Leah Mackin

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I’ve written about the conservation of archival materials related to printmaking history in the past for this blog and I am excited to share a grouping of printing plates from the Bank of North America collection.


Last month, the Conservation Department welcomed Don Rash for a leather conservation workshop.  Rash is an esteemed fine binder and book artist who works out of Wyoming, PA.


From rotting leather bindings to unstable photographic materials to fragile, crumbling papers held together with aged plastic tape, there are a plethora of challenges faced when preserving historic documents and books. The condition of materials is based upon many factors including how the documents are currently housed, how they were stored prior to becoming part of the Society’s collections, and how they were treated as they were created or originally collected. The following images are from A Manual of the Art of Bookbinding. Published in 1856, James B.


When the Conservation Department received this 1807 land agreement from the Louis H. Carpenter Collection, it looked like this:


One of the larger collections in the DCA Project is the Meade collection.  The collection contains a number of volumes, nearly twenty of  which are the General's  correspondence books dated from the early 1860s through the late 1860s.  The books are all of the same make and appear to be all the same state of disrepair.

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