mote of dust or the fingerprint, magnified under the lens of the reader, shows up on the screen as an enormous

blemish. Unmounted photographs also have a tendency to curl. This

occurs as the emulsion shrinks in drying, drawing the paper back

ing upward. A method to correct this is to dampen the back with a moist sponge, place the photograph between photographic blot

ters, and then cover the entire sandwich with heavy weights. Mois ture is important because, if flattened dry, the emulsion may crack and destroy the image. It is recommended that photographs intended for research be dry-mounted on acid-free boards. They can then be handled safely and stored upright in metal cabinets in the approved way. Both microforms and photographs survive best at low temperature and low (but not too low) relative humidity.36

A .list of photograph "no, no's" deserves full quotation: 1. Don't use pressure sensitive tape of any kind.

2. Don't use rubber cement, it contains sulfur and will stain and chemically attack them. 3. Don't mount or store in plywood, masonite, or composition board. 4. Don't use water-absorbing glues and pastes such as white

glue, library, or wheat paste. 5. Don't place newspaper clippings and photographs in the same file. Newspaper is highly sulphuric, acidic, and contains bleaches. 6. Don't rubber stamp. Inks are acidic and may contain sulfur. 7. Don't use kraft paper or glassine envelopes. 8. Don't store photos in flat stacks or loosely in boxes. The

weight may cause them to stick together, the lack of support in a box will cause curling.37

ENVIRONMENTAL STORAGE OF MICROFILMS: Just like other traditional archival materials (e.g., paper and

parchment) microfilm is made of a supporting element (base) and information imposed on it (image). It is comforting to reflect that the base (cellulose acetate, polyester) is more resistant than the traditional materials.38 Image stability depends on: 1) correct proc essing of the film, 2) correct storage and environmental conditions, 3) proper handling. However, if incorrectly stored, film degrades biologically because of the gelatine emulsion. It has been shown that the micro-organisms which damage film are the same as those

which attack other archival materials. While the process is slower, the damage appears more obvious because of the reduction of the

image.39 Recommended storage conditions are covered by International

Standard ISO 5466.40 Virginia Carlson Smith in Art Libraries Manual refers to the difference in requirements for archival versus

short-term storage.41 We must understand that archival storage is defined as "conditions where information must be retained per manently and the film will be subject to very little use."42 If the recommended temperature-humidity standards are observed, i.e., 15% to 20% relative humitity and 10?-15? Centigrade (70?F) for

"resting" archives and 30% to 33% relative humidity with a maxi mum of 32?C (90?F) for short-term storage, one must also con

sider that the film is sensitive to abrupt changes in temperature. When removed from the archival storage area the temperature should be raised gradually to prevent static charges due to dryness. Static charges would cause dust particles to adhere to the film and

eventually produce abrasions on it.43 Cardboard boxes are not recommended for long-term storage of microfilms, and, as we all

know, rubber bands in contact with the film are deadly. Readers

(mainly the machine) can tear and scratch microforms. To prolong the useful life of microfilm it is therefore essential to follow a

program of regular maintenance of the reading equipment.

CONCLUSION: A PROGRAM FOR PRESERVATION ACTIVISTS:

It is fortunate, indeed, that the esthetic sensibilities of art librar

ians make them especially appreciative of the need for preservation programs in art libraries. Yet few will have the full services of a

conservator, the space, or the budget to keep their collections in

optimal condition. It is for this reason that the suggestions offered here have centered around preventive maintenance. Due to the

expressed purpose to investigate preservation problems specific to art materials, general questions which apply equally to all library materials have not been investigated. Such large problems as the "inherent vice" of brittle books, deteriorating cloth bindings, or

atmospheric pollution do not belong in the scope of this essay. In the zeal for preserving our collections, we must not lose sight

of the fact that not all books are worthy of the conservation

restoration treatment. Many can be replaced by reprints or micro

forms. The former will be less costly to acquire than restoration treatment would be; the latter will certainly be less bulky to store.

