{"id":8891,"date":"2014-12-04T22:26:31","date_gmt":"2014-12-05T03:26:31","guid":{"rendered":"https:\/\/www.herringbonebindery.com\/blog\/?p=8891"},"modified":"2025-09-15T16:03:28","modified_gmt":"2025-09-15T20:03:28","slug":"conservation-conversations-adhesives-in-library-and-archives-a-colloquium-review-part-2","status":"publish","type":"post","link":"https:\/\/www.herringbonebindery.com\/blog\/2014\/12\/04\/conservation-conversations-adhesives-in-library-and-archives-a-colloquium-review-part-2\/","title":{"rendered":"Conservation Conversations \/\/ Adhesives in Library and Archives: A Colloquium Review (Part 2)"},"content":{"rendered":"

The first\u00a0Biennial Conservation Colloquium<\/a> was held at the University of Illinois at Urbana-Champaign<\/a>\u00a0in early November of this year.\u00a0Four conservators traveled to Urbana from the UK and across the country to speak about their research or practical experiences with various adhesives\u00a0in\u00a0library and archives conservation. This post is the second in a two-part\u00a0series, in which I attempt to summarize the major points of\u00a0each talk. You can read part one here<\/a>.<\/p>\n

\"uiuc_almamater\"<\/a><\/p>\n

<\/p>\n

The first topic\u00a0of the afternoon was pressure sensitive tapes and adhesives, presented by Elissa O’Loughlin, Senior Conservator in the Division of Conservation and Technical Research at the Walters Art Museum.\u00a0Over her 30 year career, O’Loughlin has\u00a0conducted extensive research on the history of tapes, their usage in libraries and archives, and their effects on cultural heritage materials. She was awarded a\u00a0Samuel H. Kress Conservation Publication Fellowship by FAIC in 2013\u00a0for her\u00a0forthcoming\u00a0publication, A Conservation Guide to Pressure Sensitive\u00a0Tapes; History, Identification, Treatment,\u00a0<\/em>and\u00a0continues to teach\u00a0a popular tape removal course for mid-level conservators (read a review here<\/a>). In her spare time, O’Loughlin also makes some\u00a0amazingly useful brass tools<\/a>.<\/p>\n

“To conquer a large topic, you have to divide it and go bit by bit.”<\/p><\/blockquote>\n

The sheer variety\u00a0of pressure sensitive tapes\u00a0available on the market historically and today is overwhelming.\u00a0O’Loughlin began with a discussion of nomenclature and materials, insisting\u00a0“sussing out materials categories is really important”. She presented\u00a0a list of\u00a0three major types of tape: Rubber, Synthetic, and Other. Rubber tapes are typically\u00a0packing, sealing, masking, and joining tapes, and are the workhorses of the commercial tape world. Synthetic tapes are often\u00a0the tapes used for\u00a0home or\u00a0office, such as Scotch Magic Tape. O’Loughlin’s\u00a0“Other” category included silicone, Very High Bond (VHB), or security tapes, and are not found as often on library and archives materials.<\/p>\n

O’Loughlin displayed a large tree\u00a0diagram of different\u00a0carriers and adhesives of commonly available tapes and their composition. Tape carriers can be made of plastics, textiles, metal, paper, or other materials. Common\u00a0plastics for carriers are\u00a0cellophane<\/a>, cellulose acetate<\/a>, and\u00a0polyester<\/a>. Tape adhesives have several components, such as elastomers<\/a>, plasticizers<\/a>, tackifiers<\/a>, dyes, fillers, and other chemicals (like surfactants<\/a> and optical brighteners<\/a>). Elastomers, or the “backbone” of the adhesive, can be natural rubber or synthetic.\u00a0Plasticizers, or the lubrication required to get long molecules moving together (think olive oil in pasta), can be vegetable oil, mineral oil, petroleum. Tackifiers are often\u00a0natural or synthetic resins. When broken down into this\u00a0extensive list of components, it became clear that tapes\u00a0are not as simple as they initially appear\u00a0and\u00a0accurate\u00a0identification is important for making appropriate treatment decisions and identifying optimum storage environments.\u00a0For example, weak acids are the\u00a0degradation products of rubber-based adhesives, so removing the carrier and excess adhesive from a paper object’s\u00a0surface isn’t really enough. Adhesive that remains embedded in the paper fibers will continue to react\u00a0and can cause the paper to\u00a0fall out. The quick fix for these materials is cold-storage, but not everyone has access to that kind of storage environment.<\/p>\n

So how do you\u00a0quickly identify the tape on the object in front of you? O’Loughlin provided several tables of aging characteristics and quick identifiers, which\u00a0I\u00a0have\u00a0reproduced below:<\/p>\n\n\n\n\n\n
\n

