From foxed to fabulous: works on paper conserved through Adopt a Treasure scheme

As part of our recently launched Adopt a Treasure Scheme, we are starting a series of blogs looking into the objects themselves and delving into the conservation process that the generous donations received through the scheme have funded.

The first batch of items conserved thanks to the generous patrons of the Adopt a Treasure scheme returned to the RCP in April, after spending a few weeks with ICON-accredited conservator Vicky West being treated.

The items conserved were two collections of photographs from the archives as well as three museum prints. 

MS6198/12 Photographs of Daddaji Narayrn before conservation (left) and after (right).

MS6198/3 and /12: Adopted by Dr Timothy Chambers in recognition of the Military and Hospitaller Order of St Lazarus of Jerusalem's longstanding commitment to supporting all aspects of leprosy care

The two pages of photographs are part of a larger group of photographs and prints given to the Royal College of Physicians by the 8th Duke of Argyll, George Campbell, who was the Secretary of State for India.

They show the effectiveness of a cure for leprosy which had been developed by Indian physician Bhau Dajee (also Bhow Daji).

Born Ramkrishna Lad, Dajee came from a middle-income background. He was considered a child prodigy, and the Governor of Bombay (Mumbai) encouraged his father to have him privately educated; ultimately he was part of the first cohort trained at the Grant Medical College in Bombay (Mumbai), one of the first European medical schools in India, designed to train Indian practitioners in Western medicine.

Following his graduation Dajee sought to combine western medicine with aspects of Ayurveda, a whole-body system of medicine that began in India more than 3,000 years ago, to enhance the healthcare system. Ayurvedic medicine mostly uses nutrition, lifestyle changes and natural elements, including herbs, spices and oils.

He dedicated himself to the study and treatment of leprosy, coming up with the Daji method, which, although kept secret, was believed by contemporaries to have consisted mainly of chaulmoogra oil, extracted from the seeds of plants from the Hydnocarpus species. The photographs and prints in this collection show the effectiveness of the Daji method.

Chaulmoogra oil, was long used in traditional medicine for treating leprosy and other skin conditions, and although its effectiveness was debated in Dajee’s time, studies have shown the oil to be effective in treating early stages of leprosy.

Dajee's work was first brought to the attention of the European press by Henry Vandyke Carter in about 1872.

MS6198/3 Photographs of Daddaji Narayrn before conservation (left) and after (right).

The Adopt a Treasure scheme has enabled the conservation of two sets of photographs of Daddaji Narayrn. On the page Narayrn is described as 'Hindoo' (Hindu), and not much else is known about the man.

Both pages of thin calendered card (card that has been passed through heavy heated rollers to give a glossed finish) have monochrome albumen prints adhered. The pages have heavy, uneven discolouration and light damage, as well as being ingrained with dirt, having torn edges, and lifting of the prints.

The surfaces of the pages were mechanically cleaned with brushes, vulcanised rubber sponges (also known as smoke sponge) as well as eraser crumbs.

Tears to the paper were repaired with Japanese tissue and losses infilled, and the folded and lifted corners of the photos were smoothed and re-adhered.

The damage caused by light, which is behind the big pale patch in the centre of the page, is the most obvious issue and is sadly irreversible (something to keep in mind for your own photos and art!)

But the tears and creases have been greatly improved and the prints look so much better. 

2008.1/12 The Quack Doctor before conservations (above) and after (below)

2008.1/12 The quack doctor: adopted by Diana Wood

This satirical print by Rowlandson shows a doctor or apothecary measuring out medicine for a line of clients going out the doors. Rows of apothecary jars (very similar to the RCP’s own Hoffbrand collection) line the walls behind him labelled for poisons such as ‘Arsnic’, ‘opium’ and ‘vitriol’, with a fish hanging behind him. On the right side of the image, behind a curtain, a skeleton in an apron is working at a grinder labelled ‘slow poison’.

The skeleton is a representation of death, of what is to come to those who entrust themselves to Quack Doctors.

This print was dirty and has foxing (the brownish stains visible on the edges), as well as old tape attached to the back. Similarly to the above, a mechanical clean was undertaken and the tape removed. Localised treatments to reduce the staining were ineffective and further intervention was not considered necessary for this otherwise stable object.

