TABLE OF CONTENTS
CHAPTER 1 GOVERNANCE AND STAFFING ...... 1-1
AUTHORITY AND GOVERNING DOCUMENTS ...... 1-1 STATEMENT OF PURPOSE AND MISSION STATEMENT ...... 1-2 Statement of Purpose ...... 1-2 Mission Statement ...... 1-2 COMMITMENT TO EXCELLENCE ...... 1-2 OBJECTIVES ...... 1-3 ORGANIZATION OF THE MUSEUM ...... 1-3 Organizational Structure ...... 1-3 Authority – Museum Committee ...... 1-4 Standing Sub-Committees ...... 1-4
THE MILITARY MUSEUMS (TMM) OF CALGARY...... 1-4 RESPONSIBILITIES ...... 1-5 Museum Director ...... 1-5 Museum Manager ...... 1-6 Collections Manager ...... 1-7 Registrar ...... 1-8 Archivist ...... 1-8 Director of Outreach ...... 1-9 Volunteers...... 1-10 INSTITUTIONAL PLANNING ...... 1-10 Strategic Plan ...... 1-10 Museum Programs ...... 1-10 Funding ...... 1-11 Insurance...... 1-11 THE PUBLIC TRUST ...... 1-12 MUSEUM HISTORY ...... 1-12 GIFTS AND TAX RECEIPTS ...... 1-12 Documentation ...... 1-13 Types of Gifts and Donations ...... 1-13 i
OFFICIAL TAX RECEIPTS ...... 1-14 Definitions ...... 1-14 Legal Requirements ...... 1-14 Signing Authority ...... 1-14 Control of Receipts ...... 1-15 Date of Issue ...... 1-15 Annex A To Chapter 1 PPCLI Museum Manual ...... 1A-1 TAX RECEIPTS ...... 1A-1 CHAPTER 2 REGIMENTAL ARCHIVES POLICY ...... 2-1 INTRODUCTION ...... 2-1 History of the Archives ...... 2-1 Mandate ...... 2-1 ARCHIVAL PRINCIPLES ...... 2-2 ACQUISITIONS ...... 2-3 Accessioning Procedures ...... 2-3 Restrictions ...... 2-4 Accessioning Criteria ...... 2-4 Institutional transfers from the Battalions and RHQ ...... 2-4 Additional Considerations ...... 2-5 Coordination and Acquisition of Declassified Records ...... 2-5 ARRANGEMENT AND DESCRIPTION ...... 2-5 Principle of Arrangement ...... 2-5 Levels of Arrangement ...... 2-5 Arrangement Procedures ...... 2-7 Sorting ...... 2-8 Description ...... 2-8 Finding Aids ...... 2-9 PREVENTIVE CONSERVATION OF DOCUMENTS ...... 2-9 DIGITIZATION AND ONLINE STORAGE, AND ACCESS TO MEMORY (AtoM) ...... 2-10 RECORDS MANAGEMENT ...... 2-10 Definition ...... 2-10 Policy ...... 2-10 Purpose ...... 2-10 Appraisal of Records ...... 2-11 Types of Records ...... 2-11 ii
Scheduling ...... 2-11 PRESERVATION POLICY ...... 2-12 Principles ...... 2-12 Physical Condition ...... 2-12 Preventive Preservation ...... 2-12 Conservation Treatment ...... 2-12 Research ...... 2-13 Training and Information ...... 2-13 Emergencies ...... 2-13 BORN-DIGITAL RECORDS, STILL AND MOVING IMAGERY POLICY ...... 2-14 Acquisition ...... 2-14 Criteria for Acceptance of Born-Digital Records, Film, and Tapes ...... 2-14 Accessioning Procedure ...... 2-14 Access and Use of Born-Digital Records and Film Material ...... 2-15 Reproduction ...... 2-15 Physical Preservation ...... 2-16 Storage Needs ...... 2-17 Cleaning Guidelines ...... 2-17 Annex A To Chapter 2 PPCLI Museum Manual ...... 2A-1 FINDING AIDS AND LOCATION CODES ...... 2A-1 Annex 2A - Appendix 1 To PPCLI Museum Manual ...... 2A1-1 PHOTOGRAPH INDEX ...... 2A1-1 Annex 2A - Appendix 2 To PPCLI Museum Manual ...... 2A2-1 SLIDES ...... 2A2-1 Annex 2A - Appendix 3 To PPCLI Museum Manual ...... 2A3-1 AUDIO-VISUAL MATERIAL CODES ...... 2A3-1 Annex 2A - Appendix 4 To PPCLI Museum Manual ...... 2A4-1 MAPS ...... 2A4-1 Annex B To Chapter 2 PPCLI Museum Manual ...... 2B-1 ARCHIVAL DEFINITIONS ...... 2B-1 Annex C To Chapter 2 PPCLI Museum Manual ...... 2C-1 ARCHIVES ACCESS POLICY ...... 2C-1 Annex D To Chapter 2 PPCLI Museum Manual ...... 2D-1 SAMPLE FONDS LEVEL DESCRIPTION ...... 2D-1 CHAPTER 3 COLLECTIONS MANAGEMENT AND CONSERVATION ...... 3-1 COLLECTIONS OVERVIEW ...... 3-1 iii
SCHEDULE FOR REVIEW ...... 3-1 PHYSICAL STORAGE AREA ...... 3-1 ACCESSION POLICY ...... 3-2 Accession Sub-Committee ...... 3-3 Principles ...... 3-3 Types of Collections ...... 3-4 Acquisition Criteria ...... 3-4 Method of Acquisition ...... 3-5 Temporary Custody ...... 3-5 Approval ...... 3-5 DEACCESSION POLICY ...... 3-5 Deaccession Criteria ...... 3-6 Rules and Procedures ...... 3-6 Repatriation of Artefacts ...... 3-8 LOANS POLICY ...... 3-9 Lending Criteria ...... 3-9 Limitation of Loans ...... 3-10 Responsibilities...... 3-10 Procedures ...... 3-11 Incoming Loans ...... 3-12 RESEARCH POLICY ...... 3-12 Definition ...... 3-12 Categories of Research ...... 3-13 Research Priorities ...... 3-13 Research Programs ...... 3-13 Uses of Research ...... 3-14 Liaison with Other Institutions ...... 3-14 Research Rights ...... 3-14 Access and Control ...... 3-15 CONSERVATION POLICY ...... 3-16 Principles ...... 3-16 Types of Conservation ...... 3-16 Collections Storage Areas ...... 3-17 Storage Units ...... 3-17 iv
Environmental Control ...... 3-17 Inspection and Maintenance ...... 3-18 RECORD KEEPING ...... 3-18 Registration and Cataloguing ...... 3-18 Inventories ...... 3-19 RISK MANAGEMENT POLICY ...... 3-19 Definition ...... 3-19 Security ...... 3-20 Risk Assessment and Analysis ...... 3-20 Museum Hazards ...... 3-21 Preparedness ...... 3-21 Priority Items ...... 3-21 Insurance...... 3-22 Appraisals ...... 3-22 Appraisal Criteria ...... 3-22 ARTEFACT STATUS ...... 3-23 ACCOUNTING FOR PUBLIC PROPERTY, NPP, AND WEAPONS MANAGEMENT .. 3-23 DA Account Number for Museum ...... 3-23 Weapons Accounting and Security...... 3-24 Annex A To Chapter 3 PPCLI Museum Manual ...... 3A-1 COLLECTIONS PROCEDURES ...... 3A-1 MUSEUM RECORDS ...... 3A-1 Provenance ...... 3A-1 Importance of Records ...... 3A-2 Types of Museum Records ...... 3A-2 Basic Requirements ...... 3A-4 REGISTRATION PROCEDURES ...... 3A-4 Registration Sequence ...... 3A-4 Quarantine ...... 3A-5 Receiving Area ...... 3A-5 Collection Documentation ...... 3A-5 Temporary Custody ...... 3A-6 Permanent Collection ...... 3A-6 Loan Collection ...... 3A-6 v
Declined Objects ...... 3A-7 ACCESSION MARKING ...... 3A-8 Marking Principles ...... 3A-8 Application of Numbers ...... 3A-9 Alpha-Numeric Codes ...... 3A-9 Category Codes (Legacy System) ...... 3A-10 Labelling Methods ...... 3A-11 MUSEUM FORMS ...... 3A-14 Accession Register ...... 3A-14 CFAMS ...... 3A-15 Temporary Custody Agreement ...... 3A-15 Gift Agreement ...... 3A-16 Loan Agreement ...... 3A-16 Annex 3A - Appendix 1 To PPCLI Museum Manual ...... 3A1-1 TEMPORARY CUSTODY AGREEMENT ...... 3A1-1 Annex 3A - Appendix 2 To PPCLI Museum Manual ...... 3A2-1 GIFT AGREEMENT ...... 3A2-1 Annex 3A - Appendix 3 To PPCLI Museum Manual ...... 3A3-1 OUTGOING LOAN AGREEMENT ...... 3A3-1 OUTGOING LOAN CONDITIONS...... 3A3-2 Annex B To Chapter 3 PPCLI Museum Manual ...... 3B-1 REGULATIONS AND APPLICABLE LAWS ...... 3B-1 Annex C To Chapter 3 PPCLI Museum Manual ...... 3C-1 DEACCESSION CASE STUDY ...... 3C-1 Annex 3C - Appendix 1 To PPCLI Museum Manual BRIEFING NOTE FOR CHAIR REC SGT EJ DODD ARTEFACTS RETURN ...... 3C1-1 CHAPTER 4 GALLERY MANAGEMENT ...... 4-1 EXHIBIT POLICY ...... 4-1 Principles ...... 4-1 Gallery Access ...... 4-2 Gallery Security ...... 4-2 Displaying Weapons ...... 4-2 IT Infrastructure ...... 4-2 GALLERY MAINTENANCE ...... 4-2 Annex A To Chapter 4 PPCLI Museum Manual ...... 4A-1 vi
GALLERY DISPLAY CARD TEMPLATE ...... 4A-1 CHAPTER 5 OUTREACH POLICY ...... 5-1 OVERVIEW ...... 5-1 Responsibilities...... 5-1 Communications ...... 5-1 EDUCATION ...... 5-2 Education - In House ...... 5-2 Education - External ...... 5-2 PUBLIC SERVICES ...... 5-2 Public Services ...... 5-2 Public Response...... 5-3 Public Relations ...... 5-3 COOPERATION WITH OTHER MUSEUMS AND AGENCIES ...... 5-4 Cooperation with Other Museums and Agencies ...... 5-4 Recognized Museum Program (RMP) ...... 5-4 Annex A To Chapter 5 PPCLI Museum Manual ...... 5A-1 ORGANIZATIONAL AFFILIATIONS ...... 5A-1
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CHAPTER 1 GOVERNANCE AND STAFFING
References: A. National Defence Act (NDA) Section 38-41. B. A-PS-110-001/AG-002 Morale and Welfare Programs in the CF. C. Personnel Support Programs Policy Manual. D. DAOD 9003-1, Non-Public Property Governance Framework, Chief of Military Personnel and the Non-Public Property Board. E. DAOD 5045-0, Canadian Forces Personnel Support Programs. F. Application for Status Canadian Forces Museums Dated 19 April 1973. G. PPCLI Regimental Manual. H. Chief of the Defence Staff Terms of Reference for The Military Museums. I. A-AD-266-000/AG-001 Canadian Forces Museums – Operations and Administration. J. Standard Practices Handbook for Museums Third Edition, Alberta Museums Association. K. Archives: Principles and Practices by Laura A. Millar. L. Rules for Archival Description by Canadian Council of Archives. M. Canadian Conservation Institute Notes available at: http://www.cci-icc.gc.ca/resources- ressources/ccinotesicc/index-eng.aspx N. TMM Disaster Management Plan (Draft) September 2016. O. Income Tax Act. P. CFAO 27-5.
AUTHORITY AND GOVERNING DOCUMENTS
1. The Princess Patricia’s Canadian Light Infantry Museum and Archives (hereafter referred to as ‘the Museum’) was granted status as a Canadian Forces Museum on 19 April 1973, and is listed as a Canadian Armed Forces Museum under CFAO 27- 5 “Canadian Forces Museums”. In this regard, the Museum is subject to regulations outlined in the following documents:
a. National Defence Act (NDA) Section 38;
b. A-PS-110-001/AG-002 Morale and Welfare Programs in the CF;
c. Personnel Support Programs Policy Manual;
d. DAOD 9003-1, Non-Public Property Governance Framework, Chief of Military Personnel and the Non-Public Property Board;
e. DAOD 5045-0, Canadian Forces Personnel Support Programs; and
f. A-AD-266-000/AG-001 Canadian Forces Museums – Operations and Administration.
2. Under these guidelines, CF Museums are not Morale and Welfare (MW) programs administered through CFPSA, but are NPP programs. Although not MW, each CF Museum is an NPP activity subject to the NPP accountability framework.
3. Ownership of NPP such as artefacts and memorabilia, pursuant to the NDA Section 38, vests in:
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a. the officer from time to time in command of the unit or other element in the case of artefacts and memorabilia of a unit; or
b. the Chief of the Defence Staff (CDS) in the case of artefacts and memorabilia:
(1) of a unit that has been disbanded;
(2) of a unit in altered circumstances if the CDS so directs in accordance with the NDS Section 38(3); or
(3) that are acquired by contribution but not contributed to any specific unit of element of the Canadian Armed Forces.
4. Under these regulations, the PPCLI Museum and Archives artefact and document collections are NPP and are nested under the Regimental Fund.
5. For all practical purposes, the Museum is administered by the Regimental Executive Committee (REC) of Princess Patricia’s Canadian Light Infantry and situated with The Military Museums of Calgary, AB. The day-to-day affairs of the Museum shall be managed by the Museum Committee, which is composed of the voting membership of the REC.