Aging Characteristics<\/h3>\n<\/td>\n<\/tr>\n

\n

Rubber<\/h4>\n<\/td>\n

\n

Acrylics<\/h4>\n<\/td>\n<\/tr>\n

– 3 Stages clearly observable
\n– Solubility shifting
\n– Procedes at variable rate
\n– Strong chemically driven forces
\n– Loss of volatiles
\n– Color change (yellow a clear indicator)
\n– Brief stability
\n– Become embrittled
\n– Usually paired with poor carrier (cellophane)<\/td>\n		– Aging not easily observable
\n– Not soluble in paper-friendly solvents (boiling toluene!)
\n– No strong chemical forces driving aging
\n– Loss of volatiles
\n– No significant discoloration
\n– Have long term stability (compared to rubber)
\n– Some carriers may deteriorate<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n\n\n
\n

Quick Indicators<\/h3>\n<\/td>\n<\/tr>\n

\n

Rubber<\/h4>\n<\/td>\n

\n

Acrylics<\/h4>\n<\/td>\n<\/tr>\n

– Discoloration- Brittle, yellowed carrier
\n– Adhesive failure
\n– Penetration of adherend by adhesive components
\n– Significant florescence at 365 nm<\/td>\n		–\u00a0Frosted carrier
\n– Minimal discoloration of carrier or adhesive
\n– Shrinkage of cellulose acetate carrier
\n– Ooze of adhesive (soft solid at RT)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

A few other handy tips that\u00a0came up during the presentation: a simple test of a plastic carrier with acetone\u00a0can tell you a great deal. If the carrier dissolves, it’s likely cellulose acetate and you can quickly determine that the adhesive is synthetic.\u00a0If you heat the adhesive\u00a0and smell pine or tree\u00a0sap, there is a resin component. If using a cotton swab and solvent to remove a rubber-based adhesive, a\u00a0quick check of the swab under UV will tell you if the solvent\u00a0is effective. If the swab\u00a0fluoresces, you know that it\u00a0is\u00a0working.<\/p>\n

A large portion of O’Loughlin’s talk was a history lesson on the development, use, and analysis of tapes from her upcoming book. She\u00a0joked that if we\u00a0mark eras of human culture\u00a0by the materials that we use (Bronze Age, Iron Age, etc.), then the period\u00a0since 1928\u00a0would be known as the “Sticky Plastic Tape Age”. O’Loughlin reports that although problems with tape aging were being described as early as 1935, expediency of function probably overshadowed any long-term faults. Compared to other available\u00a0adhesives at that time, tapes did not require complicated or time-consuming methods to apply or dry: they just worked. Over the course of the talk, I learned a great deal about\u00a0WPA programs for repairing library materials with tape and early testing conducted by NARA and the Library of Congress. O’Loughlin’s history was both educational and entertaining; I\u00a0am really looking forward to reading the rest of her\u00a0book.<\/p>\n

Following the talk, there were a few minutes for audience questions and general discussion. Conservators hate tape. We get angry just thinking about the armies of past library volunteers,\u00a0carefully covering entire objects in it. Tape that took only a few seconds\u00a0to apply can take hours to reverse- or may not come off at all. Even so-called “archival tapes”, like Filmoplast, have aging and reversibility problems that have been discussed in the literature<\/a> for several decades now. We have to understand that the library and archives custodians of the past\u00a0were\u00a0well-meaning; however, I’m reminded of that old proverb about the road to hell being paved with good intentions. The discussion was a good reminder that conservators now have so much\u00a0information at our\u00a0disposal. Commercially produced “archival” products can be seductive in how easy they are to purchase and apply, especially in the face of limited\u00a0staffing and massive collections; however, those same products often have negative long-term implications for\u00a0the object. A little research can often yield a simple repair technique, using predictable\u00a0adhesives\u00a0that are already available in your lab.<\/p>\n

\n

The final talk of the colloquium came from Gawain Weaver<\/a>, a photograph conservator in private practice based in San Anselmo, CA. Weaver has worked at many prestigious institutions over the course of his career, including\u00a0the Getty Museum, the Amon Carter Museum, Library and Archives Canada, the Museum of Modern Art, and the Northeast Document Conservation Center.\u00a0I took Weaver’s Care and Identification of Photographs <\/a><\/em>workshop back in 2010<\/a>\u00a0and I\u00a0regularly make use of my notes from that workshop to properly identify and make decisions about objects in the collection here at UIUC. I’ve also heard some glowing reviews of a workshop that he taught recently with Jennifer Olsen. You can read about that workshop here<\/a>. Weaver’s talk was titled “Photographic Adhesives: History, Preservation, and Treatment Issues”, and mainly focused on the adhesives and techniques traditionally used to mount photographs and their reversibility.\u00a0For readers that are not familiar with\u00a0early photographic processes, I would recommend the new\u00a0Format ID Guide<\/a>\u00a0of the Preservation Self-Assessment Program<\/a>\u00a0(currently under development at the University of Illinois), as well as\u00a0Graphics Atlas<\/a>. Weaver presented a tremendous amount of information in this talk. The following summary is incomplete, but will serve as a general overview.<\/p>\n

