Care of Objects on Tour: the Basics

Care of Objects on Tour: The Basics

Collections Management:

You need to know So you have What you’ve got Catalogue Who it belongs to Labelling and Marking Where it is Location records Assessment – monitoring What it’s doing Records – Loan Condition checks What to do if things go wrong Emergency Plan, procedures

Record the condition of the object before, during and after the exhibition  Record ALL parts of the object  Record everything that happens to the object  Make sure you can prove when damage occurred or parts were lost.

Observe the object carefully throughout the exhibition.  Be prepared to act quickly if conditions change  Plan for accidents and emergencies  Watch for changes afterwards

Labelling and Marking  Guidelines on Collections Link website  Use your museum code http://www.collectionstrust.org.uk/mda-codes  Use fadeproof (lightproof) and waterproof pens  Write VERY clearly  Protect the surface with Paraloid B72 solution - If acetone will soften the surface use 2B pencil or a label  Use Tyvek or acid-free card for labels, tied on with cotton tape or soft, acid-free twine

Risk Assessment  Be aware of the hazards of the object, the materials and tools you are using  Objects may contain toxic materials, have received treatments or have toxic dust on them  Dust or mould spores can affect people  Consider tools and equipment, materials and methods (MSDS)  Think about the work area  Think about people who may be affected

HSE Health and Safety Executive website has helpful templates and guidance www.hse.gov.uk/pubns/indg163.pdf

5 Steps to Risk Assessment 1. Identify the hazards 2. Decide who might be harmed and how 3. Evaluate the risks and decide on precautions 4. Record your findings and implement them 5. Review your assessment and update if necessary

IF IN DOUBT – STOP AND ASK A CONSERVATOR ENVIRONMENTAL CONDITIONS

Think about  Temperature  Relative Humidity

IF IN DOUBT – STOP AND ASK A CONSERVATOR  Light  Airborne Pollutants  Contamination  Emergencies

Know what tenperature and relative humidity the object is used to Measure, don’t guess  Use dataloggers if you can  Electronic temp/RH meters It may be necessary to create a microclimate in a smaller box or case Aim for stability, slow down changes Be prepared to act quickly if things go wrong Minimise exposure to light and UV

Avoid having items on open display Keep items covered until the area is clean

Allow time for cases and displays to off-gas (paint and adhesives may take weeks to dry thoroughly) If you can smell something – check it out

What else will be put in the case? How often will the case be opened?

IF IN DOUBT – STOP AND ASK A CONSERVATOR www.galleryequipment.comCommon Airborne Pollutants and their effects on Materials There are many others – e.g. Volatile Organic Compounds from paints, sprays Name Effects Sources Tarnishes metals External air Damages prints and dyes Burning fuels such as coal, oil or some gas Sulphur dioxide Embrittles and discolours papers Deteriorating wool, wool felt, feathers or fur SO2 Weakens textile fibres Rubber latex Attacks photographic materials Discolours pigments Nitrogen Fades dyes, especially in textiles External air dioxide Weakens textile fibres Burning gas NO2 Damages photographic film Decomposing cellulose nitrate Cracks rubber External air Ozone Fades dyes Photocopiers, laser printers O3 Attacks photographic materials Electrostatic particle filters Damages books Insect electrocutors Tarnishes metal, especially silver External air Attacks photographic materials Humans Hydrogen Case and display materials Sulphide Deteriorating wool, wool felt, feathers or fur H2S Rubber latex Waterlogged archaeological material Poorly processed photographs Carbonyl Tarnishes metals External air sulphide Attacks photographic materials OCS or COS Corrodes metals, especially lead, Drying paint Formic Acid zinc, copper allows with high lead Oxidation of formaldehyde (eg MDF) HCOOH content Some woods, wood products Attacks calcareous materials such (Ants) as limestone, marble, shell, bone Attacks mineral specimens Weakens paper, textiles Corrodes metals, especially lead, Wood, wood products zinc, copper allows with high lead Adhesives content Sealants Acetic Acid Attacks calcareous materials such Decomposition of cellulose acetate film CH COOH 3 as limestone, marble, shell, bone Attacks mineral specimens Weakens paper, textiles May be oxidised to formic acid Wood products Formaldehyde Adhesives and resins HCHO Flooring compounds Some thermosetting plastics Soiling, discolouration External air Scratches and abrasion People Retention of moisture at the Pollen Particles surface Dust Chemical reactions Salt spray

Adapted from: P Brimblecombe in Norbert S. Baer & Paul N. Banks (1985): "Indoor Air Pollution: Effects on Cultural and Historic Materials". The International Journal of Museum Management and Curatorship. 4,1985, pp. 9-20.