STATEMENT OF PURPOSE AND MISSION STATEMENT
6. Statement of Purpose. The PPCLI Museum and Archives exists for the purpose of providing a non-profit, educational service to members of the Regiment, the Association and the community at large by preserving available artefacts, documents, photographs and other historical, artistic and scientific items which directly reflect the history of the Regiment, and by displaying the same and making them available for other like purpose enterprise and research.
7. Mission Statement. The PPCLI Museum will preserve, perpetuate and promote the history and heritage of the Regiment in order to educate and inspire the public while increasing cohesion within the Regimental Family.
8. This Statement of Purpose shall be adhered to at all times and may only be amended with the approval of the REC. The REC adopted the aforementioned Statement of Purpose as a summary of its aspirations for the Regimental Museum and Archives (Museum) and the policies to be followed in shaping its future. This statement is intended as a guide for staff to use as a gauge by which progress may be measured. Accordingly, the REC will require the Museum Director to make regular reports on the progress in implementing all matters covered in the Statement of Purpose and on the Museum’s plans for further progress.
9. As circumstances change, alterations may be required from time to time, to the wording of the Statement of Purpose so that it may accurately reflect the current needs and situation. Such alterations will be made with care and only on the approval of the REC.
COMMITMENT TO EXCELLENCE
10. The REC affirms its determination that the Museum shall achieve excellence in all its programs and activities, and accepts obligation to obtain the necessary resources to achieve this goal.
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OBJECTIVES
11. The objectives of the PPCLI Museum and Archives are:
a. procure by gift, donation, devise or bequest wherever possible, and by purchase where necessary and desirable, medals, uniforms, weapons, maps, implements, devices, and other goods and chattels of historical value and importance connected with the military and social development of Princess Patricia’s Canadian Light Infantry within the context of the Canadian Armed Forces (CAF);
b. collect, document, preserve and make accessible to the members of the Regiment and the public, information, records, and items of historical and cultural value relating to the history of the Regiment, and devices and other goods and chattels referred to in sub para a;
c. stimulate interest in the history and development of the Regiment; and
d. cooperate with organizations having similar objectives.
ORGANIZATION OF THE MUSEUM
12. To achieve these objectives, the Museum is divided broadly into three physical areas:
a. The Gallery;
b. The Collections; and
c. The Archives.
13. In addition to these three physical components of the Museum, two additional focus areas are essential to achieving Regimental objectives:
a. Governance and Administration; and
b. Outreach.
14. All of these components are interdependent and mutually supporting, and comprise the core tasks for the Museum.
15. Organizational Structure. The operation and administration of the PPCLI Regimental Museum and Archives shall be managed by the Museum Committee. An organizational structure will be adopted which assigns clear staff responsibilities for the basic programs of the Museum:
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MUSEUM COMMITTEE
DIRECTOR (RM)
GENERAL MANAGER
COLLECTIONS MANAGER ARCHIVIST (CIVILIAN)
REGISTRAR STAFF/VOLUNTEERS
Figure 1 – Museum Organization Structure
16. Authority – Museum Committee. The Museum Committee shall be composed of the voting members of the Regimental Executive Committee (REC). The chairman of the REC shall be the chairman of the Museum Committee.
17. The Committee shall be expected to manage and operate the Museum in accordance with the mandate.
18. It is affirmed that the Committee shall provide adequate resources to operate the Museum and give equal consideration and assistance to all members of the Regiment and shall not provide disproportionate attention to any one unit or branch.
19. The vital importance of volunteer support to the Museum is acknowledged. The Committee shall make every effort to encourage their active participation.
20. This manual shall be adopted and updated as required, approved by the Committee and shall be made available to each staff member.
21. Standing Sub-Committees. If Standing Sub-Committees are appointed their responsibilities shall be directly aligned with one or more of the objectives of the Museum.
THE MILITARY MUSEUMS (TMM) OF CALGARY
22. The Military Museums (TMM) is a Canadian Armed Forces tri-service history, heritage, art, research, and educational institution. TMM is composed of the following organizations:
a. Naval Museum of Alberta;
b. Army Museum of Alberta;
c. Lord Strathcona's Horse (Royal Canadians) Museum;
d. Princess Patricia's Canadian Light Infantry Museum and Archives;
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e. The King's Own Calgary Regiment (Royal Canadian Armoured Corps) Museum;
f. The Calgary Highlanders Regimental Museum and Archives;
g. Air Force Museum of Alberta;
h. The Founders’ Gallery of the University of Calgary; and
i. The University of Calgary Military Museums Library and Archives.
23. Centralized coordination and joint programming will guarantee a quality visitor experience, as well as common standards and services which will provide critical care of the artefacts, and ensure the facility is functional and cost effective. While the PPCLI Museum and Archives is located within TMM, the relationship is one of cooperation and coordination. Direction concerning the PPCLI gallery, collections, and archives comes from the REC.
24. The Chairman of the Museum Committee or delegated representative shall represent the PPCLI as a sitting Founding Member Director on the Board of TMM. They shall execute all duties in a manner consistent with the Bylaws of TMM, but in so doing, any decisions made shall not diminish the autonomy of the PPCLI Museum and Archives or the authority of the PPCLI as the body politic.
RESPONSIBILITIES
25. The daily operation and administration of the PPCLI Museum and Archives shall be managed by Regimental Headquarters (RHQ) and the Museum Staff on behalf of the Museum Committee. It shall be the responsibility of the Director to implement the policies of the Committee and to manage the Museum with those policies.
25. While the Museum Director is appointed by the Museum Committee, the remainder of the Museum positions are tiered based on potential manning issues that may arise. In the event of such issues, the positions within the Museum Staff may be delegated down.
26. Museum Director. The Chairman of the Museum Committee shall appoint a Museum Director. The Museum Director’s responsibilities shall include, but are not limited to, the following:
a. enter on behalf of the Committee into specific term licence agreements for all outgoing loans of museum items for periods not exceeding one year, unless renewed, and for all incoming loans of museum items for periods of not less than six months (except in the case of items or loans for special exhibitions);
b. enter on behalf of the Committee into royalty agreements when reproductions for commercial purposes are requested for any museum item;
c. Dispose of collection items surplus to museum requirements to other similar museums at their appraised value or in exchange for museum items of similar value from other museums. No disposal of surplus items shall be permitted for commercial purposes without the prior approval of the Museum Committee;
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d. act as singing authority for all museum purchases, tax receipts, and contractual agreements;
e. conduct planning and coordination of the fund-raising activities for the museum; and
f. liaise with and support TMM.
28. Museum Manager. Understanding that the skill-set and qualifications of the museum staff varies over time, there may not always be an official Museum Manager assigned to the tasks below. Under these circumstances, the Museum Manager’s responsibilities will devolve to the Collections Manager.
29. The Museum Manager is directly responsible to the Director for the care and academic interpretation of all objects, materials and specimens belonging or lent to the Museum. The Museum Manager shall make recommendations for acquisitions, deaccessions, attribution, authentications, research on the collection and if possible, the publication of the results of that research. In particular, the Museum Manager is responsible for:
a. supervising the Museum staff and day-to-day administration of the Regimental Museum and Archives, and ensuring both are aligned with regimental objectives as determined by the REC;
b. overseeing reception, appraisal, documentation, preservation and display of artefacts, documents and photographs;
c. preparing and submitting an annual budget and Operations Plan to the Museum Committee and operating the Museum within the approved budget and plan, and providing input to the CoC on strategic plans;
d. performing administrative duties such as purchasing supplies and equipment, controlling and working within an approved budget, and ensuring proper accounting of all expenses;
e. ensuring that policies and procedures are up to date with current practice and that the appropriate governance documents are in place at the Museum;
f. ensuring RHQ is informed of any donations or gifts so proper tax receipts can be issued by the Regimental Accounts NCO;
g. planning, organizing and implementing policies to acquire objects for museum collections by encouraging donations from public and private collections or by arranging the purchase of artefacts;
h. representing the Museum at TMM staff meetings and support the Director and Chair REC with preparation for TMM Council meetings;
i. ensuring objects in the collection are researched and identified, and that accurate catalogue records are maintained;
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j. conducting research and disseminate information to the community by delivering lectures, preparing articles for publication, answering queries, arranging military displays, displays of in-house collections, and travelling exhibits;
k. developing themes and concepts for displays, arranging for the use of borrowed items including the import and transportation of items and the promotion of displays;
l. administration of the Museum, preparation and submission of applications for funding, including liaison with civilian community;
m. investigation and application for certification of cultural property and immunity from seizure of foreign cultural property (if applicable);
n. upkeep of affiliations with provincial and national museum organizations such as Alberta Museums Association (AMA) and Organization of Military Museums of Canada, and maintaining Recognized Museum Status with the AMA;
o. overseeing Museum social media presence and coordinate with TMM on this matter;
p. providing for the security and maintenance of the collections, buildings, and property of the Museum;
q. preparing catalogues, articles and promotional publications related to exhibitions and the Museum’s collection in general; and
r. interviewing and hiring additional staff for short term projects as required.
30. Collections Manager. The Collections Manager (Museum WO or Sgt) is responsible to the Museum Manager. In addition to stores responsibilities, this is a supervisory position dealing with design and the technical work in the Museum and has technical photographic design and artistic aspects. Specifically, the Collections Manager is responsible for:
a. supervising and maintaining a central registry, which includes the records of accessions, donations, loans, exhibits, insurance, custom matters, artefacts locations and condition;
b. answering enquiries regarding the collections, procedures for donations, income tax exemptions and evaluation of artefacts;
c. designing two and three dimensional exhibitions and displays, production of sketches and finished artwork as required;
d. coordinating and supervising the design and construction for exhibits and displays;
e. preparing catalogues, articles and promotional publications related to exhibits and to the Museum’s collection in general;
f. posting Museum updates to social media;
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g. monitoring the environmental conditions in the Museum;
h. compiling clear and accurate records of the Museum’s collection, and performing research as required to enhance artefact descriptions;
i. staff and volunteer training in the field of collections management, preventative conservation, exhibit design and public programming ensuring a high standard is maintained;
j. performing administrative duties such as purchasing supplies and equipment, controlling and working within an approved budget; and
k. supervising volunteers in the Collections.
31. Registrar. Understanding the skill-set and qualifications of the museum staff varies over time, there may not always be Collections Manager assigned to the tasks below. Under these circumstances, the Collections Manager’s responsibilities will devolve to the Registrar.
32. The Registrar is responsible for:
a. acquisitions;
b. receiving, appraising, and documenting donations, and determining which portions of a donation go to Collections and which to Archives;
c. identifying and researching objects in the collection, establishing and maintaining catalogue records;
d. preparing and documenting loans;
e. packing and shipping of artefacts;
f. inventory control;
g. insurance and storage;
h. conservation and care of the collections;
i. creating, organizing and maintaining the administrative forms, legal documents, files, and retrieval system for all of the above;
j. supervising the staff or volunteers engaged in compiling and entering catalogue information into the computerized inventory program; and
k. maintaining the inventory or location file and producing annually, or as required, a condition report including separate additions and deletions report.
33. Archivist. The Archivist is responsible to the General Manager. The responsibilities include the operation of the PPCLI resource centre within the TMM complex, including cataloguing and reference service, acquisition and control of all archival materials in accordance
1-8/15 with the Archival Policy outlined in Chapter 2 of this manual. The Archivist responsibilities are:
a. arranging and describing records, books and other materials in the Archives in accordance with Rules for Archival Description standards;
b. performing reference duties by providing information to the Regiment and the public;
c. controlling the circulation of archival material;
d. undertaking research for completion of documents, identification and authentication of the historical significance of archival material;
e. processing all new accessions in a timely fashion and maintaining the Archives accession register;
f. supervising temporary staff and volunteers; and
g. maintaining the Access to Memory (AtoM) online database of PPCLI archival holdings.
34. The Archivist must have considerable knowledge of the methods and practices of current archives and library standards. A background in Archival Studies is preferred.
35. Director of Outreach. The REC approved a Director of Outreach position to strengthen the relationships developed between the Regiment and local Alberta communities that were established through the public relations campaign during the commemoration of the Regiments' Centennial in 2014 and to augment existing outreach programs through the PPCLI Museum and Archives. This position is a contract position and contingent on sufficient funding.
36. The Outreach Director’s responsibilities in relation to the Museum are:
a. in accordance with the regiment's vision to promote goodwill and admiration of the public towards the armed forces and to promote the history, traditions and heritage of the Regiment in order to educate and inspire the general public, the Director of Outreach will support the PPCLI Museum and Archives in an effort to connect the Regiment to a greater audience;
b. serve as an advocate and liaison for the Regiment, interacting with members of the general public and special interest groups in an effort to cultivate awareness and a sense of benevolence for the Regiment within the community;
c. engage the community by developing programs that generate appreciation and support for the Regiment and the Armed Forces in general by creating corporate and school partnerships through programs such as educational presentations, leadership symposiums, interactive soldier-for-a-day opportunities for both adults and students and mentoring opportunities between soldiers and students, and children with disabilities;
d. The Director of Outreach will develop, manage and conduct an Oral History program with a focus on veterans from Bosnia, Croatia and Afghanistan. The
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oral histories will contribute to the rich repository of history in the Regiment's Collections and Archives but they will also be made available to the public through audio visual exhibits set up in the PPCLI Museum for visitors to access. The oral history material will be used for film development about various aspects of the Regiments' recent history as well; and
e. author and edit the 100th Anniversary Blog marking significant events and sharing original resources such as letters home and rarely seen photographs chronicling the day to day experiences of Patricia’s during the First World War.
37. Volunteers. The Museum will employ volunteers to assist in a variety of tasks. Volunteers broadly fall into three categories, and duties may overlap:
a. Collections Volunteers;
b. Archives Volunteers; and
c. Gallery Hosts.
38. Volunteers are administratively controlled by The Military Museums Volunteer Coordinator. The Volunteer Coordinator is responsible for recruiting and assigning volunteers to the various members of TMM. The PPCLI Museum will actively work with the Volunteer Coordinator to find suitable volunteers for work in Museum operations. The Museum will provide the Volunteer Coordinator with a guidebook for use by volunteers conducting tours in the gallery. This guidebook will be controlled by the Museum Manager and updated as the gallery is changed.