The earliest photographic adhesives are usually water-based liquids or pastes,\u00a0and include starches, mucilage<\/a>, dextrin<\/a>, gelatin, and alcoholic mixtures of the\u00a0aforementioned.\u00a0Caoutchouc<\/a> (natural rubber) and commercial mountants were also sometimes used, although long-term stability can be a problem with these products. Photos from the 19th century\u00a0were typically adhered overall or just at the edges, with a brush or roller application. Weaver described the mounting techniques for salt print as the most rudimentary\u00a0mounting techniques; however, there are so few remaining. Often higher quality mount paper is used than some other photographic processes, and starch or\u00a0casein<\/a> is the adhesive typically used. In Weaver’s experience, salt prints sometimes come off the mounts with water only, but they can be\u00a0pressed very hard into the mat with a roller press.<\/p>\n

\""Marion's<\/a>

“Marion’s Self-adjusting Rolling Press & Burnisher,” 1884<\/p><\/div>\n

Weaver reminded the audience that albumen prints curl a great deal on their own, so they are usually mounted. Albumen mounts are often\u00a0a wood-fiber core with better paper laminated to the outsides. An all-over application of starch, casein,\u00a0animal glue, or vegetable glue with a brush is characteristic. While a rolling press was typically used, Weaver provided some background on the development and evolution of burnishers and enamelers in the late 1800’s. These machines included\u00a0rollers lubricated with wax or soap and sometimes heated, such as the one pictured above. He\u00a0described the evolution\u00a0of this equipment\u00a0and its affect on the glossiness of\u00a0photographs, stating\u00a0albumen prints from the 1890’s can be almost unrecognizable. Obviously, all this pressing and burnishing can\u00a0make albumen prints very\u00a0difficult to remove from\u00a0the mount.<\/p>\n

Weaver described\u00a0changes in mounting techniques at the turn of the century, \u00a0such as using\u00a0dots or lines of adhesive instead of over-all application. Mounting along the top edge becomes more common for photographic prints that don’t tend to curl as much, like gelatin prints, platinum prints, or gravures. Rubber cement was\u00a0more common as a mounting adhesive, starting in the 1920’s and 1930’s. Weaver stated that literature from the period includes discussion of the staining and non-permanence of\u00a0rubber cement. Much like pressure sensitive\u00a0tape, it seems convenience won out over issues of permanence.<\/p>\n

In the 19th century, dry mounting really just meant water soluble adhesives, just with a drier application. Dry mounting tissues, or tissue dipped in shellac, were adopted from the hat-making industry and more widely used to mount photographs and prints after 1900. Weaver observed that Kodak continued to make\u00a0a shellac-based tissue until the 1970’s, so it\u00a0is quite\u00a0common. He stated that use of these mounting tissues declined\u00a0after the 1970, due to the rise in popularity of Resin Coated (RC) papers<\/a>. Modern\u00a0dry mounting adhesives are typically a PVA\/ethylene mix.\u00a0For a better history of dry mounting processes, Weaver recommended Watkins’ article “Origins and Development of Dry Mounting<\/a>” (1993).<\/p>\n

Weaver spoke at length of different techniques for adhesive and mount removal. Photos from the 19th century are often removable with simple humidification. These prints can be soaked in cold water with some risk, while soaking in warm water carries a lot more risk. If the mount can be sacrificed, mechanical backing removal and application of a poultice may be effective. Animal glue stuck on gelatin emulsion is nearly impossible to remove, as gelatin swells more readily than the animal glue. Hot air pencils, heated spatulas, or heat guns can be useful tools for the removal of dry mount adhesives, but Weaver recommends models with\u00a0digital\u00a0temperature\u00a0controls. Dry mounting tissues can also be reversed effectively with solvents such as acetone (for older tissues) or naptha (for newer tissues) in a polyester envelope with a blotter\u00a0soaked in solvent\u00a0or a solvent chamber; however, problems can easily occur.<\/p>\n

