Changing PigmentsHistorical media and its sensitivity to pHA case study on the treatment of Alexander Scott Carter’s sketch book

Written by: Jennifer Pascoa

Completed under the guidance of Linda Joy at the Thomas Fisher Rare Book Library in concordance with Fleming College’s Cultural Heritage and Conservation Management internship requirement

November 20, 2015

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Table of Contents

Introduction

Scott Carter the artist

20th century inks and their components

De-acidification treatment and its effects on media

Case study: the treatment of Alexander Scott Carter’s Sketch Book

Condition report Treatment method

Testing the pigments for solubility

Final treatment results

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Introduction

Libraries and archives are repositories of information, they collectively preserve our cultural and

social history, while always balancing accessibility. The “artifacts” are part of a living collection

that must be maintained through cataloguing, digitization, preservation and proper storage.

These concepts inform the actions of the conservator, forcing them to consider the outcomes of

preservation versus accessibility. This dichotomy drives the everyday operations of a library or

archive, encouraging innovative ideas to flourish in a continuously fluctuating environment as a

means to establish a balance.

Paper and book conservators are often combating the affects of acid hydrolysis in

cellulosic materials. Neutralization of acids and changing the pH of paper to reflect a more

stable alkaline state is the end goal and reason why de-acidification is such a widely practiced

treatment method. Various alkalization solutions have been experimented with to determine their

merits and effectiveness on removing harmful acids from paper artifacts. When it comes to de-

acidification and types of media there seems to be a lack of information regarding the effects it

may have on pigments and ink in the long term. This paper is aimed at theoretically analyzing

the mechanism that causes colour to change at differing pH levels and whether treating paper

with a buffering solution has the potential to alter original media. In order to understand the

potential risk, a knowledge of the components found in drawing inks and coloured ink washes

is necessary. Research into historic and modern ink formulations, will bring to light its potential

vulnerabilities. The role organic pigments play in the history of artist materials will be discussed

because their fugitive nature is a cause for concern when treating works of art on paper. The

pigment Prussian blue, will take precedence during the discussion because of its widespread use

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in artist materials, and because of its severe sensitivity to high pH. To further this trajectory of

analysis de-acidification as a treatment method will be discussed, weighing the pros and cons of

its use when considering the effect it may have on different types of media. Finally the treatment

of Scott Carter’s sketch book will act as a case study, reflecting the practical application of de-

acidification and its effectiveness.

Scott Carter the Artist

In order to give context to the arguments presented below, a brief look into the life and

technique of the artist in question is necessary. Alexander Scott Carter was a talented artist and

architect, who developed a substantial body of work designing and fabricating heraldic

ornaments. His talent was utilized to produce coat of arms and or heraldic crests for various

municipalities, churches, and families within Canada and internationally. Carter was born in

Harrow, Middlesex Co., England 1881. He studied art at the Bournemouth School of Art, and 1

later studied architecture at the Royal Academy Schools between 1905-08, where some of the

leading architects in the field taught. Carter emigrated to Canada in 1912, settling in Toronto 2

and dedicating most of his work to the decorative arts. Carter became well known for his

excellent drafting skills and heraldic designs, working on projects commissioned by “Lady

Eaton, Sir Joseph Flavelle, E.R. Wood, Gerald Larkin, the Hon. Vincent Massey, Sir Edmund

Walker, Sir Vincent Meredith, J.P. Bickell, and Sir Frederick Williams-Taylor.” The project he 3

is most well known for is a beautifully hand painted map commissioned by the Massey

Hill, R. G. (2009) Carter, Alexander Scott. Biographical Dictionary of Architects in Canada 1800-1950. retrieved 1

from http://dictionaryofarchitectsincanada.org

Hill2

Hill3

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foundation. The work of art hangs in the map room in Hart House. Carter continued to work in 4

the Toronto area between the years of 1912 and 1950. His studio was situated on Washington

avenue, a street located at the north western end of the University of Toronto campus. It is

fitting that he would work so closely to UofT since many of his designs were commissioned by

the university.