Instead, to visually improve the appearance of the print, it was housed in a conservation mount. The window frames the print, while covering the staining, and the print is now exhibition ready for when its needed. 

PR15299 History of Vaccination before conservation (above) after (below)

PR15299 History of Vaccination: adopted by Dr Jane Flint Bridgewater

Edward Jenner is often credited as the inventor of vaccination. While he may be credited with devising the terms ‘vaccine’ and ‘vaccination’, the fact that people who contracted cowpox did not go onto contract smallpox was already long known to rural communities - indeed, much of Jenner’s research consisted of interviewing farm workers, often women, in order to learn more about this phenomenon. The precursor to Jenner’s vaccination, variolation or inoculation, was brought to Great Britain by Lady Mary Wortley Montagu, but this process still caused a mild case of smallpox, and did sometimes result in complications.

The painting is titled ‘History of Vaccination’ and is inscribed ‘Designed and painted by Stephen Jenner, nephew and representative of Dr. Jenner’

Small scenes make up the word JENNER in the middle of the page, with illustrations above and below of the birth and burial places of Jenner.

This object is made up of two separate pieces of paper: a backing of brittle calendered board which contains the inscription, to which the painting has been adhered. The page with the painting was already torn and damaged when it was attached to the backing board with animal glue by the artist. The excess glue seeped through the tears and has darkened over time. The entire piece was dirty, stained and damaged along the edges.

Acqueous cleaning of this item was not possible due to water soluble media, and so mechanical cleaning was used to remove the worst of the grime, accretions and some of the darkened animal glue. Japanese tissue and wheat starch paste were used to support and mend tears and creases.

While some visible dirt and stains remain the appearance of the painting is drastically improved. 

PR15302 Discovery of Pulmonary Circulation before conservation (left) and after (right)

PR15302 Discovery of Pulmonary Circulation: adopted by Professor Anita Simonds, Harveian Librarian

We have saved the most drastic transformation for last!

The Discovery of Pulmonary Circulation is a printed item, something of a composite, made up of four images in the upper half and two columns of text below.

The images are a portrait of Michael Servetus in the centre, surrounded by reproductions of printed book pages: text on either side and a title page above.

The reproduced book pages are from Servetus’s work Restitutio Christianismi in which he rejects certain Christian doctrines and incidentally describes pulmonary circulation, the first European to do so. This challenged galenic medicine, some 75 years before William Harvey’s De Motu Cordis. Ibn-al Nafis, a 13th century Muslim physician had, already described pulmonary circulation, but it is unclear whether Servetus would have been familiar the work.  Servetus was ultimately burnt at the stake for his heretical work, and thanks to it being embedded in a theological work, his description of pulmonary circulation suppressed and forgotten.

The text in the print provides some information about Michael Servetus and his work, but is mainly a translation from Latin of his description of pulmonary circulation, from Restitutio Christianismi.

In the lower right hand side corner of the page there is what appears to be the signature of William Osler , a prominent Canadian physician and collector of antiquities and books, though we are unsure why it is there.

This document was severely damaged, curling on the edges, with many tears and losses, and with ingrained dirt.

Conservator Vicky’s first step was to ask permission to slightly trim the page: a rare occurrence in conservation, however the damage was so extensive on the blank areas of the page, that this was deemed appropriate for this object on this occasion. The paper was cleaned with the vulcanised rubber sponges and eraser crumbs mentioned above, tears and losses were repaired with Western handmade paper, while the back of the brittle page was reinforced with Japanese tissue. 

The current conservation approach is to preserve what is there rather than restore an object to a previous state, and to regard signs of damage as part of the object’s history which can often give us much information about how it was made and used over time. Any process used must be reversible, and while it can structurally strengthen an object, or visually repair damage, conservation cannot undo what time, improper storage, environment or handling have done. Although an object will look better, or be stronger after conservation, even if the process is reversible, the damage has been done and it has now been fundamentally altered.

Thank you to the adopters of these objects, whose generosity will help preserve them for the study and enjoyment of generations to come.

Are you interested in supporting the RCP’s heritage? Even small donations can go a long way to helping us preserve 500 years of medical history.

Find out more here.

Catrina Brizzi

Collections Officer


Pre and post conservation images courtesy of Vicky West.

Date
by
Catrina Brizzi ,
Collections officer

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