In making these decisions, the librarian's professional judgment and subject expertise are decisive. The conservation program be

gins with the selection for acquisition, whenever possible, of mate

rials printed on permanent/ durable paper. To a certain extent, our

activities, toward the end of educating ourselves, should parallel those outlined by Paul Banks: "traveling, talking, visiting, attend

ing meetings, reading, serving on committees, and engaging in

related matters that are not immediately productive."44 What can we art librarians do to enhance our competence in

preserving our valuable collections, and how can we influence our

environment? I suggest a ten-point program for art librarians to

adopt: 1. That ARLIS /NA conduct special preservation programs at

national conventions, inviting publishers, library binders, and conservators. Unless we make our needs known, we cannot expect satisfac

tory products. 2. That we write to publishers whenever books are received that are not usable without immediate remedial treatment. 3. That we write articles to highlight the special problems of art library materials. 4. That we select library binders carefully for their workman like concern for the problems of art books.

5. That we instruct library staff and library users in the correct

handling of materials to prolong their lifespan. 6. That we train our bindery personnel to write careful instruc

tions for the binder and to follow-up on finished work. 7. That we attend preservation workshops and address the

special requirements of art materials. 8. That we persuade our administrations to increase budge tary allotments for bindery and repair so that collections can

be adequately protected. 9. That we interact with other conservation groups (within ALA, RLG, SLA, AAM) for enhanced effectiveness. 10. That we collect materials for "horror show" exhibits, both

in our own libraries and at conventions to raise the conscious ness of those concerned.

Evelyn Samuel Institute of Fine Arts

References:

Four collective works are frequently referred to in the notes. Their full citations are given below. Thereafter they will be cited by title only.

Art Library Manual, A Guide to Resources and Practice. Ed. by Philip Pacey. New York, Bowker in Association with the Art Libraries Society, 1977.

Deterioration and Preservation of Library Materials. Ed. by How ard W. Winger and Richard Daniel Smith. Chicago, The Univer

sity of Chicago Press, 1977.

Encyclopedia of Library and information Science. New York, Marcel Dekker, 1969.

Library Conservation; Preservation in Perspective. Ed. by John P. Baker and Marguerite Soroka. Stroudsburg, PA., Dowden, Hut chinson & Ross, 1978.

1 Wolfgang Freitag. "Art Libraries and Collections." in Ency

clopedia of Library and Information Service, V.I, p.588.

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ARLIS/NA Newsletter, Summer 1981 145

2 This information was obtained in conversations with Mr. Ocker of Ocker & Trapp, Library Binders, and with Thea Ham mann, Preservation Dept., Columbia University. It is conceivable that the high cost of colored illustrations may be offset with reduced attention to solid binding.

3 Betty Jane Dillon. "Binding Procedures and Programs in

Libraries." in Library Conservation, p. 264.

4 Trevor Fawcett. "Conservation." in Art Library Manual, p. 400.

5 Robert De Candido. "The Changing Role of an In-House

Bindery," Library Scene 7:2 (1978) p. 4.

6 Conversation with Thea Hammann, Conservator, Columbia

University. 7 Conversation with Robert De Candido, New York Public

Library. * Lawrence S. Thompson. Bibliokleptomania. Berkley, CA.,

Peacock Press, 1968, p. 3.

9 Thompson, op.cit. p. 8.

10 Webster's New International Dictionary. Second edition, p. 1089.

11 William Blades. The Enemies of Books. London, Eliot Stock, 1896, pp. 107-111.

12 R. Munn. "Problems of Theft and Mutilation." Library Jour nal 60 (August 1935) pp.589-82.

13 Robert De Candido. "Bare Ruined Quires." Art Libraries Journal 5:1 (1980) p. 24.

14 G.G. Meynell and R.G. Newsam. "Foxing, a Fungal Infection of Paper

" Nature 274 (August 1978) p.468.

15 Thomas Marion Iiams and T.D. Beckwith. Notes of the Causes and Prevention of Foxing in Books. London, H.W. Edwards, 1937, p. 10.

16 Carolyn Horton. Cleaning and Preserving Bindings and

Related Materials. Chicago: Library Technology Program, ALA, n.d. Second edition, revised, p.26.

17 Carolyn Horton. "Conservation Problems of Audubon's

Birds of America." Guild of Book Workers Journal 15:1,2,3 (1976-77) p.24.

l* ibid.

