Exhibition presented by Carole Jeanneret
from the "Open Book" workshop
24 Rue de Lausanne in Fribourg
"The mission of the conservator/restorer: what if your books could last another 100 years?"
From June 3 to 27, 2026 at L'Atelier, Place Notre-Dame 16 in Fribourg
The dubbing of works
What is this ?
Lining is a consolidation intervention used when the support is too fragile to be handled without risk, and it consists of applying a reinforcing paper, most often Japanese paper, to the back of the document with a reversible conservation glue.
Paper restoration dubbing
In paper restoration, lining refers to the addition of a thin, stable support to all or part of the document to restore its strength. This technique is used when the paper has lost its resistance due to multiple tears, general thinning, significant losses, or structural fragility that makes handling dangerous. The principle is simple: to reinforce without obscuring, to stabilize without altering, and to preserve as much as possible the legibility and physical integrity of the work.
Lining is never an automatic procedure. It is carried out after a careful examination of the document's condition, as a document can sometimes be strengthened by localized repairs without requiring reinforcement across its entire surface. Conservation guidelines also emphasize that lining should be reserved for cases where the fragility of the paper and the extent of the damage truly necessitate it.
Newspapers from 1961 before and after dubbing
Work created by © Carole Jeanneret in 2016
technical principle
The traditional method relies on the use of a very thin Japanese lining paper, chosen according to the weight of the original document, its mechanical strength, and the desired level of visual discretion. This paper is used with a reversible adhesive, generally starch-based or methylhydroxyethylcellulose (known as "Tylose"), so that the process can be reworked or lightened later if necessary. The choice of materials is crucial, as a lining that is too heavy, too rigid, or too opaque could alter the document's appearance and behavior.
Before applying the reinforcement, the conservator typically cleans, flattens, repairs tears, and fills gaps, as a lining placed on a still-unstable substrate would be ineffective. The lining then acts as a flexible framework that distributes stresses and limits the risk of further tearing during handling.
Implementation
The document can be backed by hand or mechanically, depending on its condition, format, and the type of inks. In the manual method, the backing paper is applied after the document has been sized, sometimes on a vacuum table to promote adhesion and good contact between the layers. A press can then be used to ensure flat drying and cohesion of the assembly.
In some cases, the lining is applied to only one side of the document, particularly when the damage is localized or when the reverse side must be legible. For works printed on both sides, the conservator may choose an extremely thin reinforcement to minimize the visual impact and preserve, as much as possible, the transparency or legibility of the support.
Conservation interest
The main advantage of lining is that it makes the document usable again without subjecting it to excessive stress. It is a consolidation process that improves mechanical resistance, holds fragments in place, and prolongs the object's physical lifespan. In the conservation of written heritage, this technique is particularly useful for very fragile sheets, posters, maps, plans, or incomplete documents.
Lining can also complement other treatments, such as tear repairs or filling gaps. It does not replace a thorough preliminary assessment: depending on the case, localized reinforcement may suffice, while in other situations, complete lining is necessary to prevent tissue loss with the slightest movement.
Limitations and precautions
Like any restoration intervention, lining has its limitations. It can alter the thickness, flexibility, or surface appearance of the document, and therefore must be designed to be minimal and reversible. The choice of adhesive, reinforcing paper, and application method also depends on the sensitivity of the inks, the presence of decorative elements, and the document's final destination.
It is also important to distinguish dubbing from other similar techniques, such as splitting or certain mechanical dubbing methods, which are not suitable for all types of documents and can raise security or conservation ethics issues. The general principle remains the same: to intervene as little as possible, but enough to ensure the long-term stability of the work.
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