Carter’s use of material and artistic approach to architectural renderings was no doubt

influenced by the Beaux-Arts style (1890-1930). According to the article “Fabrication of

Architectural Drawings” by Price “artistic appearance” was emphasized forcing draftsmen to

rely on their artistry, using handmade paper and watercolour to really sell their design. Carter 5

clearly followed this school of thought, completing large scale renderings of his heraldic

ornaments in watercolour and ink. Even within his sketchbooks beautiful miniatures in coloured

Toews 34

Price, L O. (n.d.). Fabrication of Architectural Drawings. Conservation Center for art & historic artifacts.1-12 5

Retrieved from http://www.ccaha.org/uploads/media_items/the-fabrication-of-architectural-drawings-to-1950.original.pdf. 2

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Fig. 1 Alexander Scott Carter. Map, illustrating the history and geographical location of the University if Toronto. 1937. Located in the Map Room of Hart House

watercolour can be found expertly detailing the classical elegance of his style. Tracing paper

was another material familiar to the draftsman. Used to copy and transfer drawings to other

supports because of its translucency, which also aided in the production of blueprints when they

came into fashion in the 1880’s. The paper becomes translucent through various processes such 6

as impregnation with oil, beating the fibres, and acid gelatinization. Impregnation with natural

resins (Canada balsam, oil of turpentine), drying oils (linseed, poppy or walnut), and mineral

oils were commonly used by manufactures. More stable synthetic resins were introduced to the

market in 1950, as solution for the deterioration of organic impregnants that was causing

darkening and embrittlement of the paper. Many of Carter’s ink and pencil concept designs 7

were completed on tracing paper. Figure 2 shows the detail and skill of Carter’s hand, but it also

Price 2,36

Price 37

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Fig. 2 Scott Carter. (1910). Sketches. [Ink concept drawings on tracing paper.]

demonstrates the inherent instability of tracing paper manufactured before 1950. The darkening

and embrittlement seen along the edges is a common feature in all of Carter’s tracings. The ink

found in this sketch is most likely india ink, based on the materials that were available at the

time. Price states that architects often mixed their black india, china or japan inks with other

materials to increase the density, improve the black colour and provide a gloss to the media. Of

these materials she mentions “iron gall ink, indigo or Prussian blue, bone black or sugar”. By 8

1880 manufactures like Windsor & Newton had developed a new water resistant formulation for

their carbon inks that incorporated shellac as a binder. Price believes that draftsman continued to

use the traditional water soluble carbon inks for their final renderings, but adopted the new

technology for their tracings and sketches. Coloured washes were used in addition to black 9

Price 58

Price 59

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Fig. 3 (Left) Scott carter. Architectural rendering. [Black ink, with blue ink wash on tracing paper.]

Fig. 4 (Right) Scott Carter. Preliminary sketch of Laurier House decoration. [Pencil, Brown ink on tracing paper.]

inks, as a way to “indicate shadows and projections on elevations”. This technique is featured 10

in many of Carter’s sketches, but he seemed to use coloured ink and watercolour

interchangeably. The only difference between the two, is that the ink washes appeared more

often on the tracing paper. This differentiation could have been a result of the resinous quality of

tracing paper, which prevents the watercolour from bonding sufficiently. Overall Carter’s

schooled drafting technique has helped identify many of the materials and media found in his

work. In order to properly assess the risks these materials may pose during conservation

treatment, knowledge of their components and thus vulnerabilities is necessary.