19 Pearl Berger. "Minor Repairs in a Small Research Library." Library Journal 104 ( 1979) pp. 13 1 1 -17. or:

Margaret Brown, compile and illustrator. Design and Construc tion of Boxes for the Protection of Rare Books. Washington, D.C.,

Office of the Assistant Director for Preservation, Administrative

Department, Library of Congress, n.d.

20 Evelyn Samuel. "Planning the Art Library." A RUS I A

Newsletter 5:6 (1977) p. 154.

21 Susan G. Swartzburg. Preserving Library Materials; a Man ual. Metuchen, NJ., Scarecrow Press, 1980, p.22.

22 Keyes Metcalf. "Furniture and Equipment: Sizes, spacing and

arrangement." Library Trends 13:2 (1964) p. 497.

Subsequently, Metcalfs views were modified and he became more sensitive to the preservation aspect of library furniture. See his: "The Design of Book Stacks and Preservation of Books." Restaurator I (1969) pp. 116-20.

23 Paul N. Banks. "Environmental Standards for Storage of Books and Manuscripts." Library Journal 99 (1974) p.341.

24 Robert De Candido. "Bare Ruined Quires." Art Libraries Journal 5:1 (1980) p.22.

25 George Cu ha. Conservation of Library Materials. Metu

chen, NJ., Scarecrow Press, 1967, p.29. 26 Robert De Candido. "Bare Ruined Quires." Art Libraries

Journal 5:1 (1980) p.21.

27 ibid. p.22. 2H

Philip Pacey. "The Art Book." Art Library Manual, p.44. 29 J.H. Martin. "Apres !edeluge...Resuscitatinga Water-Logged

Library." Wilson Library Bulletin 50 (November 1975) pp.233 242.

reprinted in Library Conservation, pp.391-412. 30 see .3.

31 Carolyn Horton. Cleaning and Preserving Bindings and

Related Materials. Chicago, Library Technology Program, ALA. Second edition, pp.43-54.

or: Bernard C. Middleton. Restoration of Leather Bindings. Chi

cago, ALA, 1972.

32 Acid-free rare book indenta-strips obtainable at TALAS, University Products et.al.

33 Michael L. Ryder. "Parchment- Its History, Manufacture and Composition." Library Conservation, p. 90.

34 ibid. 35

Margery S. Long. "Historic Photographs." Arkansas Librar ies. 35:2, p.8.

36 Colin Ford. "Photographs as Works of Art." Art Library Manual, p.312.

37 Margery S. Long, op.cit., p. 10.

3K Carmen Crespo. "Biodegradation of Films," International Council on Archives. Microfilm Committee. Bulletin 7:41 (1978).

ibid.

40 Don Avedon. "Archival Quality and Permanence of Micro film." IMC Journal (Publication of the International Microgra phic Congress) 1:14 (1978).

see also: Donald Holmes. Determination of Environmental Conditions

Required in a Library for the Effective Utilization of Microforms. Washington, D.C., Association of Research Libraries, 1970.

41 Virginia Carlson Smith. "Microforms." Art Libraries Manual,

p.253. 42 Avedon. op. cit.

43 Crespo, op. cit.

**This article originated as a term paper for Professor Susan

Thompson's course, "Preservation of Library Materials," at Columbia University, School of Library Service.

ARTIST DIRECTORIES AND CATALOGS: State, Province, Area, and Local - A Selected Bibliography

The following bibliography was compiled under the auspices of the Public Library TOL and appears in this issue in lieu of a

PL/ TOL column. Supplements to this list will appear in future PL/TOL columns as information is received.

This bibliography was compiled from 290 questionnaires sent in summer and fall 1980, first to one or more public library art

department in each state and province, and then to other art

organizations suggested by the respondees. Many questionnaires were not returned.

Items which could comprise separate subject bibliographies, such as women, cowboys, black and native Americans, are usually excluded, especially when they do not list artists geographically. Also excluded are the following items, one or more of which almost all libraries and art groups maintain: artist slides, notebooks, vertical files, biography sheets, indexes to local newspapers, scrap books, and indexes of local artists. A few also have files which are

kept private to protect the artists. Most will answer mail questions free or for the photocopying charge.

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