IF IN DOUBT – STOP AND ASK A CONSERVATOR DISPLAY

Principles: Present objects clearly and safely Protect objects from  Theft or damage

IF IN DOUBT – STOP AND ASK A CONSERVATOR  Strain or stress  Dust and airborne pollutants  Inappropriate temperature and relative humidity  Contaminants (especially chemical reactions)

Materials used must be stable, inert and appropriate, e.g.  Acid-free tissue and card  Unbleached, scoured cotton calico  Plastazote and Ethafoam (polythene) foam  Melinex polyester film  Perspex acrylic sheet  Glass  Enamelled steel, aluminium

You can seal unstable materials (e.g. wood, mdf) with 3 coats of Dacrylate 103-1 acrylic varnish (from Clifton Paints, Bristol) or a barrier film such as Moistop, aluminium foil and aluminium tape. Isolate objects from metal or painted surfaces. Use scavengers to adsorb harmful substances  Activated charcoal cloth  Case filters  Avoid ozone producing equipment

Lighting  Minimise exposure to UV and light  Minimise heat  Think about safe access to lighting (e.g. to position it or change bulbs)

Display Mounts  Should provide as much support as possible and avoid stress.  Use padding to prevent abrasion or crushing  Insulate the object from harmful materials and metals  Use failsafe methods  Must be removable without damaging the object  Ready made mounts may need padding, smoothing or adaptation  Provide instructions for custom mounts

IF IN DOUBT – STOP AND ASK A CONSERVATOR HANDLING - try to minimise risk

Prepare the Area

 Have a clear, clean space with a smooth, strong surface which will take the weight.

IF IN DOUBT – STOP AND ASK A CONSERVATOR  Cover it with a protective layer so that you can keep it clean, it is easy to see fragments, and you don’t transfer substances between objects. Use padding when appropriate.  Have sufficient storage areas for materials (e.g. packing).  Keep the area secure.  Minimise changes in the environment when the object is moved  Gather materials and tools before you start.

Prepare yourself  Make sure clothes, jewellery and hair cannot get in the way. Fasten up or remove loose, trailing items including jackets and cardigans so you have a smooth front. Shoes must stay on your feet and protect your toes. In some areas you may need workshoes.  Wear suitable Personal Protective Equipment. This may be as little as gloves and an overall or apron, but you may need a dust or vapour mask, and goggles. Some areas may need a hard hat and a high visibility vest.  Make sure you have all the information you need. What objects are you working with and why? What are the museum’s procedures (e.g. Documentation, First Aid, Accidents, Damage, Quarantine/Pests, Theft/Security). If using materials or equipment, have you read the manufacturer’s instructions? Have you read any relevant Health and Safety documents?  If you will be moving objects, walk the route first.  If working in a team, make sure everyone agrees their role.

Prepare the object  Make sure you know what the object is, its identity, what it is made of, its condition, how many parts it has, the hazards involved and what you are going to do with it.  Minimise handling of objects. Carry items in boxes or trays and unpack onto the work surface.  Never carry more than one item in your hands.  Have someone to open doors and keep the route clear when moving objects.

GENERAL POINTS FOR HANDLING OBJECTS

1. Never eat, drink or smoke near objects.

IF IN DOUBT – STOP AND ASK A CONSERVATOR 2. Prepare yourself  remove any jewellery or accessories which could scratch or entangle the object  wear an overall or apron to protect the object and yourself  wear impermeable gloves that fit well – nitrile, polythene or latex

3. Prepare the area  a secure place  a clean, padded surface for the object  nothing nearby that could damage or stain the object, e.g. pens

4. Prepare your equipment and materials Make sure you have everything you need and safe ways to dispose of used materials.

5. Treat all objects as if they are fragile. Ensure that the whole object is fully supported from beneath when handling and moving. Do not lift by any protruding parts, such as handles, in case they have been damaged or are loose.

6. Question: before working with an object, look at the materials and construction, especially any damaged or weak areas.  Is the surface secure? Is it powdery or flaking?  Are there cracks or weak areas?  Are there loose joints or parts which could detach?  Does it need support in certain areas?  Is there any evidence of decoration or marking?

7. Record the condition of the object before you begin and any observations while working with the object. If you have any doubts, ask before you act.

8. Cleaning: If the surface is secure, loose dust can be removed with a clean, soft brush. Do not brush weak or damaged surfaces. If the object is very dirty or corroded, ask a conservator about cleaning it. Makre sure you know what you are removing. If in doubt – DON’T

9. Observe the object carefully throughout the process – you may uncover weak areas or unknown conditions. Different parts may react differently.

10.Document what has been done – it is part of the history of the object.

Be aware of the hazards of the object, the materials and tools you are using.