20th century inks and their components

Modern inks are commercially manufactured and therefore have developed complex

formulations that are continuously evolving in order to improve the quality and permanence of

an ink. The lack of standardized recipes makes it difficult to determine the chemical makeup of

an ink, without the use of analytical research methods. For most institutions chemical analysis

equipment is not readily available, and so the archivist or conservator must assume that all

media is sensitive to light, and moisture. Tests must be performed on all media before any

aqueous treatment of an artifact is performed. This is the general rule that all practicing

conservators abide by, even though the process is tedious and time consuming. What the

conservator must rely on in order to make an educated decision regarding treatment of media is

a general understanding of the components of ink and how they behave. One area of interest is

the presence of pigments that may have a sensitivity to alkaline solutions. This factor may pose

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problems for conservators who wish to de-acidify paper documents in order to stop the

hydrolysis of cellulose, and impart a buffer into the paper fibres.

The components of ink can be broken down simply into three categories. The pigment or

dye which provides colour to the solution, a carrier which suspends the pigment and adheres it

to the substrate material and finally additives which change the fluidity, penetration of the ink

and speed of drying. India ink is a widely used writing ink of carbonaceous origins. 11

Lampblack is the colourant derived from carbon soot that is collected during the partial

combustion of oil, resinous or natural gas substances. In order to achieve a brilliant black 12

colour the lampblack must be purified through calcination to remove any impurities that may

impart a brownish hue to the colour. Calcination is the reheating of the carbon soot in a 13

chamber that is hot enough to burn off any volatile substances. The colourant is then added to a

glue carrier, such as fish or ox-hide glue. The mixture is thoroughly mixed, beaten until it 14

becomes pliable, then mixed again with musk and camphor and finally formed into long sticks

or cakes that can dissolve in water to produce writing ink. There are various methods of 15

preparing india ink, alternative binders such as gelatin, iron gall ink, essential oils, varnish and

gluten being have been used. Other colourants are also added to carbon based inks, such as 16

Ritzenthaler, M. L. (2010). Preserving archies & manuscripts. Chicago: Society of American Archivists. 6911

Seymour, A. (1910). Modern printing inks, a practical handbook for printing ink manufacturers and printers. 12

London: Scott, Greenwood & Son. 26

Seymour 2713

Mitchell, C. A., & Hepworth, T.C. (1904). Inks: Their composition and manufacture, including methods of 14

examination and a full list of English patents. London: Charles Griffin & company, ltd. 28

Mitchell 2915

Mitchell 3516

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Prussian blue to help tone inferior lampblack pigments that contain an undesirable brown hue. 17

Even with these varying recipes the principal formula, colourant mixed with a binder and

additives remains the same. Modern india inks are often already sold in liquid form, with shellac

acting as the binder to create a more permanent black ink that is resistant to moisture. Carbon 18

black inks are very stable, lightfast and non-corrosive inks though if they are manufactured 19

with water soluble binders or other colourants such as Prussian blue the ink becomes vulnerable

to moisture and alkaline environments.

It is important to look at the incorporation of pigments and dyes in coloured inks and

watercolours because this type of media appears regularly in works of art and is an area of

weakness that must be considered during treatment. Artists’ pigments have a long history dating

as far back as the Egyptians with colours being formed from organic and mineral substances

such as lampblack, gypsum, ochre, haematite and malachite. Up until the 18th century 20

pigments and dyes were cultivated from natural sources, such as inorganic deposits, animal and

plant sources. Tyrian purple is a dyestuff dating back to the Roman empire, and is derived from

a shellfish found in the Aegean sea. Indigo is another naturally occurring dye, obtained from 21

the Indiagofera tinctoria plant. Each colour produced has differing properties based on their 22

chemistry. Indigo is widely known to be a fugitive dye, fading quickly when exposed to a strong

Seymour 7517

Winsor & Newton. (2013) Spotlight on Indian Ink. Retrieved from http://www.winsornewton.com/uk/discover/18

articles-and-inspiration/spotlight-on-indian-ink

Ritzenthaler 7019

Plenderleith, H. J.. (1950). The History Of Artists' Pigments. Science Progress (1933- ), 38(150), 246–256. 20

