When books have lost their original binding there is a possibility of rebinding the bookblock into a conservation binding. Most conservation bindings are limp flexible bindings made from good quality parchment, without any glue. The binding is being laced onto the bookblock. Therefore the sewing strips on which the bookblock has been sewn, are laced through holes in the parchment cover. The binding is totally reversible and if in a later stage one decides to put on a new binding, the parchment cover is taken off the bookblock.


© De Zilveren Passer. Conservation binding.   Larger image (61Kb).

Books or prints which have undergo conservation and/or restoration have to be preserved in adequate conservation boxes. These boxes are made to measure by hand. They are made from acid-free materials such as acid-free board and acid-free glues. They are finished with a linen covering on the outside and light acid-free board on the inside.


© De Zilveren Passer. Conservation box.   Larger image (61Kb).

The boxes protect the restored objects against mechanical and atmospherical damage and are also good protection when handling of transporting. The damage which occurs to the box over time would have occurred to the object if the box would not have been available.

Prints which have been conserved and restored can be framed and matted in acid-free board. The mat has a preservation function because it is designed to keep the work of art away from the glass. Wooden or wood-containing backs are also replaced by acid-free materials.

Prints which are not framed can be conserved in acid-free mats and subsequently in acid-free conservation boxes. If the mats are made to the size of exhibition frames, they can always be taken out of the boxes to be framed for exhibitions without any further work or costs.