- 1992 . “ (Worcester: The Institute of Paper Conservation, 1992) ” . In Conference Papers Manchester 42 – 46 . See for example Vicki Humphrey's discussion relating to individual albums in ‘Separation need not be painful’., and also Helen Shenton's account of a project involving a large group of volumes in The Conservation of the Heal Textile Sample Books of the Victoria and Albert Museum’, The Paper Conservator 14 (1990): 5–16
- Post binders are a form of loose-leaf binder used for housing single-sheet material. There are many variations of design, but those used by the Department of Prints and Drawings and referred to here contain Melinex (polyester) sleeves which are held between two narrow board ‘wings’ forming part of the spine structure at front and back, and are secured by two brass pillar screws (available in a range of standard length) passing through holes in the sleeves and the wings (Fig. 3). The binders are made to order by external suppliers and are constructed from archival boxboard, lined with archival paper and fully bound in library buckram
- Griffiths , Antony , ed. 1996 . Landmarks in Print Collecting London : British Museum Press . The early development of The British Museum's print collection is described in detail in
- Where possible, the Department of Prints and Drawings uses seven standard sizes of mount for both prints and drawings. These are: half royal, 11 × 16in (27.95 × 40.6cm); royal, 16 × 22in (40.6 × 55.9cm); imperial, 20 × 27in (50.8 × 68.6cm); atlas, 24 × 32in (60.95 × 81.3cm); large atlas, 29 × 37in (73.7 × 93.9cm); antiquarian, 30 × 45in (75.6 × 114.3cm); and panoramic, 20 × 45in (50.8 × 114.3cm). Solander boxes hold on average around 15 mounts
- The rehousing of drawings is approached in a different way from that of prints, mainly because their physical requirements are different, but also because they are less numerous. Post binders are not used for any objects with sensitive media, and drawings are routinely inlaid and mounted
- Goddard , When H. , ed. 1988 . The World in Miniature: Engravings by the German Little Masters Lawrence : Spencer Museum of Art; University of Kansas . See 1500–1550 (For details of some of the work by these artists in the collection of The British Museum, see: Giulia Bartrum, German Renaissance Prints 1490–1550 (London: British Museum, 1995)
- 2001 . The Paper Conservator , 25 : 101 – 105 . ‘Change, we hope for the better’
- The Department of Prints and Drawings does, however, keep a representative collection of examples of historical albums, portfolios and mount types as they are replaced
- Lindsay , Helen and Clarkson , Christopher . 1994 . ‘Housing single-sheet material: The development of the fascicule system at the Bodleian Library’ . The Paper Conservator , 18 : 40 – 47 .
- 1987 . The Department of Prints and Drawings in the British Museum User's Guide 85 – 86 . London : British Museum . For a full list of titles, see: Antony Griffiths and Reginald Williams
- 1950s . The British Museum's copies of Songs of Innocence and Experience are Copy B, the subject of this article; Copy A on larger sheets (380 × 270mm) housed in a vellum-bound album; and Copy T, still in itsbinding
- Phillips , M. 2000 . William Blake, The Creation of the Songs From Manuscript to Illuminated Printing 27 London : British Library .
- 1994 . The Paper Conservator , 18 : 5 – 10 . Another solution to the problem of attaching single-leaf material to a support in a way which avoids constraint and direct handling without resorting to encapsulation is described in: Annette Low, ‘The conservation of Charles Dickens's manuscripts’
- Kosek , J. and Donnithorne , A. 1990 . ‘An alternative method of inlaying’ . Paper Conservation News , 53 : 5 Culminal MC 2000 methylcellulose was used. For further details, see: and J. Kosek, ‘Inlaying drawings: An assessment of two methods’, The Paper Conservator 20 (1996): 16–21
- Rutherston , J. 1999 . ‘Victorian album structures’ . The Paper Conservator , 23 : 13 – 25 .
- Dupont , A.-L. and Tetreault , J. 2000 . ‘Cellulose degradation in an acetic acid environment’ . Studies in Conservation , 45 : 201 – 210 . Evacon EVA adhesive, which is now more commonly used than PVA in archival contexts, was considered as a substitute for PVA, but since starch paste was found to work satisfactorily it was regarded as preferable
The Paper Conservator
Volume 27, 2003 - Issue 1