39. Volunteers make great contributions to the quality and operation of the Museum. Therefore a volunteer recognition program will be in place separate from the TMM volunteer program. A budgeted amount shall be made available on an annual basis for recognition of volunteers. Volunteers will also be provided with the opportunity for professional development, and an additional amount for training shall be budgeted.
INSTITUTIONAL PLANNING
40. The key planning tool of the Museum shall be the Statement of Purpose. This document will be reviewed for currency annually by the Director who will propose amendments to the Museum Committee.
41. Strategic Plan. A five year operating plan on the future plans of the Museum, including the Statement of Purpose, will be provided and reviewed annually for the autumn REC meeting. This plan will guide gallery, collections, and archives policies and planning, as well as outreach programming.
42. Museum Programs. The programs of the Museum are listed below. This program list shall constitute the core activity classification of the museum and shall be used in program evaluation, in allocation of staff responsibilities and organization, and in budget preparation:
a. institutional planning and organization;
b. collections and acquisitions;
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c. registration;
d. preservation;
e. exhibits and galleries;
f. interpretation;
g. research;
h. communication (orientation, publication and public relations);
i. relations with other museums and agencies;
j. funding;
k. public service;
l. public responses; and
m. risk management.
43. Funding. The Museum will carefully assess the minimum funding required to support each of the basic museum programs through the preparation of both short term and long term programs as proposed in the five year operating plan.
44. As part of the preparation and execution of the Strategic Plan, the Museum Director will prepare and periodically update its short and long term budgets, with the assistance of the Museum Manager.
45. The Museum will maintain a continuing assessment of the potential of all available funding resources for capital and operational purposes, earned revenue, public donations and government grants by tracking grant submission due dates detailed by the various levels of government and funding groups such as the Alberta Museums Association.
46. The Museum will maximize any earned revenue, donations, grants, retail sales, etc. in every way consistent with its mandate and its standing in the community.
47. When the elements of the Strategic Plan have been completed and costs assigned, the Museum will conduct a carefully planned capital funds campaign to raise money from the general public and corporate sector.
48. Insurance. The Museum’s holdings as NPP are covered under the NPF Consolidated Insurance Program (CIP). Details of the coverage provided are contained in A-FN-105-001/AG- 001. CIP provides a base level of coverage up to one million dollars. As the Museum’s collections are valued over one million dollars, additional premiums must be acquired. Appraisals must be conducted to demonstrate the value of museum holdings exceeding one million dollars to CIP, which will then provide the additional premiums.
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49. Building property, which includes carpets, baseboards and other infrastructure in the Gallery, is covered under CIP but claims to this material will be administered by the TMM director and Operations Officer, but initiated by the Museum Manager.
50. Outgoing loans must be insured against all risks by the borrower.
THE PUBLIC TRUST
51. The Museum holds in public trust for the members of the Regiment and the people of Canada the assets and the collections it requires to achieve the objectives outlined in the Statement of Purpose. Public trust obligations permeate all aspects of daily work in the Museum.
52. Public trust is a term that describes the obligation shared by the museum’s governing authority and its staff to serve the public interest. Members of the museum’s governing authority and staff are accountable to the public in all the museum’s activities. They are responsible for ensuring that the long-term interests of the public are considered thoughtfully and addressed with integrity. Their actions must consistently build public confidence in the museum and, at the same time, consistently support the museum’s mission. The highest standard of ethics must be upheld.
53. Collections management policy, conservation policy, research policy, outreach and exhibit policies are all key components of museum activities that support the public trust.
MUSEUM HISTORY
54. The PPCLI Museum was established in September 1953 in Wainwright, AB, where the PPCLI Regimental Depot was located. RSM Owen Gardner (later Captain) played an integral role in establishing the Museum and acquiring is initial collections. Prior to this, many artifacts were held in the Sergeants’ and Officers’ Messes. The Ric-a-Dam-Doo was in the CO’s office and new soldiers were paraded in front of the original Colour.
55. In 1957 the Museum moved to Edmonton, and in 1968 it moved to Currie Barracks in Calgary. In 1989 the Museum moved to its current location at the Military Museums (then the Museum of the Regiments) with a grand opening held on 30 June 1990.
56. The Museum collection was initially controlled by the Regiment but at an undetermined date responsibility passed to the PPCLI Association as an activity of the Hamilton Gault Memorial Fund. In 2004 this responsibility was signed over as a whole to the Regiment, making the Museum a purely NPP entity.
GIFTS AND TAX RECEIPTS
57. The Regimental Museum and Archives, as a Canadian Armed Forces (CAF) Museum, is eligible to receive donations and to issue receipts for tax purposes under the Income Tax Act of Canada.
58. As an accredited CAF Museum, the PPCLI Regimental Museum and Archives is a non- public funded institution established and administered in accordance with Section 38 of the National Defence Act (NDA), and Canadian Forces Administrative Orders (CFAO) 27-5, and such other orders and regulations as may be issued from time to time. As such, the Museum is an instrument of the Crown in right of Canada for the purpose of tax receipts for the full market value of gifts. The full details are contained in the references to Section 2 of this chapter.
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59. In the case of the Regimental Museum and Archives, all donations and gifts are deemed to be given to the Museum. These items then become Crown Property as NPP.
60. The provisions of the Income Tax Act are very explicit and anyone not familiar with the Act should contact the Regimental Accountant for advice.
61. Documentation. When the Museum and Archives receives a donation, either monetary or material, the Registrar shall issue a temporary receipt. For monetary donations, the Museum Director will send a letter of appreciation to the donor at the earliest convenience. A receipt for income tax purposes will be issue by the Regimental Accounts NCO at the end of the calendar year for the donation.
62. Material donations of an appraised value of less than $1,000 CDA will be passed to the Museum Manager for consideration. If at all possible, all objects shall be evaluated by a third party evaluation, although the Museum Manager is allowed to appraise donations of a value less than $ 1,000 CDA. It must be remembered that the Income Tax Act places the onus on the donor to establish the value for the purpose of deduction. Where the value is estimated at over $ 1,000 CDA, the donor must provide an appraisal certificate from an independent and accredited appraiser. In special cases a minimum of two appraisals are required. Once the gift/donation has been properly assessed and the acquisition process has been completed, a tax receipt may then be issued.
63. Units and institutions in receipt of gifts from members being posted or released must ensure that a validation is received from the member i.e. bill or evaluation of an independent appraiser. No tax receipt will be issued by the Museum until the gift has been evaluated and verified by the Museum Manager.
64. Receipts for income tax purposes, notwithstanding the foregoing, shall normally be issued at the request of the donor. The Museum and Archives retains the right to refuse any donation or gift.
65. Types of Gifts and Donations. Generally, gifts or donations to the Museum and Archives fall into the following categories:
a. Simple Deed of Gift. Which gives to the Museum and Archives the physical materials and all rights, titled and interests (including copyright, trademark and related interests), or gives to the Museum and Archives the physical material and places all copyright and related interests in the public domain.
b. A Deed of Gift. This gives the physical materials and a specific licence to the copyright. The donor may give all right, title and interests (including all copyright, trademark and related interests) at a specific time in the future or at the donor’s death.
c. An Agreement of Deposit. Allows the donor to retain all ownership and property rights (including copyright) in materials. The physical materials are placed in the custody of the Museum and Archives and a licence is given which specifies the right of the Museum and Archives (where applicable) to make preservation copies and to provide reference to copies for scholarly study.
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d. Temporary Loans. Allows the Museum and Archives to borrow materials in order to make preservation and reference copies only. This formal agreement shall only be made in exceptional circumstances and for small amounts of materials. An agreement describing the uses which may be made of the preservation and reference copies is given to the Museum and Archives.
66. Receipts for income tax purposes may be issued by RHQ for the first three categories only. Temporary loans are not eligible since no transfer of ownership takes place.
OFFICIAL TAX RECEIPTS
67. Definitions. A gift, for purposes of paragraph of the Income Tax Act, is a voluntary transfer of property without valuable consideration. A gift is made in any circumstances when all three of the conditions listed below are satisfied:
a. some property is transferred by a donor to a registered charity;
b. transfer is voluntary, any legal obligation on the payee would be cause the transfer to lose its status as a gift; and
c. the transfer is made without expectation of return. No valuable consideration to the donor or to anyone designated by the donor may result from the payment.
68. Legal Requirements. Official donation receipts shall be issued only as long as the parent charity is registered.
69. Current regulations require that each official receipt issued by RHQ to acknowledge a donation must contain the following:
a. a statement that it is an official receipt for income tax purposes;
b. the charity’s registration number, name and address as recorded with Revenue Canada;
c. the place or locality where the receipt was issued;
d. the date on which the donation was made or received or, where the property other than cash was received, the actual date of the receipt;
e. the day on which the receipt was issued when it differs from the date of the donation;
f. amount of the gift; and
g. the name and address of the donor.
70. Signing Authority. Each such receipt must be prepared at least in triplicate and must be signed by the Museum Director. In addition, where the donation is a gift of property other than cash, the fair market value of the property of the property at the time the gift was made, as well as the date of the gift, a description of the property, and the name and address of the appraiser (if any) of the property, is required.
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71. Control of Receipts. The Regimental Accounts NCO is responsible for the control and security of the receipts. No unauthorized receipt will be issued. In the event of lost or stolen receipts, the Regimental Major (RM) shall be notified immediately.
72. To replace a lost receipt, a replacement receipt may be issued. The RM shall be the sole authority for replacement receipts. When approved, a replacement receipt shall contain the same information listed in Article 511 plus a notation to the effect the “this cancels and replaces receipt # ------”.
73. In the case of spoiled receipts, all copies must be retained and marked as “cancelled”, and another receipt may then be issued.
74. Date of Issue. The “date of issue” was the date on which the receipt was prepared. There are no regulations requiring the issuance of official donation within a particular time frame, but receipts should be issued all at once, usually in the last week of February following the year in which the donation was made. The more important date is the date the donation was made. Donations or gifts received after the end of the calendar year may not be added to the prior year’s donations unless the donation or gift was post marked in the previous year.
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Annex A To Chapter 1 PPCLI Museum Manual April 2016
TAX RECEIPTS
1. The following is the tax receipt format issued by Regimental Headquarters. RHQ issues tax receipts as a representative of the Crown. The Museum Director retains signing authority.
Figure 1A - 1
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CHAPTER 2 REGIMENTAL ARCHIVES POLICY
References. A. Archives: Principles and Practices by Laura A. Millar. B. Rules for Archival Description by Canadian Council of Archives. C. Canadian Conservation Institute Notes available at: http://www.cci-icc.gc.ca/resources- ressources/ccinotesicc/index-eng.aspx
INTRODUCTION
1. The purpose of this chapter is to provide a comprehensive description of the role and activities of the Archives within the Regimental Museum.
2. This chapter will provide direction to staff and volunteers in carrying out the responsibility of operating the Archives. However, it is not a substitute for an education in archival principles and practices. Those appointed to the positions of Museum General Manager or Museum Archivist are strongly advised to obtain a basic archival education and to extend that knowledge through educational programs that are available. One of the following programs or their equivalents should be considered to be the minimal prerequisites in order to manage the Regimental Archives with competence:
a. Archives Institute. A 6-day intensive immersion course offered annually by the Archives Society of Alberta in Calgary or Edmonton.
b. Introduction to Archival Practice. A 10-week distance education course offered annually by the Archives Association of British Columbia.
3. History of the Archives. The PPCLI Museum and Archives is believed to have started in 1953 as a project of the PPCLI Association and the Regiment (an existing accession register documents acquisitions as early as 1914 but it appears to have been created retrospectively). In 1989 they joined three other regimental museums/archives to establish the Museum of the Regiments (expanded and renamed The Military Museums in 2009). The PPCLI Museum and Archives was maintained by the volunteers of the Association until 1994 when its ownership and management responsibilities were transferred to the Regiment. It was managed by civilian museum professionals (1996-2006) and subsequently by regimental members under the direction of the Regimental Major. Beginning in 2013, civilian professional archivists were engaged to maintain and upgrade the collections.
4. Inherent in the mandate of the Regimental Museum and Archives are the activities of acquisition, appraisal, accessioning, arrangement, description, and diffusion of knowledge.
5. Mandate. The mandate governing this policy is section 855 of the Regimental Manual which states that: “The PPCLI Museum and Archives exist for the purpose of providing a non- profit, educational service to members of the Regiment, the Association and the community at large by preserving available artefacts, documents, photographs and other historical, artistic and scientific items which directly reflect the history of the Regiment, and by displaying the same and making them available for other like purpose enterprise and research.”
6. The Archivist may do such things which are conducive to the attainment of the mandate of the Regimental Archives, including:
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a. acquisition;
b. appraisal;
c. arrangement, description, and conservation of records;
d. provision of access to the records (subject to any lawful restrictions that apply);
e. reproduction services;
f. consultation and research services;
g. display and publication of the records;
h. provision of records and information management services to the Regiment; and
i. cooperation with other archival organizations.
ARCHIVAL PRINCIPLES
7. Purpose. The purpose of archival service is to acquire, maintain and make available the documentary evidence of society’s communications, actions, and transactions.
8. Provenance. The principle of provenance has been the foundational principle of archival work since the nineteenth century. Archivists strive to maintain evidence of the chain of custody of an archival fonds; they maintain the fonds intact rather than divide it into parts filed separately by a subject classification scheme; and they discourage owners of archival fonds from splitting them up to send to different institutions.
9. Respect des fonds (“respect for the source”). A corollary of the principle of provenance, respect des fonds requires that the documents be arranged according to the original order or filing system of its creator, if one is discernable. The original order of documents within a fonds contains information on the context of their creation and use. Imposition of an artificial system of arrangement on a fonds results in more work for the archivist. For example, the fonds of Andrew Hamilton Gault should not be split up and added to a PPCLI World War 1 collection, a between the wars collection, and a World War 2 collection. The fonds should be kept intact.
