In recognition of Maine’s Bicentennial, and in conjunction with our newly launched exhibition, “Mapping Maine: The Land and Its Peoples, 1677-1842,” we are raising funds to conserve historic maps of Maine and beyond to ensure that students and researchers of all ages continue to have access to cartographic resources vital to understanding the history of the world, the nation, the land we now call Maine, and our local communities. When historic maps, atlases, and globes come into our collections (via donations by individuals and organizations or by purchase)—like the 1855 Wall Map of Old Town, Penobscot County, Maine, displayed below—they often arrive in fragile condition due to their age, the nature of the materials, and how they have been used over time. While we protect and store the items in our world-class climate controlled storage facility, many items need conservation in order to be displayed and utilized by our patrons of all ages.
The digital globes will be available to view on the British Library website—www.bl.uk/collection-items—from 26 March, via a viewing platform which includes an augmented reality function (available on phone or tablet via the Sketchfab app). This online access will allow unprecedented up-close interaction with the globes from anywhere in the world and means that for the first time, a variety of previously illegible surface features on the globes can be read.
A total of 30 globes are being scanned this way. [The Guardian]
A large relief model of the Grand Canyon, created by Edwin Howell in 1875, has resided in the University of Wisconsin–Madison’s Science Hall since 1980. The History of Cartography project’s offices are also in Science Hall. Lindsey Buscher, an editor on that project, wanted to include a photo of the relief model in the forthcoming fifth volume (which covers the 19th century), but the model was in too rough a state to be photographed. So they hired a professional conservator to restore the model: the results can be seen above. Now not only will the model’s photo be in the book, it’ll be on the cover. [Tom Patterson]
Much study has been devoted to the Gough Map, a late medieval map of Great Britain, exact date and authorship unknown, that was donated to the Bodleian Library in 1809 by the map’s now-namesake, Richard Gough. (An interactive version is available online.) A new project led by Catherine Delano-Smith and Nick Millea explores the map on several levels: as physical object, combining hyperspectral imagery, pigment analysis and 3D scanning; the process of how the map was drawn (and redrawn); and a close analysis of the places and names found on the map. Some of the project’s early findings were published in Imago in 2016.
Still more coverage of the cancelled auction of the Waldseemüller globe gores that were later identified as fakes, this time from the Houston Chronicle, which pursues the local-interest angle by talking to Michal and and Lindsay Peichl, restorers from Clear Lake, Texas (their firm is Paper Restoration Studio) who were brought in to examine the gores along with other experts. Michal says it didn’t take him long to figure it out:
“My first reaction when I saw the picture was, ‘Oh my God, this is a fake,'” said Michal. “You could tell this was a sheet of paper pulled from a book binding board.
“It was printed on a piece of paper that used to be glued on the back of book and that was a red flag to me because as a forger, if you want to make a fake, that’s where you would go to get a clean sheet of paper.”
A rare Braille globe held by the Queensland State Library is being digitized so as to create a 3D-printed replica. The globe, invented by Richard Frank Tunley in the 1950s, is one of the last copies still in existence and is in poor physical shape—problematic for something designed to be touched. That’s where the replica comes in. It’s funded by the library foundation’s crowdfunding initiative, which will also help fund the original globe’s restoration. ABC News, Sydney Morning Herald. Media release. [ANZMapS]
Inside the lab, conservators talk about the care of antique maps like a doctor discusses a patient’s condition and treatment in an intensive care unit.
Conservators will lay a given map on a table for an exam and diagnose the issue: Is it brittle or burned? Damaged by water or tape? Crumbly, delaminated or peeling? Then they record the treatment in a chart of sorts so that years later, the next caretaker will know what remedy was given.
The repair process of a map—like that for a more than 200-year-old, torn illustration of Williamsburg, Brooklyn—typically takes several hours, though sometimes the conservators will spend days working on just one.
To be honest, when I think of map restoration I think of the painstaking work of preserving and repairing damaged old maps; the Chimney Map is only one such example. What ABC News (Australia) describes in this profile of photographer Tony Sheffield is more like digital retouching: scanning in an original and correcting it in Photoshop. It gives us a corrected image, but the original object is untouched. It really comes down to what you’re aiming for. [WMS]
The British Library has acquired nine engraved copper plates, used to print maps of India for the East India Company in the late 18th and early 19th century, from a scrap metal dealer. Another plate had been acquired in 1988 from a Norfolk farmer, who had intended to use it as a mudguard for his tractor. The plates were apparently diverted to the scrap metal trade during a move in 1860; how they managed to avoid being melted down for their copper in the intervening 150 years is a minor miracle. Daily Mail. [WMS]
On the National Library of Scotland’s blog, a look at steps taken to conserve and repair two damaged 19th-century maps. “These case studies show some of the treatment options available for large maps, and demonstrate the challenging decisions that have to be made in order to care for the Library’s collections in their entirety. The principles at the heart of every conservation intervention are reversibility and retreatability, which ensure that we can always return to an object in the future if circumstances change.” [via]