IF IN DOUBT – STOP AND ASK A CONSERVATOR PACKING, STORAGE AND TRANSPORT

IF IN DOUBT – STOP AND ASK A CONSERVATOR Time taken at the start to devise individual packing will be worth it, especially when touring to multiple venues.

Packing Materials  Use stable, inert materials  Acid-free card, paper and tissue  Polythene sheet, polyester film (Melinex), polyolefine fabric (Tyvek)  Polythene foams (Jiffy, Plastazote, Ethafoam)  Seal unstable materials such as wood, MDF

Boxes A box can protect objects from physical damage, pests, dust, pollution and light and buffer them from changes in temperature and humidity. It should have a one-piece bottom and well fitting lid. Make sure labels are on the sides, not just the lid. Keep a packing list inside.  Acid-free card  Polythene e.g. Stewart (lids have good seals)  Clear, inert polystyrene e.g. Stewart Crystal.  Polypropylene, e.g. Really Useful Boxes (tape lids for good seal)  Corrugated polypropylene e.g. Correx  Number and identify boxes

Packing Methods  Use acid-free or spider tissue next to the object.  Make nests, don’t wrap objects.  Keep the items in separated layers and make sure they are easy to find.  Small, sturdy items can be put in perforated ziplock bags, padded with Jiffy foam, in boxes.  Delicate items may need to be placed in Plastazote lined boxes, in cavities cut to size.  Make sure you can safely remove and replace the object from the packaging.  Silica gel can keep storage boxes dry.

Storage Areas  Must be secure, stable (temperature and RH), clean  Use for objects only (Don’t keep other things there)  Boxes, cases and packing materials must be stored in clean, appropriate areas when empty.

Transport  Check the route.  Have enough people to carry items safely  Minimise shock and vibration – hand carrying may be better than trolleys. Use air-ride vehicles when possible.  Minimise changes in temperature and humidity.

IF IN DOUBT – STOP AND ASK A CONSERVATOR USING SILICA GEL

Silica gel is used as a desiccant, to remove moisture from the air when storing objects which need to be kept at a low relative humidity (e.g. metals). It can also be ‘conditioned’ and used to maintain a specific humidity level. When dry silica gel is placed in a storage box it will absorb moisture from its surroundings. It will eventually become saturated with moisture and must be replaced with dry silica gel to keep the container dry. The saturated silica gel can be dried out and used again.

The most commonly used silica gel in museums is made up of transparent crystals or beads with an orange/ yellow colour which turn pale as they absorb moisture. An older form used a blue colourant which turned pink: this contains cobalt which can be harmful with prolonged contact or if ingested. It can be reused, but needs special disposal.

Make sure that the container has a good seal. Polythene boxes, especially those made by Stewart, have been tested and found to be very efficient. Measure out enough silica gel to fill about 1/5th - 1/10th of the volume of the box and place it in a polythene bag which you can seal and label. Ziplock bags are very useful for this. Large quantities of silica gel are more effective if placed in several smaller bags, rather than one large bag. When you are ready to put the bag in the storage box and close it, prick the bag all over with a needle or pin. The holes will enable the air to circulate through the bag, but prevent the crystals from falling out. You can then close the box. Check it periodically to make sure the silica gel is still orange/yellow. If you place the bag to one side of the box you will be able to monitor the colour change without opening the box, and can remove it without disturbing the objects in the box. Check the colour regularly.

When you can see that the silica gel has turned pale, take the bag out of the box, open it and spread the silica gel in a clean, dry ovenproof tray or container. You can use metal, ceramic or glass, but the most convenient container is a heatproof metal biscuit or cake tin with a tight-fitting metal lid. Spread the silica gel in as thin a layer as possible and place the tray in the oven, set at 100-110ºC (210-230ºF) to drive off the moisture. If it gets any hotter the silica gel will turn brown and may be damaged. It is better to leave the silica gel there for longer rather than risk overheating it. It may take several hours to dry a big quantity of silica gel, and you may want to stir the crystals occasionally with a heatproof spoon.

When all the crystals are orange/yellow again, bring the tray out of the oven, place it in on a heat-proof surface and cover it with another heat-proof tray until it is cool. If you have used a biscuit tin, you can place the lid on while it is still hot (mind your fingers). This allows the silica gel to stay dry as it cools. Once the silica gel is cool you can place it back in the polythene bag. You can store the bag in a sealed container until you need it to use it.

The dust from silica gel can be irritating to skin, eyes or if inhaled, so wash any containers or tools after use. If you are regularly working with large quantities of silica gel you should use a suitable dust mask. It is a synthetic, amorphous form of silica and will not cause silicosis. The beads create much less dust and cost only a little more.