Retrieved from http://www.jstor.org/stable/43422835 246

Plenderleith 24821

Rose, J. (n.d.) Pigments: Historical, Chemical and Artistic Importance of coloring agents. Retrieved from http://22

www.jcsparks.com/painted/pigment-chem.html

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light source. On the other hand Tyrian purple is considered a very stable permanent colour, but

because harvesting the dye is so expensive cheaper and more economical sources had to be

considered. 23

The desire to find more stable colourants that are both light and colourfast helped evolve

the pigment industry, advancing towards a chemically synthetic era of colour production. In

1704, Diesbach a german colourmaker successfully made a synthetic version of Prussian blue. 24

Diesbach accidentally synthesized the pigment during an experiment involving the oxidation of

Iron, that was intended to create the pigment cochineal lake. The synthesized product is 25

essentially a hydrated iron(III) hexacyanoferrate(II) complex. This compound is manufactured

by reacting a solution of iron(III) salt, such as ferric chloride FeIIICl3 with a solution of

hexacyanoferrate(II) salt K4[FeII(CN)6]. The resulting formula is represented as 26

FeIII4[FeII(CN)6]3.14H2O. The colour produced from this reaction is a very deep blue that

almost looks black. Painters would mix in lead white in order to achieve a more desirable blue

tint. The addition of white pigment is one reason why the permanence of Prussian blue began 27

to be questioned. Mixtures that contain a higher percentage of white pigment to blue result in a

decrease in lightfastness. This could be attributed to the increased absorption of visible light and

Ultraviolet Radiation. Black is a colour because it absorbs every wavelength on the visible light

Plenderleith 24923

Kirby, J., & Saunders, D. (2004). Fading and Colour Change of Prussian Blue: Methods of Manufacture and the 24

Influence of Extenders. National Gallery Technical Bulletin. (25) 73-99 Retrieved from http://www.nationalgallery.org.uk/fading-and-colour-change-of-prussian-blue-methods-of-manufacture-and-the-influence-of-extenders 73

Kirby 7325

Kirby 7626

Kirby 7427

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spectrum and reflects nothing back. Prussian blue in its pure form reflects very little light,

appearing almost black in colour. When white is added to the mixture the colour appears more

blue which means the substance is absorbing and reflecting back wavelengths between 400 and

500 nano meters, or blue light. Light equals energy, and it is that increase in energy acting upon

the chemical structure of the pigment that causes it to degrade and fade over time. Another fault

of this pigment is its vulnerability to alkaline environments.

Fresco painting flourished in Italy around the 15th century, decorating the cavernous

walls of ecclesiastical spaces as a way to tell biblical stories to a population that was largely

illiterate. Studies of these frescos revealed that the colour palette employed by artists was

limited because the lime plaster used to fuse the pigments to the wall provided a very hostile

alkaline environment. Colours that could be used were yellow, red and brown ochres, green

earth and a blue frit. Most organic pigments are sensitive to alkaline substances such as lime, 28

changing colour when they come into contact due to an alteration in their molecular and

electronic structures. In the article “Effects of Different Binders on Technical Photography and 29

Infrared Reflectography of 54 Historical Pigments” samples of Prussian blue and ultramarine

Plenderleith 25028

Ash, N. (1985). Media Problems. Conservation OnLine, 1-34. Retrieved from http://cool.conservation-us.org/29

coolaic/sg/bpg/pcc/03_media-problems.pdf 2

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Fig. 5 Prussian blue mixed with lead white.

were painted onto wet lime plaster swatches. The Prussian blue pigment reacted with the

alkaline base resulting in a brown colour. The ultramarine maintained its blue colour, though the

alkaline environment bleached the pigment resulting in a lighter hue. The mechanism that 30

causes the Prussian blue to change colour is hydrolysis. The high alkalinity causes the iron(III)

hexacyanoferrate(II) molecule to breakdown forming yellow hydrated ferric oxide, which

changes the colour to a yellow brown and ferrocyanide ions which become soluble and are thus

removed. Prussian blue is one example of a pigment that is vulnerable to high pH. The fugitive 31

Prussian blue pigment is also found in cyanotype photographs and architectural blueprints,

which is why most conservation literature advises against alkalization treatment and storage in

buffered paper enclosures. The pigment is known to decolourize in a weak base as low as pH

9.4. This level of alkalinity is equivalent to a solution of calcium carbonate, which is a 32

common de-acidifying agent.

