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Bugs, Mold, and Conservation

By Jennifer Tisdale

Mary Baughman uses tweezers to remove moth cocoons from a hat that is part of the Sir Donald Wolfit collection. The hat was used in productions of Shakespeare's plays in England, between 1937-1967. Photo by Pete Smith.
Mary Baughman uses tweezers to remove moth cocoons from a hat that is part of the Sir Donald Wolfit collection. The hat was used in productions of Shakespeare's plays in England, between 1937-1967. Photo by Pete Smith.

Mary Baughman, a Harry Ransom Center book conservator, hunts bugs. When she discovers them in materials at the Center, she destroys them, typically with a 72-hour stint in a freezer at 20 degrees centigrade or below. But don’t ask Baughman which of the cellulose-munching bugs she wishes didn’t exist at all. “That’s just silly,” she says. “There’s a place on this earth for all of them.” As long as that place isn’t the Ransom Center’s collection.

When boxes of materials first arrive at the Center, teams of conservators and archivists gather at tables in the quarantine room in the basement to inspect each folder, envelope, book, and slip of paper, looking for telltale signs of bugs—as well as for mold, another great enemy of archives. Finding and identifying the bugs in the works takes the thoroughness of a forensic pathologist and a familiarity with frass (insect excrement). Beetles leave behind a fine granular powder, while silverfish leave tiny black flecks. Big ragged bites from the paper, brown splatters of vomit, and shiny brown egg sacks are evidence of past or present roaches.

Despite possible encounters with wood-boring beetles and fungus and such, opening the boxes, even for longtime inspectors, is still as exciting as Christmas. Sure, considering the sheer volume of material inspected, some boxes yield the gift equivalent of socks or steak knives, but others bear unexpected treasures such as photographic negatives of Frida Kahlo or handwritten pages of notes by a little-known writer on her lengthy conversations with Diego Rivera.

Many materials arrive carefully packed and preserved, while others appear to have been swept pell-mell off a cluttered table directly into the box—chips of ceiling plaster, used tissues, and all.

Still, Baughman says very few materials arrive with full-blown infestations, recalling only two in the past ten years—a box from Puerto Rico that brought its entourage of termites with it and a collection of photographs from San Antonio that Baughman remembers as “pretty gnarly.”

The conservation department’s program to intercept insects before they enter the building has been around for more than 30 years, growing in part out of the discovery in the 1980s of drugstore beetles dining on several volumes of The Works of St. Augustine, printed in Venice in 1729. The initial treatment with moth balls—a standard of the times, but now obsolete—simply stunned the larvae, who recovered to eat again until finally meeting a chilly demise in a freezer.

The treatment of mold, a specialty of Olivia Primanis, the chief book conservator with the Center, has likewise changed tack over the years. “Previously, everyone tried to kill mold,” she says. But its ubiquity and tenacity proved that an impossible task. Now, mold is instead removed and contained—mainly by changing its environment by eliminating heat and, especially, humidity. But even when mold is removed—even if it could be killed—its properties, such as allergens and toxins, still remain. So moldy items are marked as such, to serve as a sort of disclaimer to patrons, who may then choose to wear a mask or even review moldy materials under a fume hood.

Olivia Primanis reduces mold contamination on a music score with a hepa filtered vacuum cleaner. Equipped with micro tools and adjustable suction, the cleaner is used in a fume hood to decrease exposure to the conservator and the Ransom Center's environment. Photo by Pete Smith.
Olivia Primanis reduces mold contamination on a music score with a hepa filtered vacuum cleaner. Equipped with micro tools and adjustable suction, the cleaner is used in a fume hood to decrease exposure to the conservator and the Ransom Center's environment. Photo by Pete Smith.

“Mold is harder to get rid of, but bugs are sneakier,” Baughman says. Case in point of this sly cunning: A Japanese book of law dating from the late nineteenth century with a tiny hole no bigger than a freckle in the spine. Open the book and the handiwork of a beetle larva is revealed, an inch-long tunnel snaking through the pages. But there will be no light at the end of this tunnel; the bug was stopped in its tracks via deep freeze.

Eliminating bugs in paper products may be a snap—especially in the Center’s walk-in freezer—but some materials, such as leather, ivory, and painted canvas or wood, can be damaged by freezing. Spraying with pesticides is not an option, as this can harm both collection materials and the scholars who stick their noses in them. Besides, treating with pesticides is seldom effective because bugs usually live within the materials, not on the surfaces.

Instead, materials that show signs of previous insect encampments may be placed under observation, like the painting on a wooden panel that Baughman has sealed in a double-sided Plexiglas frame so she can spot the possible emergence of adult beetles. And if the beetles do surface? Then what? The object might earn a four-month stretch in an oxygen-free environment.
And afterwards, you can trust that Baughman and the other conservators will still be keeping an eye on it.

This article, written by Suzy Banks, originally appeared in the Spring 2007 issue of Ransom Edition.

Photo Friday

By Jennifer Tisdale

Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.

Undergraduate Elizabeth Phan (left) and Apryl Voskamp, manager of preservation housing, work with collection items coming out of cold storage.  Because there had been evidence of bugs, Phan and Voskamp are covering the items with thin mylar, where they will then sit in constructed trays to observe any potential future evidence of bug activity. Photo by Anthony Maddaloni.
Undergraduate Elizabeth Phan (left) and Apryl Voskamp, manager of preservation housing, work with collection items coming out of cold storage. Because there had been evidence of bugs, Phan and Voskamp are covering the items with thin mylar, where they will then sit in constructed trays to observe any potential future evidence of bug activity. Photo by Anthony Maddaloni.
David Coleman, curator of photography, leads a gallery tour of the exhibition ‘Discovering the Language of Photography: The Gernsheim Collection.’ Photo by Anthony Maddaloni.
David Coleman, curator of photography, leads a gallery tour of the exhibition ‘Discovering the Language of Photography: The Gernsheim Collection.’ Photo by Anthony Maddaloni.
Volunteer paper conservator Lauren Morales shapes a toned insert paper to fill in the losses of an original 1889 English circus poster, part of the performing arts collection. The losses (white spaces) are visible in the area of the horse (lower left of the image along a horizontal fold line) and around the orange-colored insert for the man's jacket. Photo by Anthony Maddaloni.
Volunteer paper conservator Lauren Morales shapes a toned insert paper to fill in the losses of an original 1889 English circus poster, part of the performing arts collection. The losses (white spaces) are visible in the area of the horse (lower left of the image along a horizontal fold line) and around the orange-colored insert for the man's jacket. Photo by Anthony Maddaloni.