10. Hierarchy of appraisal values. Appraisal is the most challenging and intellectually- demanding task of the archivist. The American archival theorist T.R. Schellenberg suggested a hierarchy of values as a guide for appraisal:
a. the primary reason to maintain archival records is for their evidential value: evidence of the rights and obligations of the creator of the records, and of the individuals and organizations that have had transactions with it. For example, an advertising flyer found within an organization’s office records has no evidential value unless the organization is known to have transacted with the advertiser;
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b. a secondary reason to maintain archival records is for their informational value: whether they contain information of cultural significance; and
c. a tertiary reason to maintain archival records is for the intrinsic value of the physical object: aesthetic or artistic significance, uniqueness, age, evidence of authenticity, or suitability for exhibition.
11. Authenticity. A document has at least one author, and evidence of its authorship is typically contained in the signature or seal. A photocopy or scan has less authenticity than the original document. An archive should strive to collect original documents rather than copies.
ACQUISITIONS
12. Acquisitions may be explained in terms of acquiring, appraising, accessioning, arranging, cataloguing, and describing.
13. The Regimental Archives are sponsorial archives: it is the official archival repository of the PPCLI, the organization which sponsors it. It is under the control of the Museum Director, who is responsible for management of the Regiment’s recordkeeping in general. Records created or accumulated in the course of the Regiment’s activities are transferred to the Archives on the orders of the Museum Director.
14. The Regimental Archives are also a collecting archives. The archivist seeks out archival documents in the possession of veterans and their heirs, historians, veterans’ organizations, and other extra-regimental sources.
15. Accessioning Procedures. Accessioning is essential for administrative control of the collections. The procedure should be completed on the day the archival items arrive at the Archives, if possible, or soon thereafter. Failure to do so can result in a backlog of unidentified material which can be problematic to administer. Accessioning of archival items, unlike artefacts, does not require detailed measuring and labelling of individual items, and it should be possible to do within a few days. Similar to Collections, archival donations should be reviewed by the Accessioning Committee. In practice donations are often ‘on the spot’ and the Archivist or Museum Manager must make the decision on the ground.
16. The Archivist must work with the Collections Manager and Registrar to sort out donations of mixed artefacts and archival records. The same Temporary Custody Agreement and Gift Agreement forms will be used, and the same method of recording accessions as laid out in Chapter 3 Annex A.
17. All items, whether transferred to the Archives by the Regimental Major or accepted by the Archivist as a donation are immediately assigned an accession number, on the day the item arrives if possible. The accession number begins with the letter A for Archives, followed by four digits indicating the year of the accession, followed by a decimal point and three digits (backfilled with zeroes) to indicate the order of assignment of the accession number within the year. For exceptionally large or complex accessions, another decimal point followed by two or three digits is added:
a. Example: A2014.018.
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18. All non-digital accessions in textual, pictorial, sound recording and moving image formats are flattened and removed from old file folders, binders, or boxes (unless these containers have informational or aesthetic significance), and stored in archival file folders. The accession number is written neatly in pencil on the folder. If the folder contains only one item, write the accession number in pencil on the item, as well. Accessions small enough to fit into a 9” x 15” box without creasing are shelved in chronological order in Room 1, Stacks A and B. Oversize accessions are stored in Room 2, Stack J or in other locations if necessary. For oversize items, write a Relocation Slip and file it in the location where it would be found if it were not oversize.
19. Born-digital accessions (typically received as email attachments or compact disks) are filed in the Born-Digital Accessions directory on the Archives main computer. The file is renamed by appending the accession number to the beginning of the filename.
20. Add the basic accession information (accession number, brief description of contents, source or donor, storage location, date of accession, other comments) to the accession register.
21. The Accession Register will be kept as a Word Document. A duplicate copy of the Accession Register will be held by the Museum Manager. This document will be backed up monthly.
22. If the accession is a donation from an individual or an organization other than PPCLI, a Gift Agreement must be filled out and signed to formalize the understanding that the accession has become property of the PPCLI. A sample Gift Agreement form is at Annex 2A Appendix 2. If the accession is brought in by the donor in person, the Agreement can be filled out immediately. If the accession is received by mail or courier, a Gift Agreement ready for signature, with a stamped, self-addressed envelope, can be enclosed with the thank-you letter.
23. Signed gift agreements, correspondence, and other documents related to accessions are stored in drawers 2 and 3 of the filing cabinet beside the archivist’s desk.
24. Restrictions. It is unlikely, but possible, that an individual or organization would donate records with restrictions (e.g. “No access to researchers until after my death”). The Archives can accommodate such a request by adding the appropriate restriction statement to finding aids.
25. The Archives holds some nominal rolls which include PPCLI members’ Social Insurance Numbers. Disclosure of an individual’s SIN is now considered to be a serious breach of privacy rights, as it can lead to identity-theft crimes. The Archives will impose restrictions on access to such records to all researchers unless authorized by the Regimental Adjutant. Such restrictions will be indicated in finding aids.
26. Accessioning Criteria. While accessioning will always be at the discretion of the archivist or personnel receiving the files, some general guidelines will assist in limiting the amount of material of little relevance to the Regiment’s history.
27. Institutional transfers from the Battalions and RHQ. The primary acquisition criteria for institutional transfers will be preserving evidence. The same criteria for accessioning artefacts as presented in Chapter 3 to this manual will apply to the Archives.
28. RHQ is often the first point of contact for transfer of records from the Battalions. RHQ staff must apply discretion due to the volume of work produced by the Battalions and assess the
2-4/17 archival value of potential transfers. This is true for born-digital records, especially those of large file size as information management and storage space become concerns.
29. Additional Considerations. The following must also be considered:
a. Physical Condition. Items that are in very poor physical condition will generally not be accepted unless they are of significant historical value to the Regiment or key Regimental personalities such as Princess Patricia or Hamilton Gault.
b. Digital Medial Condition. To the extent possible, any scanned photographs received should be in a high resolution format. A .tiff format is the preferred archival format.
c. Duplication. Effort will be made to avoid acquiring items that already exist in the Archives. This is especially a concern with digital media and photographs. Photographs take up a lot of memory space and unnecessary duplicates are disadvantageous.
d. Copyright. Unless specified in writing during the time of the donation, PPCLI will assume all copyright of donated archival items.
30. Coordination and Acquisition of Declassified Records. The Regiment must have arrangements in place with Directorate of History and Heritage to acquire documents that are recently declassified and available for the Archives, such as War Diaries. This coordination will be done by RHQ.
ARRANGEMENT AND DESCRIPTION
31. Arrangement and description are at the same time distinctly different and closely related. Arrangement is personal to each collection/group, reflecting the activity, occasionally even the personality, of the creator. The assurance of arrangement is that each document (file, unit, series, etc.) belongs properly in but one place. The archivist’s task is to determine that place and put the document in it. Descriptions follow a formula to crystallize arrangements, whatever the arrangement may be. Description systemizes the information about holdings and provides different access points to the documents so researchers pursuing their various interests can access the materials systematically and with ease.
32. Principle of Arrangement. The overall principle is called the ‘principle of provenance’ which relates to the origins of the documents, the activity which generated them; it is the basic premise of archival theory and practice. Flowing directly from this principle is concern for the integrity of the documents and the maintenance of the original order.
33. Levels of Arrangement. In all archival repositories the records are described in multi- level format. The description in multi-level format usually starts at the broadest level and then progresses to more specific levels of description:
a. Fonds Level. The breakdown of the holdings of an archive into an aggregation of records which originated from an individual or an organization is known as ‘fonds level arrangement’. This level should include identification of natural series, files and items; a fonds can be as small as a single item, but unless it is of extraordinary significance, it would be better to gather several items together to
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form an artificial collection. Every fonds or collection must have a title (usually the name of the creator of a fonds, or the name of the collector of a collection); a date, dates, or approximate dates; a statement of physical extent; an administrative history or biographical sketch; and a scope and content note describing the materials. In Canada, Rules for Archival Description (RAD) – Reference B, is the standard for writing descriptions of fonds, collections, series, files, and items. An example fonds description is found in Annex D.
b. Series Level. The breakdown of the fonds into natural groups of records which reflect the same function, activity or subject.
c. File Level. This is the smallest aggregate unit within fonds. It consists of documents filed together in a way that reflects particular activities, subjects, etc., and that bear the same title. A file may consist of any number of individual folders.
d. Item Level. This level refers to the lowest level of description and the smallest intellectual entity within fonds. An item is usually physically indivisible. For example, a letter or a manuscript is considered to be an item.
34. The above four steps refer to the arrangement of the records themselves, independently of their containers. They establish the order or sequence in which records ought to be labelled and shelved.
35. A fonds can be composed of several accessions and even un-accessioned items, if they all came from the same creator. By the same token, an accession may contain more than one fonds.
36. A fonds or collection may consist of a single accession, or it may consist of two or more accessions, and possibly un-accessioned material gathered together.
37. In accordance with the principle of respect des fonds, it is preferable to arrange archival materials in accordance with the filing system or order used by the creator or collector.
38. The majority of fonds or collections arrive at the archives in boxes arranged in no particular order. In such cases, it is necessary for the archivist to arrange the material in a logical order to facilitate access.
39. Fonds of organizations are typically arranged in a hierarchical order which reflects the chain of authority. For example, the archives of a not-for-profit society typically might be arranged in the following order:
a. Constitution and Bylaws;
b. minutes from Annual General Meetings;
c. minutes from Board of Directors meetings;
d. correspondence and other records of executive members of the Board;
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e. financial records (usually audited annual financial reports are all that need to be retained);
f. minutes and correspondence of committees;
g. general office files; and
h. general documentation of the organization’s activities, such as news clippings, photo albums, etc.
40. Fonds of individuals would typically be arranged in a hierarchy from the general to the specific. For example, the archives of a military leader typically might be arranged in the following order:
a. biographical information, such as obituaries and autobiographies;
b. personal documentation such as educational transcripts and service records;
c. documentation of career activities in chronological order, such as classroom notes written as a cadet or correspondence documenting decisions made while in command of a military unit;
d. documentation of personal and family life;
e. awards and honours; and
f. photographs.
41. Gather the fonds or collection together on one table if possible and review it. If it is large, analyze the contents in order to arrange it into series. Arrange the series into files.
42. Arrangement Procedures. Arrangement actually may begin before a body of records, arrives at the archives.
43. Preliminary work. Always work with one accession at a time, no matter how large or small. Place the entire accession in a secure area, where other materials will not become intermingled. Then try to identify:
a. any distinct fonds and sub-fonds;
b. a logical and valid original order; and
c. any series and files.
44. Physical Care of a Record. Evaluate the physical condition of the material and remove any paperclips, staples, pins, rubber bands or other harmful items. Unfold the uncurled pages and make sure all material is as neat and flat as possible without changing the original order. Identify
2-7/17 any items that need special care, including media items which will be stored separately, according to their physical needs. These include:
a. photographic material;
b. film and videotape;
c. prints, paintings and drawings;
d. maps and plans;
e. sound recordings;
f. books and other printed or published material;
g. artefacts; and
h. computer disks, DVDs, MP-3s, memory sticks, tapes, etc.
45. Sorting. Sorting is the practical process of archival arrangement. This process has priority over any other part of the activity of arrangement. It is only by sorting that the information necessary for proper arrangement can be found, and management decisions taken concerning the treatment of the group. No other method of procedure ever turns out satisfactorily. This point must be stressed and insisted on as there is a tendency for inexperienced staff members to try to list and sort parts of the group piecemeal, to avoid preliminary sorting.
46. An arrangement of papers by alphabetical order of document title, applicable person, etc., or a chronological arrangement, or a combination of these, is sometimes the best way of dealing with a sequence of loose papers, especially a collection of correspondence. In fact, letters are such a common component of personal archives that archivists use a standard method of procedure for them. Letters usually have six possible fields by any of which they might be sorted in particular circumstances:
a. writer;
b. writer’s address;
c. recipient;
d. recipient’s address;
e. date; and
f. subjects mentioned in text.
47. Archives once arranged should be boxed and stored, so that the storage location may be keyed to the reference codes, and a shelf listed.
48. Description. Effective descriptive programs are as important to a healthy archival operation as good systems of arrangement. The components of a descriptive program are called “finding aids”, which are defined as “any descriptive media, card or document, published or
2-8/17 unpublished, that establishes physical, administrative, or intellectual control over archives or manuscripts.” Control is having at hand essential information about, knowledge of the information in, and knowledge of the location of the records. With a good program, the Regimental Archives can meet the two most critical demands upon it:
a. retrieving research material for a patron; and
b. producing for a source the material that a person has placed in the archives.
49. Arrangement and description are at the same time distinctly different to each collection, reflecting the activity and occasionally even the personality of the creator. The essence of arrangement is that each document (file unit, series, etc.) belongs properly in one place. The archivist’s job is to determine that place and to put the document there. Description follows formulae to crystallize arrangement, whatever the arrangement may be. It systemizes the information about the holdings and provides different avenues to that document so researchers pursuing various interests can find it every time the data is germane to their search.
50. Finding Aids. Finding aids may be grouped into three categories:
a. Internal Control Devices. Those created for internal control of collections; e.g. box inventory lists.
b. In-House Reference Service. Those produced for in-house reference service.
c. Out-of-House Service. Those published for out of house consumption. AtoM is the out-of-house finding aid used by the PPCLI Archives.
51. Each one has its own purpose and style, its own priority and scope. The Regimental Archives will prepare at least one finding aid from each of the categories, and normally it will produce them in the internal control documents first, in-house reference service material next, and reports for external publication last.