Cosentino, A. (2015). Effects of Different Binders on Technical Photography and Infrared Reflectography of 54 30

Historical Pigments. International Journal of Conservation Science, 6(3): 287-298. 291

Ware, M. (2014). Cyanomicon: History, Science and Art of Cyanotype: photographic printing in Prussian blue.31

1-298. Retrieved from http://www.mikeware.co.uk/downloads/Cyanomicon.pdf. 180

Ware 20032

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Fig.6 Colour change occurring in Prussian blue when combined with a strong base.

De-acidification treatment and its effects on media

Certain factors must be considered before media found on paper artifacts is subjected to de-

acidification treatment. The Conservation OnLine (CoOL) journal titled “Media Problems” lists

off several considerations. For example when looking at the physical characteristics of media,

colour, surface texture, topography, and the structural integrity are points of interest. Other 33

factors include how well the media is adhered to the support, age of the media, sensitivity to the

environment such as light and humidity and chemical sensitivity. The article lists several

pigments that are known to react in alkaline environments. Many of these pigments are 34

organic, which attributes to their fugitive nature. Gamboge is a yellow pigment that discolours

to red when in contact with alkali. It was often combined with Prussian blue to produce Hookers

green, which in turn would fade to blue if the yellow pigment was solubilized. Watercolours 35 36

that contain these pigments are therefore vulnerable to buffering treatments. Though generally

watercolour paints are thought to be water soluble, some pre-nineteenth century formulations

are not. If the paint was applied thinly, allowing the pigment to absorb and bind to the paper,

Ash 133

Ash 234

Ash 1935

Ash 2336

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- logwood- carthamine- gamboge- litmus- tumeric- cochineal

- Prussian blue- madder- chrome green- Hookers green- yellow lake- van dyke brown

spot testing may reveal the media to be insoluble. It is important to test all paints, especially 37

when de-acidifying. Writing Inks on that other hand, tend to be more soluble with age because

of the binders used. Modern India ink contains a shellac binder that is not water soluble but can

be dissolved in alcohol. If the shellac binder were to breakdown, the water resistant ink would 38

become vulnerable to aqueous treatments.

Case study: The treatment of Alexander Scott Carter’s Sketch Book

The Thomas Fisher Rare Book Library has accumulated through donation the majority of

Alexander Scott Carter Esquire’s art work and ephemeral documents. The Halcyon newsletter

published by the Fisher library publicly details the contents of the collection stating that works

of art include “preliminary pencil sketches on parchment and scrap paper, large finished

sketches in pencil and coloured wash on parchment, board and paper.” In addition to the 39

drawings are blueprints, photographs and original correspondence with clients regarding

commissioned work. The sketchbook that was brought in for treatment, was one of 5 books part

of the collection. All of the sketchbooks exhibited deterioration and so it was deemed by the

conservator Linda Joy that an aqueous de-acidification treatment, followed by re-mounting of

the drawings on acid-free paper would prolong the life of the object and make it more accessible

to the public. The sketchbook is such an important aspect of the artist, it reveals so much about

their process. Therefore preserving the contents of Scott Carter’s sketch book, by removing each

item from the acidic paper support outweighs the desire to keep them in the original binding.

Ash 1337

Ash 1038

Toews, J. (2002). Paint, Gesso, Silver, Gold and Stone: Alexander Scott Carter, Artist and Architect. The Halcyon: 39

the newsletter of the friends of the Thomas Fisher Rare Book Library, No. 30 1-8.. 2

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This case study focuses on one sketchbook from the collection that is titled Sketches & notes by

A. Scott Carter R.C.A Vol. 1.

The sketchbook dates from 1914-1939 and contains 17 pages with drawings

adhered to the front and back of each page, except for three photographs that were

found loose at the back of the book. In total there are 169 items, ranging from

watercolour renderings, pencil sketches and ink drawings found on machine made,

laid and tracing paper, silver gelatin photographs and magazine clippings. Each item

was attached at multiple contact points with an unknown adhesive that has

discoloured to yellow brown and is very brittle. In order to properly document the

treatment and record all the different types of media Carter used, I developed a

temporary condition report form.