The Material Safety Data Sheet for Silica Gel is available from the supplier, e.g. GeeJay Chemicals Ltd. Tel: 01767 682774 http://www.geejaychemicals.co.uk 16 Gosforth Close, Middlefield Industrial Estate, Sandy, Beds. SG19 1 RB

IF IN DOUBT – STOP AND ASK A CONSERVATOR SUPPLIERS

L Perspex acrylic sheet local stockists e.g. www.abbeyplasticssouthwest.co.uk I Filter films (for u-v and visible light) www.sun-x.co.uk www.sureguard.co.uk G H UV filters for fluorescent tubes www.preservationequipment.com T Unbleached calico - fabric shops or www.whaleys-bradford.ltd.uk

Blackout blinds - local suppliers or online U V : T Control relative humidity with a dehumidifier or humidifier e.g. Mitsubishi MJ- E E16VX-E1 from www.dry-it-out.com at £295 or www.meaco.com M P Dataloggers approx £95 (e.g. TinyTag Ultra) www.preservationequipment.com Small battery operated temperature/relative humidity meters E-bay or for approx / £15 from www.maplin.co.uk www1.conrad-uk.com H Wireless multipoint readout system www.thermometerspecialist.co.uk/wireless- U temperature-humdity-station M I D I Silica gel beads www.geejaychemicals.co.uk www.conservation-by-design.co.uk T Y : B Stewart polythene or Crystal styrene boxes www.stewart-solutions.co.uk O X Really Useful (polypropylene) – office suppliers www.reallyusefulproducts.co.uk E Acid-free www.preservationequipment.com , www.ryderbox.co.uk S M www.creationbaumann.com Expensive but good quality, tested for museum safety A INDIANA II, PONTE II, ULTRA IV, UMBRIA III, UNISONO III, USUS II, VELOS. T Cheaper safe option - unbleached calico cloth that has been scoured (boil-washed E with no detergent) fabric shops or www.whaleys-bradford.ltd.uk R Polyester felt, Tyvek www.preservationequipment.com I Polyester wadding (not flameproofed) fabric shops or www.whaleys- A bradford.ltd.uk L Acid-free board - art stores and good picture-framers (who may let you have off- S cuts) www.atlantisart.co.uk or www.conservation-resources.co.uk : Acid-free tissue - packaging suppliers or www.conservation-by-design.co.uk Polythene foam (Plastazote or Jiffy foam) www.preservationequipment.com www.polyformes.co.uk www.ramfoam.co.uk Polyester (Melinex) film www.secol.co.uk www.preservationequipment.com Seal wood and MDF fixtures with 3 coats of Dacrylate acrylic glaze 103-1 from Clifton Paints Tel: 0117 966 0321, or cover with Moistop or Marvelseal barrier film heat-sealed onto the surface with a domestic iron. MOISTOP PP004 builders’ merchants or www.conservation-by-design.co.uk M Perspex mounts www.dauphin.co.uk O Wet and dry sandpaper to smooth edges 600 - 1200 grades – hardware stores U Heat shrink polyolefin (polythene) tubing for coating metal pins N http://stores.ebay.co.uk/Mister-Shrink

IF IN DOUBT – STOP AND ASK A CONSERVATOR T Archival quality double-sided tape www.preservationequipment.com (NOT to be S used on objects) : Mannequins www.proportionlondon.com Bustforms – Workroom range. GLOVES: Polythene, latex or nitrile gloves - chemists, hardware stores, cleaning suppliers www.justgloves.co.uk PESTS: Traps www.preservationequipment.com Traps and Constrain pesticide www.historyonics.com TROLLEYS, TAPES etc - local stores or http://www.galleryequipment.com

IF IN DOUBT – STOP AND ASK A CONSERVATOR OBJECT CONDITION REPORT Accession Number: …………….

Accession. No.

Object

Materials

Description

Examined By

Examination Date Structural (e.g. missing parts, breaks, cracks, chips) Surface (e.g. wear, scratches, abrasion) Stains, marks, paint splashes

Chemical (corrosion, salt growths)

Biological (pest damage, mould)

Previous treatments, repairs Special Needs: Temperature, Relative Humidity, Light, Handling, Packing, Mounts Continued on reverse 

IF IN DOUBT – STOP AND ASK A CONSERVATOR Photographs Accession Number: …………….

Please add notes to the photographs

IF IN DOUBT – STOP AND ASK A CONSERVATOR Condition Check at Loan Venue

Please notify the museum of any changes in condition. No treatment should be undertaken by the loan venue without the express permission of the museum.

On Arrival On Departure

Checked By Checked By

Position Position

Date Date

Please attach photographs

Host Museum: Please check thoroughly on return

Condition:

Checked By

Position

IF IN DOUBT – STOP AND ASK A CONSERVATOR Please attach photographs

IF IN DOUBT – STOP AND ASK A CONSERVATOR