52. The finding aids currently employed in the Archives are listed at Annex A.
PREVENTIVE CONSERVATION OF DOCUMENTS
53. Materials should be stored to minimize physical damage or deterioration. This is known as preventive conservation. Unfold or flatten documents. Replace manila file folders with acid- free archival file folders. Write the file’s title, accession number (if there is one) and archival location number in pencil on the acid-free file folder. If the file folder contains only one item, write the archival location number lightly and inconspicuously in pencil on that item, as well. Carefully stamp “PPCLI ARCHIVES” on the outside of the folder. Remove fasteners which can damage paper or waste storage space, such as rubber bands, metal paper clips, “acco” fasteners, and staples (if rusty). Remove documents from three-ring binders unless they have aesthetic or informational significance. If acidic items such as newspaper clippings are in a file, shield them from the other documents with acid-free envelopes or sheets of low-acid paper.
54. Remove duplicate copies, envelopes (unless they contain significant information), advertising flyers, sales slips, doodles, and similar ephemeral items which contain no evidence of transactions.
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55. If the file is a “fat” one, crease the file folder along the score lines on the bottom. Try to fill archival storage boxes, but not so full that they bulge.
56. More detailed information on preventive conservation can be found in Reference C.
DIGITIZATION AND ONLINE STORAGE, AND ACCESS TO MEMORY (AtoM)
57. Archival material must be made accessible online in accordance with the Museum Strategic Plan. The primary vessel for this is the open source program ‘Access to Memory’ (AtoM), which is supplied and maintained by Archival Systems Incorporated under contract. New accessions will be added to AtoM as they are received. AtoM is online at archives.ppcli.com. The Archivist and Museum General Manager will hold administrative control of the AtoM account.
58. Existing collections and fonds must be added to AtoM as resources permit. This order must be determined by the archivist in collaboration with the Museum General Manager. The ultimate goal is to have the entire archives available online. Under contract renewed annually, AtoM maintains the database of archival records for PPCLI.
RECORDS MANAGEMENT
59. The Archivist has control of the collection through the policies and procedures herein. Staff members will fully understand these policies and procedures to facilitate the effective operation of the archives.
60. Definition. Records Management is the establishment of systematic controls over the creation, use, maintenance, and disposition of recorded information.
61. Policy. The Regimental Archives collects and preserves official records created, received, and accumulated by the Regiment and members of the Association and records relating to the history, organization, function, and structures of the Regiment as a whole. In order to care for these records, the Archivist shall:
a. develop a records management programme to facilitate creation, receipt, maintenance, use and disposition of records, and regular transfer of archival records to the Archives;
b. work in cooperation with RHQ to supervise the records management program; and
c. establish and meet regularly with the Museum Manager who will assist in the implementation of the records management program and attain authorization for the destruction and disposition of Regimental records scheduled for disposal.
62. Purpose. The purpose of records management in the Regimental Archives is to ensure:
a. retention of records needed to meet administrative and operational requirements;
b. retention of records needed to meet legal requirements;
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c. permanent retention of records of archival value;
d. effective creation, retrieval and maintenance of current records;
e. security of vital records;
f. regular, authorized destruction of obsolete records; and
g. improved flow of information throughout the Regiment.
63. Appraisal of Records. The appraisal of records can best be performed with a complete understanding of the records of the Regiment and their relationship to each other as they are created. Appraisal has an uncertain nature in that records are kept on the basis of presently available documentary sources.
64. In addition to the appraisal criteria used for Museum collections, the following primary and secondary values must be considered:
a. Administrative Value. The importance of the records for the daily activities of the creating office, such as contracts, correspondence, or policy statements.
b. Legal Value. The importance of the records to the creator to fulfil legal requirements or provide legal information or evidence, such as contracts, deeds, agreements, or bylaws.
c. Fiscal Value. The value of the records to the creator for financial purposes, such as financial statements, tax returns, or annual budgets.
d. Research and Archival Value. The value of the records either to the creator or to independent researchers for informational, evidential, or historical purposes, such as records providing information about the structure, history, creation, or operation of the organization.
65. After determining the value of the records for both the creating office and the archives, the Archivist shall categorize or classify the records according to their use by the creator.
66. Types of Records. Records fall usually into three categories:
a. Active. Referred to or used regularly by the creator.
b. Semi- Active. Not used regularly by the creator but still important for administrative, legal, or fiscal purposes.
c. Inactive. No longer needed by the creator for any reason (sometimes referred to as non-current).
67. Scheduling. Once the records have been appraised according to their current and future value and classified according to their use, records retention and disposition schedule shall be created. This schedule is the key document in any records management program. It establishes a timetable, regulating the life cycle of records from their creation to their final destruction.
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68. Access to all archival materials is governed by the following order of priorities:
a. preservation;
b. research; and
c. education.
69. Notwithstanding the above, the Archivist shall exercise discretion when giving access to active records. If necessary, the permission of the creator shall be obtained.
PRESERVATION POLICY
70. The preservation of archival information is an essential foundation and fundamental responsibility of the Regimental Archives. To permanently preserve the records in its care and custody, the Regimental Archives has the obligation to use the best materials in which to store its records and on which to record the information contained therein. It must also provide the records in its custody with secure storage and ensure careful use.
71. Principles. The following principles will be respected by the Regimental Archives in carrying out its preservation responsibilities:
a. the institution will strive to appropriately house and preserve the records it acquires;
b. environmental and security standards will be developed for those spaces where archival records are stored, processed, consulted or displayed; and
c. holdings will be housed in the most appropriate areas available to the Archives, based on such factors as physical need and security requirements.
72. Physical Condition. Physical condition will be an acquisition and selection criteria for all records. The institution’s ability to appropriately preserve the records will be a factor in determining whether or not to acquire them.
73. Prior to or immediately after the acquisition of any records, they will be examined on either an item or sample basis to permit an assessment on both the current condition of the records and their preservation requirements.
74. Preventive Preservation. Standards and criteria on temperature, relative humidity, illumination, airborne contamination, handling, copying, display, storage and transportation are specified within the Canadian Conservation Institutes (CCI) Notes, chapters eleven and sixteen.
75. The preservation of the information contained in the records will be the highest priority, except for those original records retained because of their intrinsic or evidential value.
76. Conservation Treatment. Conservation treatment will be given to archival records to prevent or reduce their deterioration, and as far as possible without chemical intervention. Only when certain criteria have been met will action be undertaken to treat or restore these records. The Archivist and Museum Manager will consider the following criteria:
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a. value to regimental history;
b. uniqueness;
c. the personality represented by the records;
d. monetary value of the record; and
e. cost of conservation treatment.
77. Archival masters will receive better care than conservation and reference copies, as governed by guidelines on the storage and handling of all copies.
78. The treatment of records shall be guided by adequate historical, scientific and technological information. Conservation treatment required of stabilization for structural consideration purposes will be higher priority than remedial or aesthetic treatment. Remedial treatment such as cleaning or repair is a higher priority than aesthetic treatment.
79. Standards and practices for archival processing will be developed to ensure systematic recording of information obtained during or after acquisition, which will contribute to the knowledge of the physical condition of the holdings.
80. Conservation of records will be done on a case by case basis.
81. Research. The Regimental Archives will undertake basic research in collaboration with other institutions so that it can contribute to the body of preservation knowledge in the most efficient manner. Research projects will always address preservation problems encountered or anticipated by the Regimental Archives. The Regimental Archives will not undertake focused research on conservation processes.
82. Training and Information. The Regimental Archives will identify preservation training and information needs within and outside the institution and develop plans to meet them, where appropriate. Those plans will take into account preservation training and information resources available internally and externally.
83. The Archives will afford staff members, whose primary duties are preservation related, opportunities to develop their professional skills by undertaking further training. The institution further recognizes that it is essential for those in the field of preservation to maintain their skills and that attendance at appropriate provincial and national conferences, seminars or courses or working exchanges at other institutions are means of achieving this and will be supported as resources and priorities permit.
84. Emergencies. In the event of an emergency such as a fire, flood, leakage, vandalism, or accident which has already damaged or which threatens the safety of records held in the Archives, action by the staff to rescue or prevent damage to the records will be the immediate priority, following staff and user safety, and will take precedence over all other Archival activity. The priority of all Museum staff will be responding to a situation posing an actual threat to the records in the custody of the Archives. TMM Disaster Response Plan will provide an overall guidance to disaster response.
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BORN-DIGITAL RECORDS, STILL AND MOVING IMAGERY POLICY
85. This chapter has so far dealt primarily with textual records. The challenges posed by born-digital (files that originated as digital files) files and still and moving images (SMI) can be better understood if their characteristics as archival documents are compared to the more traditional textual records. Although born-digital files and SMI records follow standard practices of acquisition, preservation, description and reference, the physical nature of the record itself invariably makes the implementation of such practices a far more complicated process.
86. In this statement of operational policies “file or tape” refers to all moving or still image media.
87. Acquisition. Acquisition and accession of born-digital records, films, video tapes, prints and related materials into the Archives shall proceed according to criteria which are intended to maximize usefulness through preservation and for research purposes. The Archives do not, as a point of policy, purchase film or tape from organizations or individuals, recognizing that such a purchase would place the Archives in a position of assigning a monetary value to unique historic and cultural material which could be otherwise unavailable to the public.
88. Criteria for Acceptance of Born-Digital Records, Film, and Tapes. High priority will be given to records having the characteristics listed below, although these measures will not be mechanically applied in determining whether or not to accept records. Generally, film or tape meeting many of these criteria will have high priority for acceptance; footage answering few or none will have low priority:
a. related to regimental activities through location, subject matter, source or other connection;
b. unique, or inaccessible for general public;
c. otherwise likely to be damaged or lost;
d. is close to the original film or tape generation as possible and is of good picture quality; and
e. well-documented, and where possible, accompanied by related non-motion picture references or notes, still photographs, audio tapes or files.
89. Low priority will be assigned to widely distributed films and tapes, to materials preserved elsewhere and to film or media files requiring several copies or with severely restricted access conditions such as limitations on access placed by a donor.
90. Accessioning Procedure. Whereas the content of a textual document is relatively easy to read and thus identify for possible acquisition, the content of an SMI record can only be “read” through the use of specialized equipment. This makes acquisition and selection of SMI records much more time consuming since, in most cases, a record cannot be identified until it has been viewed or auditioned on Archive premises.
91. Once the born-digital record, film or tape has been accepted by the Archives, the applicable procedures and forms for normal acquisition of artefacts are to be used.
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92. Access and Use of Born-Digital Records and Film Material. Access to the Archives’ born-digital and film collection is governed by the same rules as for textual records. However, due to the special characteristics of film materials, the following rules apply:
a. application to view materials in the collection must be submitted stating researcher’s name, address, application and nature of research project;
b. only reference copies of archival film or video tape materials can be viewed;
c. a viewing is by advance appointment; and
d. viewing is generally by individuals on Museum premises. Group screening is not encouraged. Digital files can be transferred electronically for viewing.
93. Reproduction. In the spirit of the Archives’ mandate to increase and diffuse knowledge of the Regiment through the moving image, the Archives will endeavour to make materials in the collection widely available as long as it does not conflict with institutional objectives.
94. All reproduction is determined by the following considerations:
a. Permission.
(1) application to reproduce materials must be submitted with the user’s name, address, affiliation (if any) and a detailed outline of the intended use; and
(2) some materials may require written permission from the owner before reproduction. Prior permission must be secured by the user.
b. Film Reproduction.
(1) copying is done of whole film rolls and only from a printing master; and
(2) if a preservation copy or printing master does not exist, the user shall pay the costs for these materials.
c. Video Reproduction.
(1) if the master video tape from the film or the master tape do not exist, the user shall pay the costs for these materials; and
(2) the Archives will specify the video tape reproduction service and the manner of duplication, either of whole tapes or sections, to ensure most efficient use of machine and staff time and the least amount of wear to the source material.
d. Photocopying.
(1) photocopying is generally discouraged and researchers are recommended to make digital copies of material. Should they request hard copies, this will be subject to the following conditions:
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(a) photocopying is subject to the provisions of the Canadian Copyright Act and the conditions stipulated by the respective donor. Copying of restricted material is not permitted; and
(b) photocopying will only be done by Museum staff as other duties and responsibilities permit.
(2) photocopying privileges may be withheld if originals could be damaged; and
(3) there will be no photocopying after hours.
e. Scanning.
(1) individuals requesting scans must provide their own memory device for transfer or a web location / email of where the scan is to be sent; and
(2) if CDs or DVDs are supplied, the cost will be assessed to the requesting individual or agency.
f. Acknowledgement.
(1) when film, video tape or materials from the collection are reproduced, the user shall comply with the written instructions regarding the attribution or the use of the name of the PPCLI Museum and Archives Film;
(2) the user will acknowledge the donor where appropriate; and
(3) a copy of the completed work must be donated to the Archives. This copy may be on a reference medium, not necessarily in the actual release format.
95. Physical Preservation. The Archives, in developing its preservation procedures, has drawn upon references received by both the National Archives of Canada and the Canadian Conservation Institute (CCI). Every effort will be made to meet the following guidelines:
a. original film and archival materials shall be stored in an environmentally controlled area with restricted access. Such materials will not be permitted to leave the Archives except for the purpose of Archival reproduction or transfer to an alternative archival storage site as determined by the Archives staff and in accordance with donor or lender agreements;
b. original film video materials will not be projected or played except in extreme circumstances or for identification purposes. Should it be necessary to view materials in such a way, every precaution will be taken to ensure the safety of the materials; and
c. preservation of motion picture materials includes the following procedures:
(1) transfer of originals to an archival safe medium;
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(2) safeguarding of original materials in archival storage areas and segregation of acetate stock;
(3) separation of original copies to ensure survival in case of disaster; and
(4) film materials shall be stored in special storage containers and stored separately from textual documents.
96. Storage Needs. Cinema and sheet film collections are experiencing irreplaceable losses to the degradation of both cellulose nitrate and acetate film support. The principle mechanism of deterioration is acid-catalyzed hydrolysis with a well-known humidity dependency. Relative humidity (RH) is the key to deterioration of all kinds of film materials. An RH of 20 to 30 % should be maintained when maximum permanency is desired.
97. Born-digital records must be stored on more than one device, with digital copies stored on a separate device at RHQ or on a ‘cloud’ storage system.