The Thomas Fisher Library has a condition report form that is geared towards

documenting books on loan for exhibition purposes. The form is simple, allowing the

conservator to manually fill in information regarding the type of binding, page count,

dimensions and overall condition of the book. Each item that is condition reported is also photo

documented to provide a more accurate visual representation, saving time that would otherwise

be spent filling out an over detailed form. By expanding on the general outline, I was able to

create a slightly more detailed version that could be used to document works of art on paper.

The form is designed as a checklist to quickly record the primary support material and media

present in the artifact. A section for condition remarks and treatment method is included to

briefly describe the conservation efforts.

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Condition form

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Thomas Fisher Rare Book LibraryUniversity of Toronto

Works of art on paper condition report form

Binding:

Support material:

X Laid paper X Tracing paper ! Woven paper X Machine made ! Handmade X Sized ! Unsized X Sketching ! Newsprint X Magazine ! Other ______________

Secondary Support material

X Paper X Board ! Animal ! Fabric ! Other ___________________

Photographs: Silver Gelatine developing out paper

Media: X Graphite X Carbon ink X Watercolour X Pencil ! Pencil Crayon ! Charcoal

X Pastel ! Chalk X coloured Ink ! Printing Ink ! Ballpoint pen ! Fountain Pen Ink ! Iron Gall Ink X Felt tip Marker ! Typewriter ! Acrylic ! Oil Paint ! Ink

Unknown

Format: Manuscript Dimensions: h: 16” w: 11” thickness:Artist: Alexander Scott Carter

Date: 1914-1939 Page count: 29

Accession #: MSS 09274 General Description: Sketch bookDonor:

Examination date: October 6, 2015

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Thomas Fisher Rare Book LibraryUniversity of Toronto

Photographic Documentation: Yes

Treatment: Mechanical removal of photographs and water soluble drawings from the backing paper. Also mechanical removal of adhesive using a scalpel.

Immersion in magnesium bicarbonate de-acidification solution for 30 to 60 mins. Once the aged adhesive has softened each drawing is detached using a micro spatula from the acidic paper backing. The items are blotted dry then transferred to a wool matt and dried under weight.

Deacidification solution recipe:• 35 litres of water• 70 grams magnesium carbonate

Mix the ingredients for 60 minutes with constant agitation, and carbon dioxide to ensure the magnesium carbonate dissolves.

Adhere the treated items to white acid-free paper using wheat starch paste and encapsulate.

Description of Condition: The sketch book is considered the secondary support material. original drawings and photographs have been adhered to with the pages with an unknown adhesive.

The sketchbook paper is very acidic and brittle from acid hydrolysis. It is yellow in colour indicating the presence of lignin characteristic to wood pulped machine made paper.

Many of the drawings were completed on more stable paper, but because of their proximity to the deteriorated support backing they too have become acidic. Any drawings that were adhered right to the edge of the support paper have suffered losses due to breakage of the brittle support backing.

The photographs included in the sketchbook exhibit deterioration of the silver gelatin image through silver mirroring. Some of the photographs seem to have been previously removed and therefore exhibit areas of loss at the corners. The paper substrate of the photos are discoloured from the absorption of acids and have become brittle along the edges of the image.

Conservation’s Signature: _________________________________________________________________________

Date Treatment Completed: _______________________________________________________________________

Treatment Method

The following considerations were made regarding treatment of Scott Carter’s sketchbook. The

primary support materials made from handmade, machine made, tracing, magazine, and

photographic papers were experiencing rapid deterioration due to the acidic support backing

they were adhered to. The various types of media, pencil, black and coloured ink, watercolour,

crayon were not affected by the acidic environment and therefore considered stable enough to

undergo treatment. The historic and artistic value of the drawings and notes are more valuable

than the utilitarian binding of the sketchbook. Lastly, the conservation of these drawings and

encapsulation would greatly benefit the library and its interest of accessibility.