As expected, Weaver issued frequent warnings of the risks of treatment throughout this part of the discussion. Each process has its own sensitivities and extensive testing is required to make appropriate decisions. Coatings (like pyroxylin<\/a>) and finishes (like Ferrotyping) can be quickly\u00a0and irreversibly changed during treatment. Similarly, albumen can easily crack. Some of these warnings were quite dramatic. After describing the removal of rubber cement staining using\u00a0an acetone bath,\u00a0Weaver showed a rather\u00a0terrifying video of a matte collodion\u00a0print in acetone. The image completely evaporated in around 12 minutes. In his experience, testing can be very misleading for individuals that are not intimately familiar with historic photographic processes and materials. For example, coatings on the image can make a solvent appear safe in testing when it will be detrimental in a solvent chamber or bath. According to Weaver, modern color processes, such as\u00a0Dye coupler prints<\/a>,\u00a0are very\u00a0complex and should be left to a professional with extensive experience. Because formulas from the manufacturers change so rapidly, and very little research has been done, it can be very difficult to determine which treatment techniques are safe.<\/p>\n

Weaver’s talk was a good refresher on some of the materials and adhesives used to produce mounted photographs since the 19th century. Many of the adhesives and application techniques historically used, as well as\u00a0the techniques for their treatment and removal, are familiar to book and paper conservators. Some of Weaver’s examples were\u00a0also solid reminders that photographs are complex objects and treatment should not be approached casually.<\/p>\n","protected":false},"excerpt":{"rendered":"

The first\u00a0Biennial Conservation Colloquium was held at the University of Illinois at Urbana-Champaign\u00a0in early November of this year.\u00a0Four conservators traveled to Urbana from the UK and across the country to speak about their research or practical experiences with various adhesives\u00a0in\u00a0library and archives conservation. This post is the second in a two-part\u00a0series, in which I attempt […]<\/p>\n","protected":false},"author":8,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1353],"tags":[1884,1668,1667,1359],"class_list":["post-8891","post","type-post","status-publish","format-standard","hentry","category-conservation","tag-conservation","tag-elissa-oloughlin","tag-gawain-weaver","tag-henry-hebert"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p2Btis-2jp","jetpack-related-posts":[{"id":8778,"url":"https:\/\/www.herringbonebindery.com\/blog\/2014\/11\/14\/conservation-conversations-adhesives-in-library-and-archives-a-colloquium-review-part-1\/","url_meta":{"origin":8891,"position":0},"title":"Conservation Conversations \/\/ Adhesives in Library and Archives: A Colloquium Review (Part 1)","author":"Henry Hebert","date":"November 14, 2014","format":false,"excerpt":"Last Friday, the first Biennial Conservation Colloquium was held at the University of Illinois at Urbana-Champaign.\u00a0Four conservators traveled to Urbana from the UK and across the country to speak about their research or practical experiences with various adhesives\u00a0in\u00a0library and archives conservation. Thanks to generous funding from the UIUC Library and\u2026","rel":"","context":"In "conservation"","block_context":{"text":"conservation","link":"https:\/\/www.herringbonebindery.com\/blog\/category\/conservation\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.herringbonebindery.com\/blog\/wp-content\/uploads\/2014\/11\/workshop.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.herringbonebindery.com\/blog\/wp-content\/uploads\/2014\/11\/workshop.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.herringbonebindery.com\/blog\/wp-content\/uploads\/2014\/11\/workshop.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.herringbonebindery.com\/blog\/wp-content\/uploads\/2014\/11\/workshop.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":9945,"url":"https:\/\/www.herringbonebindery.com\/blog\/2015\/08\/28\/adhesives-for-paper-mends-conservation-conversations\/","url_meta":{"origin":8891,"position":1},"title":"Conservation Conversations \/\/ Adhesives for Paper Mends","author":"Becky Koch","date":"August 28, 2015","format":false,"excerpt":"Adhesives are an essential part of book and paper conservation. 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Reversibility\u2026","rel":"","context":"In "conservation"","block_context":{"text":"conservation","link":"https:\/\/www.herringbonebindery.com\/blog\/category\/conservation\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.herringbonebindery.com\/blog\/wp-content\/uploads\/2015\/08\/IMG_3811-2-300x225.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.herringbonebindery.com\/blog\/wp-content\/uploads\/2015\/08\/IMG_3811-2-300x225.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.herringbonebindery.com\/blog\/wp-content\/uploads\/2015\/08\/IMG_3811-2-300x225.jpg?resize=525%2C300&ssl=1 1.5x"},"classes":[]},{"id":9525,"url":"https:\/\/www.herringbonebindery.com\/blog\/2015\/04\/22\/conservation-conversations-adhesive-pre-coated-repair-materials\/","url_meta":{"origin":8891,"position":2},"title":"Conservation Conversations \/\/ Adhesive Pre-Coated Repair Materials","author":"Athena Moore","date":"April 22, 2015","format":false,"excerpt":"Mending tears is a treatment that book and paper conservators utilize\u00a0nearly every day.\u00a0\u00a0For this reason, wheat starch paste is one of our best friends at the bench - a dependable go-to, especially when paired with an appropriate eastern paper. 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