98. Cleaning Guidelines. Chemicals should not be used for the cleaning of floors, desk tops or any other areas of the Archives without special permission of the Archivist.
99. Only the floors and sinks will be cleaned. Other surfaces will be cleaned by the Archives staff.
100. Warning should be given if unusual cleaning is to be done, such as buffing of floors or cleaning of heating grates, so that staff may move sensitive materials to a safe place.
101. Archives staff should be notified if pesticides are to be used. Pesticides shall not be applied while staff are on the premises.
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Annex A To Chapter 2 PPCLI Museum Manual 1 April 2016
FINDING AIDS AND LOCATION CODES
1. Several finding aids are currently used by Archives. These are:
a. Maps.
(1) Afghanistan Maps;
(2) WW2 Map files 1-6; and
(3) Yugoslavia Maps.
b. Photo Inventories.
(1) Colonels of the Regiment;
(2) Colonels-in-Chief;
(3) 1PPCLI in Korea;
(4) 2PPCLI in Korea;
(5) Scrapbooks;
(6) Scrapbook Notes;
(7) Gault;
(8) Individual Photo Files;
(9) Colours;
(10) Between the War Years;
(11) PPCLI Association Inventory;
(12) World War 2 Picture Inventory;
(13) Korean War General Photos;
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(14) Photo Additions; and
(15) World War 1.
c. Gault Collection. This list describes the contents of the Gault Collection located in Room 2.
d. Association Inventory revised 2015. The collection consists of correspondence, nominal rolls, ledgers, scrapbooks, war diaries, Part I and Part II Orders, maps, blueprints, annual reports, meeting minutes, newsletters, magazines, newspapers, clippings, programmes, posters and personnel documents illustrating regimental activities and achievements during war and peace times and the length of service, number of casualties and honours and awards of past and present members of the Regiment. Also included is biographical information on the Colonel-in-Chiefs, Colonels of the Regiment and other Regimental personalities. Some series include material related to allied regiments, the airborne role and the Regimental Band.
2. These finding aids are maintained, updated, and stored on the Archivist’s computer, with print copies available for use in the Archives. The Museum Manager will hold duplicate copies of these finding aids.
3. Location Codes. The following alpha-numerical codes are in use in the archives.
a. 10 TO 269 - Textual Material
b. P - Photographs
c. S - Slides
d. A - Audio Visual Materials
e. M - Maps
4. Colonel-in-Chief and Colonel of the Regiment.
a. the main numbers (11 and 12) indicate the main subject headings as follows:
(1) 11 - Colonel-in-Chief, and
(2) 12 - Colonel of the Regiment.
b. the point numbers (.1, .2, etc.) indicates the individual who holds the position (12.3 = Colonel of the Regiment, file .3 Sutherland W.B.S).
5. To isolate a file using the system (31(5)-1):
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a. 31 is the main subject heading, individual files from 1 Jan 1914 – 20 Mar 1919 (Covering the Great War period);
b. is the individual file, in this case its Adams, John Ernest 487484 and all related papers; and
c. (-1) is the number of the box, in this case box number 1 of the 31 series.
6. At present, boxes 31-1 to 31-16 are alphabetical in order. Box 31-17 and any future boxes in this series are placed in randomly as new material arrives.
7. Honours and Awards from 25 Jun 1950-31 Dec 1953. Although each Battalion has its own number (115 = 1PPCLI, 135 = 2PPCLI, 155 = 3PPCLI) they are all kept in box115-1 in order to conserve space, but are separated by proper number and file for each Battalion. As more information is added and the box fills, then three individual boxes, each with its own proper subject matter, will eventually be provided.
8. A finding aid is kept in the archives to assist in locating maps, however:
a. all maps are categorized by country, in alphabetical order except miscellaneous maps which are organized by map scale and size only; and
b. the maps within each category are broken down by scale (largest to smallest) and placed in numerical order.
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Annex 2A - Appendix 1 To PPCLI Museum Manual 1 April 2016
PHOTOGRAPH INDEX
1. Regimental Affiliation
P 10 Founder All Photos of……. P 11 Colonel-in-Chief All Photos of……. P 11.0 Lady Patricia Ramsay P 11.1 Countess Mountbatten P 11.2 Madame Clarkson P 12 Colonels of the Regiment All Photos of……. P 12.0 Andrew Hamilton Gault (P10) P 12.1 C.B. Ware P 12.2 G.G. Brown P 12.3 W.B.S. Sutherland P 12.4 R.S. Graham P 12.5 H.C. Pitts P 12.6 C.W. Hewson P 12.7 J.D. de Chastelain P 12.8 R.I. Stewart P 12.9 J.E.L. Gollner P 12.10 R.R. Crabbe
P 13 Regimental Personalities People who have not served but are affiliated with the Regiment P 14 Colours All photos of Regimental Colours P 15 Memorials All photos of Memorials, Services, Cemeteries, War Graves, etc P 16 Collections All photos of collections P 17 Open Open file for use at a later date P 18 Regimental Band All photos of the Regimental band, Mascots, etc P 19 Airborne All photos of……… P 20 LER All photos of……… P 21 The Rifles (RGJ) All photos of……… P 22 Royal Australian Regt All photos of………
2. 1 Jan 1914 – 20 Mar 1919
P 30 Group Photos All group photos within date
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P 31 Individual Photos All WW I members and non- members that do not fit under other headings P 32 Formation of the Regiment All photos of……… P 33 Locations All photos of……… P 34 Mons, 1918 P 35 England 1919 P 36 Return to Canada P 37 Equipment All photos of……… P 38 Comedy Company All photos of……… P 39 Parades All photos of………
3. 12 Mar 1919 – 31 Aug 1939
P 50 Group Photos P 51 Individual Photos P 52 Locations P 53 Equipment P 54 Parades
4. 1 Sept 1939 – 8 Nov 1945
P 70 Group Photos P 71 Individual Photos P 72 Locations P 73 Equipment P 74 Parades
5. 9 Nov 1945 – 24 Jun 1950
P 90 Group Photos P 91 Individual Photos P 92 Locations P 93 Equipment P 94 Parades
6. 1 PPCLI 25 Jun 1950 – 31 Dec 1953
P 110 Group Photos P 111 Individual Photos P 112 Locations P 113 Equipment P 114 Parades
7. 2 PPCLI 25 Jun 1950 – 31 Dec 1953
P 130 Group Photos P 131 Individual Photos P 132 Locations P 133 Equipment P 134 Parades
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8. 3 PPCLI 25 Jun 1950 – 8 Jan 1954
P 150 Group Photos P 151 Individual Photos P 152 Locations P 153 Equipment P 154 Parades
9. PPCLI Battle School (LFWA TC) 25 Jun 1953 – Present
P 170 Group Photos P 171 Individual Photos P 172 Locations P 173 Equipment P 174 Parades
10. 1 PPCLI 1 Jan 1954 – Present
P 190 Group Photos P 191 Individual Photos P 192 Locations P 193 Equipment P 194 Parades
11. 2 PPCLI 1 Jan 1954 – Present
P 210 Group Photos P 211 Individual Photos P 212 Locations P 213 Equipment P 214 Parades
12. 3 PPCLI 8 Jan 1954 – Present
P 230 Group Photos P 231 Individual Photos P 232 Locations P 233 Equipment P 234 Parades
13. Other Units
P 250 Other Regimental Groups All photos of……… P 251 PPCLI Cadets All photos of……… P 252 PPCLI Association All photos of……… P 253 Korean Vets Association All photos of……… P 254 Regimental Executive Committee All photos of the REC and Senate not under other headings
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P 255 Regimental Guard All photos of……… P 256 Ex Ric-A-Dam-Doo All photos of……… P 257 Korean Student Scholarship All photos of……… P 258 Regimental Headquarters All photos of……… P 259 Regimental Museum All photos of……… P 260 PPCLI General All photos not under other headings 14. General
P 270 Oversized Albums P 271 Photo Albums Listed as per P 16 P 272 Oversized Photos P 273 Panoramic Photos
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Annex 2A - Appendix 2 To PPCLI Museum Manual 1 April 2016
SLIDES
1. Regimental Affiliation
S 10 Founder All Photos of……. S 11 Colonel-in-Chief All Photos of……. S 11.0 Lady Patricia Ramsay S 11.1 Countess Mountbatten S 11.2 Madame Clarkson S 12 Colonels of the Regiment All Photos of……. S 12.0 Andrew Hamilton Gault (S10) S 12.1 C.B. Ware S 12.2 G.G. Brown S 12.3 W.B.S. Sutherland S 12.4 R.S. Graham S 12.5 H.C. Pitts S 12.6 C.W. Hewson S 12.7 J.D. de Chastelain S 12.8 R.I. Stewart S 12.9 J.E.L. Gollner S 12.10 R.R. Crabbe
S 13 Regimental Personalities People who have not served but are affiliated with the Regiment S 14 Colours All photos of Regimental Colours S 15 Memorials All photos of Memorials, Services, Cemeteries, War Graves, etc S 16 Collections All photos of collections S 17 Open Open file for use at a later date S 18 Regimental Band All photos of the Regimental band, Mascots, etc S 19 Airborne All photos of……… S 20 LER All photos of……… S 21 The Rifles (RGJ) All photos of……… S 22 Royal Australian Regt All photos of………
2. 1 Jan 1914 – 20 Mar 1919
S 30 Group Photos All group photos within date
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S 31 Individual Photos All WW I members and non- members that do not fit under other headings S 32 Formation of the Regiment All photos of……… S 33 Locations All photos of……… S 34 Mons, 1918 S 35 England 1919 S 36 Return to Canada S 37 Equipment All photos of……… S 38 Comedy Company All photos of……… S 39 Parades All photos of………
3. 12 Mar 1919 – 31 Aug 1939
S 50 Group Photos S 51 Individual Photos S 52 Locations S 53 Equipment S 54 Parades
4. 1 Sept 1939 – 8 Nov 1945
S 70 Group Photos S 71 Individual Photos S 72 Locations S 73 Equipment S 74 Parades
5. 9 Nov 1945 – 24 Jun 1950
S 90 Group Photos S 91 Individual Photos S 92 Locations S 93 Equipment S 94 Parades
6. 1 PPCLI 25 Jun 1950 – 31 Dec 1953
S 110 Group Photos S 111 Individual Photos S 112 Locations S 113 Equipment S 114 Parades
7. 2 PPCLI 25 Jun 1950 – 31 Dec 1953
S 130 Group Photos S 131 Individual Photos S 132 Locations S 133 Equipment
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S 134 Parades
8. 3 PPCLI 25 Jun 1950 – 8 Jan 1954
P 150 Group Photos P 151 Individual Photos P 152 Locations P 153 Equipment P 154 Parades
9. PPCLI Battle School (LFWA TC) 25 Jun 1953 – Present
S 170 Group Photos S 171 Individual Photos S 172 Locations S 173 Equipment S 174 Parades
10. 1 PPCLI 1 Jan 1954 – Present
S 190 Group Photos S 191 Individual Photos S 192 Locations S 193 Equipment S 194 Parades
11. 2 PPCLI 1 Jan 1954 – Present
S 210 Group Photos S 211 Individual Photos S 212 Locations S 213 Equipment S 214 Parades
12. 3 PPCLI 8 Jan 1954 – Present
S 230 Group Photos S 231 Individual Photos S 232 Locations S 233 Equipment S 234 Parades
13. Other Units
S 250 Other Regimental Groups All photos of……… S 251 PPCLI Cadets All photos of……… S 252 PPCLI Association All photos of……… S 253 Korean Vets Association All photos of……… S 254 Regimental Executive Committee All photos of the REC and Senate not under other headings
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S 255 Regimental Guard All photos of……… S 256 Ex Ric-A-Dam-Doo All photos of……… S 257 Korean Student Scholarship All photos of……… S 258 Regimental Headquarters All photos of……… S 259 Regimental Museum All photos of……… S 260 PPCLI General All photos not under other headings
14. General
S 270 Oversized Albums S 271 Photo Albums Listed as per S 16 S 272 Oversized Photos S 273 Panoramic Photos
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Annex 2A - Appendix 3 To PPCLI Museum Manual 1 April 2016
AUDIO-VISUAL MATERIAL CODES
1. Codes by Media Type
A 300 Audio Tapes All
A 310 Records All
A 320 Compact Discs All
A 330 Film All films (8mm, Super 8mm, 35mm, 70mm)
A 340 Video All present and future video recording systems not under another heading
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Annex 2A - Appendix 4 To PPCLI Museum Manual 1 April 2016
MAPS
1. 1 Jan 1914 – 20 Mar 1919
M 30 WW I All maps from this period
M 31 WW I Miscellaneous maps
2. 21 Jan 1919 – 31 Mar 1939
M 50 All maps from this period
M 51 Miscellaneous maps
3. 1 Sept 1939 – 8 Nov 1945
M 70 WW II All maps from this period
M 71 WW II Miscellaneous maps
4. 9 Nov 1945 – 24 Jun 1950
M 90 All maps from this period
M 91 Miscellaneous maps
5. 1 PPCLI 25 Jun 1950 – 31 Dec 1953
M 110 Korea All maps from this period
M 111 Korea Miscellaneous maps
6. 2 PPCLI 15 Aug 1950 – 31 Dec 1953
M 130 Korea All maps from this period
M 131 Korea Miscellaneous maps
7. 3 PPCLI 30 Nov 1950 – 8 Jan 1954
M 150 Korea All maps from this period
M 151 Korea Miscellaneous maps
8. PPCLI Battle School (LF WATC) 1 Jun 1953 – Present
M 170 All maps from this period
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M 171 Miscellaneous maps
9. 1 PPCLI 1 Jan 1954 – Present
M 190 All maps from this period
M 191 Miscellaneous maps
10. 2 PPCLI 1 Jan 1954 – Present
M 210 All maps from this period
M 211 Miscellaneous maps
11. 3 PPCLI 8 Jan 1954 – Present
M 220 All maps from this period
M 221 Miscellaneous maps
12. General
M 250 All maps not under another heading
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Annex B To Chapter 2 PPCLI Museum Manual 1 April 2016
ARCHIVAL DEFINITIONS
1. Archives. 2. a. inactive records preserved because of their archival value;
b. an institution responsible for the acquisition and preservation of archives; and
c. the physical location within a building where archives are preserved.