The first step was to test the inks and coloured washes for solubility. Once identified the

water soluble items were removed from the page mechanically and stored in separate folders

corresponding to the page number the image was found on. All the photographs included in the

sketchbook were also removed from the support backing. These items received localized wet

cleaning with a solution of reverse osmosis water and 1% methylcellulose to soften any residual

adhesive that could not be removed with a scalpel. All drawings made on handmade or machine

made paper were dry cleaned using a solid mars eraser prior to immersion treatment. A dilute

de-acidification solution was prepared using 35 litres of water, 70 grams magnesium carbonate

Mg(CO3) powder and pressurized carbon dioxide. The pH of the solution is between 6.5 and 8,

which is strong enough to neutralize acids and impart a weak buffer in the paper. Lastly each

item, including the silver gelatin photographs were re-mounted on acid-free paper using wheat

starch paste and encapsulated.

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Testing media for Solubility

Using a cotton swab socked in the de-acidifying solution, I tested multiple coloured and

monochrome media that I believed to be water-soluble. Most of the watercolour drawings, like

the one featured below solubilized immediately. Localized neutralization treatment could have

been used for items like this where large areas did not contain pigments, but to prevent any

cockling or uneven cleaning, eraser was used instead to remove surface dirt. In some cases the

black ink that appeared insoluble during spot tests, behaved differently during immersion. The

areas where the paper has darkened indicating a higher acidity have caused the ink to solubilize.

The only exception is the smallest square motif that looks to be on an area that did not discolour.

It is curious that these two areas would dissolve during washing, while the other motifs on this

page seem untouched. Again this could be due to pH changing the stability of the ink, the

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Fig 7. Scott Carter. Greetings card. [Watercolour and india ink on handmade paper.]

formulation of the ink and application. Carter could have substituted a different ink pen, but the

most likely scenario is the chemical deterioration of the media which failed to present itself

during testing.

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Fig 8. Scott Carter. Sketch. [India ink?]

Detail of figure 8

Final Treatment Results

The majority of the 169 items were able to undergo aqueous cleaning, which helped to improve

their condition. Even though there were several drawings that could not benefit from

neutralization and alkalization treatment because of their soluble media, they were still

improved by removing the source of the acid. Generally it is not advised to encapsulate

photographs, because it may cause loss of the image layer. But in the case of Carter’s

sketchbook, the photographs were considered studies or notes that he took as inspiration for his

designs. Their value lies in the context of the book. If they were removed and placed in a

separate file, their meaning would be lost or more tragically they could become disassociated

from the original accession. In a effort to maintain as much of the original layout of the sketch

book as possible, I elected to keep the photographs encapsulating them along side their fellow

sketches. The original sketchbook had drawings pasted on either side of the page. This was not

duplicated, instead items were laid out on one page doubling the original page count. This

allowed drawings that contained additional doodles on the back that were originally hidden from

view to be exposed, seen through a window cut out of the acid-free paper. The most rewarding

aspect is knowing that the beautiful drawings can now be accessed by the public. Prior to

treatment this sketchbook would not have been allowed to be viewed, the pages were so brittle

that valuable material was being lost every time the book was handled. Now researchers and

Scott Carter enthusiasts can admire his beautiful drawings. He played a significant role in

creating the heraldic symbols we take for granted, and my only hope is that more people will

discover and appreciate his work.

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Bibliography

Ash, N. (1985). Media Problems. Conservation OnLine, 1-34. Retrieved from http://cool.conservation-us.org/coolaic/sg/bpg/pcc/03_media-problems.pdf

Cosentino, A. (2015). Effects of Different Binders on Technical Photography and Infrared Reflectography of 54 Historical Pigments. International Journal of Conservation Science, 6(3): 287-298.

Hill, R. G. (2009) Carter, Alexander Scott. Biographical Dictionary of Architects in Canada 1800-1950. retrieved from http://dictionaryofarchitectsincanada.org

Kirby, J., & Saunders, D. (2004). Fading and Colour Change of Prussian Blue: Methods of Manufacture and the Influence of Extenders. National Gallery Technical Bulletin. (25) 73-99 Retrieved from http://www.nationalgallery.org.uk/fading-and-colour-change-of-prussian-blue-methods-of-manufacture-and-the-influence-of-extenders

Mitchell, C. A., & Hepworth, T.C. (1904). Inks: Their composition and manufacture, including methods of examination and a full list of English patents. London: Charles Griffin & company, ltd.

Plenderleith, H. J.. (1950). The History Of Artists' Pigments. Science Progress (1933- ), 38(150), 246–256. Retrieved from http://www.jstor.org/stable/43422835

Price, L O. (n.d.). Fabrication of Architectural Drawings. Conservation Center for art & historic artifacts.1-12 Retrieved from http://www.ccaha.org/uploads/media_items/the-fabrication-of-architectural-drawings-to-1950.original.pdf.

Ritzenthaler, M. L. (2010). Preserving archives & manuscripts. Chicago: Society of American Archivists.

Rose, J. (n.d.) Pigments: Historical, Chemical and Artistic Importance of coloring agents. Retrieved from http://www.jcsparks.com/painted/pigment-chem.html

Seymour, A. (1910). Modern printing inks, a practical handbook for printing ink manufacturers and printers. London: Scott, Greenwood & Son.

Toews, J. (2002). Paint, Gesso, Silver, Gold and Stone: Alexander Scott Carter, Artist and Architect. The Halcyon: the newsletter of the friends of the Thomas Fisher Rare Book Library, No. 30 1-8.

Ware, M. (2014). Cyanomicon: History, Science and Art of Cyanotype: photographic printing in Prussian blue.1-298. Retrieved from http://www.mikeware.co.uk/downloads/Cyanomicon.pdf.

Winsor & Newton. (2013) Spotlight on Indian Ink. Retrieved from http://www.winsornewton.com/uk/discover/articles-and-inspiration/spotlight-on-indian-ink

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Images

Figure 1 Alexander Scott Carter. Map, illustrating the history and geographical location of the University if Toronto. 1937. Located in the Map Room of Hart House Retrieved from http://www.greatpast.utoronto.ca/GalleryOfImages/InteractiveTour/CampusTour.htm

Figure 2 Scott Carter. (1910). Sketches. [Ink concept drawings on tracing paper.] Personal photograph by Jennifer Pascoa, October 2015

Figure 3 Scott carter. Architectural rendering. [Black ink, with blue ink wash on tracing paper.] Personal photograph by Jennifer Pascoa, October 2015

Figure 4 Scott Carter. Preliminary sketch of Laurier House decoration. [Pencil, Brown ink on tracing paper.] Personal photograph by Jennifer Pascoa, October 2015

Figure 5 Photo. “Sample Prussian blue mixed with lead white”. Taken from Kirby, J., & Saunders, D. (2004). Fading and Colour Change of Prussian Blue:

Methods of Manufacture and the Influence of Extenders. National Gallery Technical Bulletin. (25) 73-99

Figure 6 Photo. “Colour change occurring in Prussian blue when combined with a strong base”. Taken from Cosentino, A. (2015). Effects of Different Binders on Technical Photography and Infrared Reflectography of 54 Historical Pigments. International Journal of Conservation Science, 6(3): 287-298.

Figure 7 Scott Carter. Greetings card. [Watercolour and india ink on handmade paper.] Personal photograph by Jennifer Pascoa, October 2015

Figure 8 Scott Carter. Sketch. [India ink?] Personal photograph by Jennifer Pascoa, October 2015

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