2. Record. Includes any unpublished correspondence, minutes, memoranda, manuals, plans, maps, drawings, scrapbooks, albums, graphic works, photographs, microfilms, sound recordings, moving images, machine readable records, and any other unpublished works, regardless of physical form.
3. Publication. An item produced in multiple copies for distribution to the public, such as a book, phonograph album, or pamphlet. A printed item not originally intended for distribution to the public (such as a military manual or a strategic map) is a record, however. An ephemeral publication (an item originally intended to be thrown away, such as a handbill, menu, or ticket) is usually also classed as a record for practical purposes.
4. Fonds. From the French word for “source”, a fonds theoretically consists of all records produced or accumulated by a person, a family, or an organization. In Canadian archival practice, a fonds consists of all of the records from a particular source held by an archival institution. A fonds incorporated into a larger fonds is called a sous-fonds.
5. Collection. In Canada, a collection or “artificial collection” is a group of records gathered together from various sources by a collector. A collector can be an individual or an organization. A scrapbook would typically be considered a collection. In the United States the term “collection” is used instead of “fonds”. The entire body of holdings of an archival institution can also be referred to as its collection.
6. Series. A group of records within a fonds sharing common characteristics such as function, office of origin, or physical medium.
7. Accession. A group of archival records acquired by an archives from the same source at the same time.
8. Provenance. The history of the custody of an archival item.
9. Accessioning. The act of incorporating records into archives. The procedure of accessioning usually involves interviewing the donor; appraising the records for their archival significance; having the donor sign a gift agreement acknowledging that it has become the property of the archival institution; assigning a unique accession number to the records; and recording evidence of the accession in an accession register and accession files. In good archival practice, accessioning is usually completed within a day of the physical transfer of the materials.
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10. Mandate. An archival institution’s statement expressing its collecting interest, often in terms of geographical boundaries, or (in the case of the PPCLI Archives), organizational affiliation. It is undesirable for different archival institutions to have competing mandates.
11. Deaccessioning. The act of removing accessioned records from an archives. The procedure usually involves approval of the archives’ governing authority. Removal of records which have not been accessioned is usually a simpler procedure. Processing of accessioned records usually involves disposal of duplicate copies, routine invoices and cheque stubs, unsolicited advertising, rough drafts, doodles, etc., and this is also usually a simpler procedure than deaccessioning.
12. Appraisal. In archival terminology, the act of determining whether to retain or dispose of an archival item or group of items. Usually several factors are considered when making appraisal decisions. In archival practice, the term appraisal has a different meaning from monetary appraisal, the act of determining monetary value.
13. Archival description. Sometimes referred to as “cataloguing”, this is the procedure of describing archival materials in accordance with a standard system of rules, analogous to cataloguing of library materials. In Canada, the system for archival description is specified in the manual Rules for Archival Description (RAD). Because units of description can vary in size from a single piece of paper to a fonds occupying hundreds of metres of shelving, archival description in Canada has been structured into five levels of detail: repository; fonds, collection or sous- fonds; series or sub-series; file; and item.
a. Finding aid. Any index file, catalogue, register, inventory, etc., designed to enable researchers to find a particular document in a repository. Most finding aids in Canada are now based on the standards specified in Rules for Archival Description;
b. general descriptions of a repository’s holdings can usually be found on its website, and in provincial, thematic, and national directories;
c. descriptions of fonds, collections, or sous-fonds in Canada are sometimes called fonds-level descriptions and can be found in the repository’s website, and in provincial, thematic, and national online archival databases;
d. larger fonds or collections are typically divided into series, which can be described in series descriptions;
e. more detailed finding aids called inventories consist of lists of descriptions of the files within a fonds or collection. Inventories also function as a checklist to determine if any files are missing; and
f. descriptions of individual archival items are not usually considered necessary, except in the case of exceptionally significant or valuable items.
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Annex C To Chapter 2 PPCLI Museum Manual 1 April 2016
ARCHIVES ACCESS POLICY
1. Records acquired by the PPCLI Archives will be made available to the public, subject to any access restrictions imposed at the time material is acquired. Material may be restricted based on copyright, legal or personal considerations as well as conservation or preservation reasons. Material may be consulted only at the Archives during regular hours of opening.
2. No person shall be prevented from using the unrestricted records unless it is determined that the material will be physically endangered or used in an illegal manner.
3. Subject to the approval of the Archivist or the PPCLI Museum and Archives General Manager, material may be reproduced subject to access, conservation and copyright provisions. Any copying will take place under the supervision and direction of Archives personnel.
4. Loans. Material acquired by the Archives will leave the Archives only for the purposes of copying or as a loan to another institution or organization for the purposes of display.
6. All loans are subject to the following:
a. approval of the Museum General Manager;
b. a completed loan agreement;
c. the borrowing organization must ensure the loaned item(s) will be properly handled and cared for during the period of the loan;
d. the borrowing organization must have proper insurance in place; and
e. the PPCLI Archives may cancel any loan if, in the opinion of Archives personnel, the material is not being cared for or handled appropriately.
6. Hours of Operation. The Archives will be open to the public by appointment only as follows:
a. Mon-Weds: 0930 - 1600;
b. Thurs-Fri: By special appointment only; and
c. Sat-Sun, Public Holidays: Closed.
7. Usage Fees. Access to the Archives does not require a fee. Fees will be applied for:
a. Copying: $0.20 per page. Scanning done by visitor requires no fees. The PPCLI Archives will not supply memory sticks or CDs.
b. Exceptions can be made if original owners or family of original owners are requesting copies of items they donated.
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8. For requests to have items mailed a $10 handling fee plus postage will apply. Postage fees will be determined in advance. For items requested to be mailed or transferred through an FTP site only the $10 handling fee will apply. Fees will be payable online at PPCLI Kitshop.
9. IT Safety. Researchers may use the computers in the Archives to search finding aids or to scan images, under supervision of Archives staff. Any media visitors want to use on Archives computers must be brand new or scrubbed prior to use to avoid the risk of viruses. CD or DVD is the preferred format for file transfer.
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Annex D To Chapter 2 PPCLI Museum Manual 1 April 2016
SAMPLE FONDS LEVEL DESCRIPTION
1. This example serves as a guideline only. Soldiers tasked with archival descriptions are highly encouraged to seek additional assistance from trained archivists and to reference Rules for Archival Description.
a. Fonds 9.
b. Robert F. Zubkowski fonds. – 1919-2007. – 35 cm of textual records. – 2 photographs, Robert F. “Bob” Zubkowski was born in Vermilion, Alberta in 1953. He enlisted with the Canadian Armed Forces in November 1974 and was a member of the 1st Battalion, Princess Patricia’s Canadian Light Infantry (1PPCLI) from February 1975 until the end of his military career. He attended the PPCLI Battle School and was named Top Recruit. While with 1PPCLI he completed his secondary school education and acquired an occupational health and safety certificate and a museum studies certificate. He was placed in an accelerated non-commissioned officer program and received the Brigade Commander’s letter of commendation. He served with UN peacekeeping tours of Cyprus in 1978 and 1984. He was curator and archivist of the PPCLI Museum and Archives from 1989 to 1991, and was drum major of the 1st Battalion Corps of Drums. He retired from the Armed Forces in 1993 with the rank of sergeant, but remained active in the PPCLI family as a volunteer. He served as president of the Calgary Chapter of the PPCLI Association and Vice-President (West) of the Association. He is the compiler of As Long as Faith and Freedom Lasts, a compilation of reminiscences of World War I veterans; and is co-compiler (with Stephen K. Newman) of Patricia’s Buried in Flanders & Belgium. He leads a civilian drum corps, Black Thunder Inc.; operates a small business, Collector Motor Oil Ltd.; and works as an occupational health and safety consultant. He was married to Helena Zubkowski, and they had three sons, Christopher Peter, Daniel Robert, and Jason Paul.
c. The fonds includes Robert Zubkowski's service papers; classroom notes and handouts for courses he took or instructed; records of his involvement in the PPCLI Association; and items collected for the PPCLI Museum and Archives.
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CHAPTER 3 COLLECTIONS MANAGEMENT AND CONSERVATION
References: A. A-FN-105-001/AG-001 NPF Accounting Manual. B. Standard Practices Handbook for Museums Third Edition. C. Canadian Conservation Institute Notes available at: http://www.cci-icc.gc.ca/resources- ressources/ccinotesicc/index-eng.aspx D. A-LM-007-014-AG-001 Canadian Forces Supply Manual. E. UNESCO Convention Means of Prohibiting and Preventing Illicit Import and Transfer of Ownership of Cultural Property 1970. F. Cultural Property Export and Import Acts 1977. G. Convention on International Trade and Exchange of Species 1978. H. National Defence Act (NDA) Section 38-41.
COLLECTIONS OVERVIEW
1. The collection is the foundation upon which the Museum is built. It is by the quality of the collection that the Museum is judged. To maintain the integrity of the holdings, the collection must reflect the stated purpose of the Museum.
2. The Collections as an institution comprises the following principle activities:
a. accessions;
b. deaccessions;
c. loans;
d. conservation and preservation;
e. record keeping and inventory;
f. risk management; and
g. research.
3. The Museum will adopt written policies and procedures for acquisitions, disposals and collections development which will include guidelines for such areas as conditional gifts, rights of access to donors, loans (both to and by the museum), the scope, nature, time span, priorities and geographical origin of active collecting, the roles of units of the Regiment in collections, and the role of the Museum Committee.
SCHEDULE FOR REVIEW
4. This Collections Management Policy shall be reviewed by the Museum Committee on an annual basis to ensure professional standards are upheld.
PHYSICAL STORAGE AREA
5. The Collections is located in the basement of TMM. PPCLI has been allocated the largest collections area.
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6. Collections records, artefact cabinets, and art storage are all located in the Collections area. All weapons holdings are kept secured in the ‘Old Vault’, located next to the loading dock. Two keys are required to access the weapons vault, with separate sign-out authority for each key.
7. The Canadian Forces Artefact Management System (CFAMS) main computer is also located in Collections.
8. There are several basic policies that must be observed in Collections. This list is not meant to be an exhaustive description of artefact care, but principally a set of general rules to prevent unnecessary damage to artefacts. Detailed instructions on artefact care can be found at Reference C. As a basic outline, the following shall be observed:
a. artefacts will not be stored on the floor;
b. the Collections area will be kept tidy;
c. all artefacts will have a designated storage space;
d. Collections will be organized in the following way:
(1) miscellaneous artefacts such as gas masks, binoculars, webbing, and trench art will be stored by era;
(2) enemy items will be grouped in cabinets;
(3) artwork will be grouped;
(4) uniforms will be grouped;
(5) medals and accoutrements will be grouped;
(6) uniforms will be grouped;
(7) flags and pennants will be grouped; and
(8) oversize items will be stored in open areas;
e. collections from important individuals will be kept together. For example, artefacts related to Hamilton Gault will be grouped;
f. all digital files must be regularly backed up;
g. special care will be given to handling and storing fragile artefacts; and
h. all artefacts will go through quarantine before entering Collections.
ACCESSION POLICY
9. This section will deal with broad policy associated with Collections. More detailed information on procedures is found in Annex A.
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10. The Regimental Museum and Archives has been established to collect, preserve, and exhibit and interpret objects and artefacts that best serve to illustrate the founding and history of PPCLI. An accession is an item or group of items from a single source where there has been a transfer of ownership, or responsibility for an indefinite period to the PPCLI Regimental Museum and Archives.
11. The Museum Committee is responsible for maintaining the Public Trust. In doing so, one of the primary charges to the Committee is to responsibly control additions or deletions from our collections.
12. Accession Sub-Committee. A sub-committee will be established from the Museum Committee to review recommendations for acquisitions or disposal of artefacts. The Accession Sub-committee will approve the acquisition of only those artefacts which are judged satisfactory according to the prescribed principles and criteria.
13. As many donations to the Museum are easily justifiable acquisitions, the sub-committee may delegate this authority to the Museum Director and General Manager as required. Applied with due respect to the principles and criteria, this will expedite the accession of artefacts of obvious value and significance to the Regiment. Cases of questionable value, such as personal items belonging to prominent Patricias but without clear regimental significance, will be referred to the Accession Sub-Committee.
14. The collections will reflect the scope of subject matter and the time span of the Regiment as determined by the Museum Committee.
15. Principles. In developing the Museum collection, the following general principles shall apply:
a. Fill in the Gaps. Important collections within the Museum’s inventory that have the potential of becoming areas of strength if certain gaps are filled, every effort will be made to fill in those gaps.
b. Build on Strength. The Museum shall endeavour to further enhance its archives, to become in time a significant centre for the study and interpretation in its areas of specialization.
c. Provide a Context for Strength. To avoid over-specialization and to put the collections which are areas of strength in a meaningful context, representative collections of related material shall be acquired.
d. Budgeting. An acquisition budget of reasonable amount will be maintained to acquire artefacts which meet the criteria outlined above.
e. Provenance. The chief criterion shall be the potential contribution of the object to the understanding of the story to be told in accordance with the museum’s Statement of Purpose.
f. Free from Conditions. Conditional gifts from donors will be discouraged and the reason for this policy clearly stated, as the Museum does not want restrictions imposed by donors on its artefact activities such as lending and exhibiting.
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Given the restrictions that burden a conditional gift, acceptance of a conditional gift will require the approval of the Museum Committee on the recommendations of the Museum Director. In general conditional gifts should only be considered if they have significant value to the regiment’s history.
16. Types of Collections. The Regimental Museum and Archives divides the collections under three categories:
a. Permanent Collection. Consisting of artefacts such as items of manufacturing for all military aspects, including equipment, clothing, arms, works of military art, etc.
b. Archival Collection. Consisting of documentary materials (books, publications, records, maps, photographs, personal letters, etc.).
c. Educational Collection. Consisting of any items defined by categories (a) and (b) but which are retained in anticipation of their eventual deterioration as a result of “hands-on demonstrations”, handling by the general public, or other similar functional roles in the operation of the museum.
17. Acquisition Criteria. From time to time, the Museum will acquire by donation, purchase, bequest, field collection, exchange or temporary loan, items which further the growth of its collections and assist in enabling the presentation of programmes consistent with its policies. In making acquisitions, the Museum must consider the criteria below:
a. Legality and ethicality of acquisition. Items have been legally acquired in compliance with the UNESCO Convention Means of Prohibiting and Preventing Illicit Import and Transfer of Ownership of Cultural Property 1970, to which Canada is a signatory; the Cultural Property Export and Import Acts 1977; the Convention on International Trade and Exchange of Species 1978, and all federal and provincial legislation concerning cultural property. Also, that the acquisition has not been collected or recovered under circumstances the would involve damage to a cultural site, monument, or human burial place, and that the vendor/donor has legal title to the items; See Annex B for applicable regulatory laws.
b. Relevance. The items must have clear relevance to Regimental history.
c. Authenticity. The items are authentically represented as to date, origin, manufacture and physical integrity.
d. Museum’s ability to preserve. The Museum acquires only those objects it can properly document, preserve, store, maintain and provide public access to.
e. Reasonable cost. The items are presented at fair market value.
f. Conditions and safety. The degree of restriction or encumbrance of any item or object as to the conditions imposed by a previous owner, by intellectual property rights (copyright, patent, trademark, for trade secret) or by its nature being physically hazardous.
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18. Method of Acquisition. Artefacts may be acquired for the collections in the following manner:
a. Donations. This is the preferred method whereby the transfer of ownership is by deed of gift and deemed to be unconditional.
b. Purchase. The bill of sale or receipt of purchase is an official record of transfer of title to the museum. Prior ownership still remains a concern.
c. Bequest. A bequest is something given under the terms of a will. The Museum should obtain a copy or section of a will that refers to the gift and retain for applicable records. Bequests shall not be accepted with intent of disposal to avoid any accusation of dealing unethically with material bequeathed in trust.
d. Transfer or Exchange. This method is normally used between institutions where one museum transfers ownership out-right, or in exchange for another object. In any case, legal title will be with the new institution. Appropriate legal documentation is still required.
e. Others. Frequently, objects are found within collections where the records are missing. The same acquisition criteria apply to these objects thus allowing them to be accessioned properly.
19. Every effort will be made to ensure that an object considered significant to the Museum is appropriately accessioned.
20. Temporary Custody. In the past items have been accessioned which hold little or no value to regimental history. This generates a crowding issue in the collections and must be avoided. To reduce this problem, a Temporary Custody Agreement shall be used first in the acquisition process. This agreement provides the museum with a 90-day custody period to determine if a donation will be accepted or not. Temporary Custody Agreements are outlined in Annex A.
21. Approval. Authority for approval of accessions rests in the hands of the Acquisitions Sub-Committee.
22. Where appropriate, this authority may be delegated to the Museum Director or Museum General Manager. In most cases, the General Manager is best positioned to make decisions on acquisitions and the Manager’s input should generally be sought by the Acquisitions Sub- Committee.
DEACCESSION POLICY
23. Deaccession is the formal process used to remove an object or objects from the collections. The Museum may deem it prudent from time to time to remove redundant and unessential items from its collections.
24. With the appropriate professional advice, the Museum Committee members should regularly review the collections policy with a scrutiny of materials constituting the collections. Changing historical perspectives and recent acquisitions representing superior examples of
3-5/24 similar material acquired at an earlier date are examples of cases where redundancies in collections might be apparent.
25. As described in Reference H, authority for deaccession rests with the CDS, as the owner of NPP. Once approved by the Museum Committee, CDS approval for deaccession must be obtained.
26. Artefacts which are in the Museum’s collection but which are judged to be redundant or inappropriate may be disposed of by trade, sale or gift to another museum institution.
27. This policy also applies to the termination of incoming loans.
28. Deaccession Criteria. The following criteria should be applied when considering items for deaccessioning:
a. relevance and usefulness of the items to the purposes and activities of the Museum;
b. inability to preserve the items(s);
c. deterioration of the item(s) beyond usefulness;
d. the artefacts have been lost for two years or more;
e. the original identification, quality, integrity or authenticity of the object has been disproved or seriously called into question;
f. the item presents a health risk to staff or the public;
g. there are no legal impediments for removing the item(s) from the collections and disposal by sale or other means;
h. living donors have been informed. Final approval shall be made by the Museum Committee. The Director shall have the right to dispose of items if they have a limited historical significance and a value of less than $500.00; and
i. a specimen or artefact is over-representative of a particular type in the collection; provenance and other documentation must be taken into account when determining a specimen or artefact is over-represented.
29. Deaccessioned artefacts shall be disposed of by means of transfer to another museum, sale, trade or exchange, donation or the return of short or long term loans. An object that has lost its historical value or has been expended through utilization may be intentionally discarded.
30. Rules and Procedures. When the transfer of deaccessioned items from the Collections of the Museum take place, the following rules and procedures apply:
a. Rules.
(1) no items shall be given or sold to an employee, staff member, or member of the Museum Committee;
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(2) a complete record of the conditions and circumstances of the deaccessioning will be maintained;
(3) prior to disposal, an appraisal or other evidence of fair market value will be obtained;
(4) forgeries and fakes may be destroyed, or if transferred, must be marked and labelled as such;
(5) acceptable methods of transfer include:
(a) transfer to another tax-exempt, non-profit institution which can offer comparable standards of care and is dedicated to the preservation of cultural heritage;
(b) exchange with another public institution; and
(c) sale.
(6) where sale is the desired option of transfer, first preference should be given to a sale at public auction or in the public place;
(7) where an item donated under the Cultural Property Export and Import Act is deaccessioned and transferred from the Museum within five years of its first acquisition, responsibility for the payment of any levies or special taxes as per the provisions of the Income Tax Act must be identified;
(8) where funds are realized from the disposal of deaccessioned items, such funds, after expenses, should be used for further enhancement of the collections by such means as the purchase of new acquisitions, conservation of existing collections, or storage and exhibition facility improvements; and
(9) all deaccessions shall adhere to the applicable federal and provincial laws and regulations, and international agreements and treaties, as listed in Annex 2B.
b. Procedures. Every proposed deaccessioned item will be approached with caution. The Museum Manager shall produce bi-annually or when requested by the Museum Director, a list of artefacts to be considered for deaccessioning and submit the same to the Committee for consideration and comments. The decision regarding final approval shall be made by the Museum Committee. The Museum Manager will prepare and submit a list of potential deaccessions two weeks in advance of the first REC of each calendar year, usually held in January.
c. When the final approval has been received, the Museum Manager shall:
(1) first ascertain that no mandatory restrictions are attached to the object;
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(2) make every reasonable effort to advise the donor or a member of his/her immediate family as a courtesy gesture, even if the object is free of restrictions;
(3) the Museum shall make public the final list of items to be deaccessioned;
(4) the current fair market value shall be determined by an outside expert to maintain an arms-length approach and to avoid any ethical problems to staff members;
(5) the accession number and catalogue number will be removed and not be reused. Deaccession action and the date shall be noted in the Accession Register; and
(6) the deaccession action shall be recorded in the annual inventory report and included in the report to Committee.
d. the PPCLI will not deaccession an item based on the request of the donor alone.
31. Repatriation of Artefacts. While there are no guidelines representing the consensus of the Museum Committee, returning artefacts to donors or their family members remains one of the most complex and delicate matters museums have to manage. The emotions and potential public nature involved distinguish this issue from simple deaccession.
32. It shall be the policy of the PPCLI Regimental Museum and Archives, should the case for repatriation ever occur, that the Museum will deaccession collections for the purpose of repatriation only when it can be proven beyond doubt that other bodies have a right to the material. The Museum will proceed with the repatriation only when it has the assurances that the collections will be preserved and cared for in accordance with the highest standard of museum practices.
33. In the event a family member demands the return of an item in the Collections or Archives, the following factors, as demonstrated in the case study (Annex C to this chapter), must be considered and presented to the Museum Committee for a decision:
a. the value of the item to the Collection;
b. the legal title of the person making the request to the item or items in question. In particular:
(1) do they have paperwork indicating that they have legal title;
(2) did they receive a tax receipt; and
(3) do donation records exist.
c. does the Museum have legal title in the form of a signed Gift Agreement;
d. if documentation does not exist, how long has the Museum held the item;
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e. Reference A states: “The funds of Base/Unit Fund, SISIP FS, CANEX, mess, and Museums shall not be alienated by any disposition of NPP that may result in personal gain or advantage, gifts to private or public institutions, to relieve an officer, non-commissioned member or civilian employee of his personal responsibility for loss or damage to public or NPP, for testimonials or gifts, for national appeals for financial assistance, or for the provision of anything connected with religious services.”
f. Public Trust must be considered; and
g. returning a donated item to a donor could be considered a violation of charitable status as the donor is benefitting from the acquisition of the item. As well, this could be considered a violation of the Public Trust.
LOANS POLICY
34. The Museum acknowledges the role of exhibits in making its collections available to units and institutes within the Regiment, other heritage institutions, and the public so that their artistic and historical significance may be more widely appreciated. As exhibit space will be limited, the Museum may loan original materials in order to have them displayed. At the same time, since it is responsible for the preservations of its collections, the Museum must restrict their use and ensure their preservation.
35. This policy applies to loans of all original or accessioned objects which are considered to be a part of the Museum collection. The loan of photographic reproductions, photocopies or other reproductions of collection material may be done at the discretion of the Museum Manager.
36. This section contains the conditions of incoming loans and loans to other institutions, the responsibilities of the Museum staff and of the borrower, and the procedures of such loans.
37. Authority for loans within the Military Museums and externally in the local Calgary area for short-term, temporary exhibits will rest with the Museum Manager. Long-term and indefinite loans must be approved by the Museum Committee. The Museum Manager shall keep the Museum Director informed of all outgoing loans.
38. Lending Criteria. Materials in the collections of the Museum shall be available for loan or display in public areas. All such requests for loans of original material must first be presented in writing to the Museum Manager for consideration. The materials requested should contribute to the understanding of Regimental history or the appreciation of the deed or action of an individual.
39. Loans will be made for a definite period of time. That period shall be determined by considering the following factors:
a. the fragility of the material;
b. whether the exhibit will travel;
c. the extent of previous (if any) exposure;
d. the Requirements of the Museum; and
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e. the requirements of the borrowing institute.
40. In evaluating all loan requests, the priority consideration is the safety of the material from both security and conservation perspectives. Before a loan may be granted, the Curator must be convinced that the materials are sufficiently stable to undergo the travel and other handling involved and that the borrowing institute is able to provide care and protection in terms of handling, environmental controls, lighting conditions, security, and professional practices. The borrowers must conform to conservation standards as outlined below:
a. the material should not be subject to extreme or fluctuations in environment. Relative humidity should be maintained at a level of 45% (+/-5%) and temperature at 20 degrees Celsius in all exhibit and storage areas;
b. light levels should be controlled as follows:
(1) maximum 50 lux: textiles, photographs, documents, art on paper;
(2) maximum 150 lux; wood, oil painting, acrylics;
(3) maximum 300 lux: stone, ceramic, glass; and
(4) ultraviolet levels should be at a minimum.
c. mats must be of acid-free mat-board and only approved adhesives will be used;
d. framing of paintings shall not involve puncturing with screws, nails or otherwise defacing material on loan; and
e. sufficient security shall be provided to protect material from theft or vandalism.
41. The borrower must demonstrate adequate insurance coverage for all borrowed items.
42. Limitation of Loans. Notwithstanding the criteria above, outgoing loans will also be limited by the physical condition of the artefacts requested. Each request shall be considered on its own merit.
43. All approved loan agreements are to be renewed annually to ensure proper accounting of Regimental property.
44. Responsibilities.
a. Borrower.
(1) provide sufficient lead time for the request to be processed and the material to be assessed, treated (if necessary) and packed. At least two months should be allowed for small requests and longer for larger requests;
(2) ensure that the exhibit areas conform with the environmental standards outlined above;
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(3) bear all costs for transportation, packing, insurance and other expenses as may be necessary to effect the safe delivery and return of the materials and to provide written confirmation of insurance; and
(4) carry out an examination and report on conditions of all materials upon arrival and prior to departure from the borrowing institution.
b. Museum Manager.
(1) assess all loan requests and be satisfied that the material requested will be involved in an enterprise in keeping with the mandate of the Museum;
(2) process, administer and provide overview on the loan requests from the point of receipt to final execution of the request;
(3) ensure the borrower understands their responsibilities and the conditions of the loan and that loan agreements are completed and signed;
(4) supply condition reports on the material involved for the purpose of material conservation. This includes an outside appraisal if required. The cost for an outside appraisal will be the responsibility of the borrower; and
(5) examine the requested materials and decide accordingly as to their suitability for display and travel.
c. Registrar.
(1) maintain a database of all outgoing loans and update CFAMS accordingly;
(2) prepare all loans for shipment/delivery;
(3) ensure all loan returns are complete and no artefacts are damaged;
(4) report all discrepancies to the Museum Manager; and
(5) ensure all paperwork for returned loans is indicated as closed and complete.
45. Procedures. Written loan requests shall be submitted to the Museum. A request may be rejected at this stage by the Museum Manager if the request is considered unsuitable. Loans of items of significant importance to the Regiment’s history will be referred to the Chair of the Museum Committee.
46. The terms and conditions of the loan are explained to the borrower. The borrower’s facilities shall be considered or examined for security and environmental standards.
47. If the site is found suitable, the Curator shall examine the requested materials and determine if treatment is required and how long the treatment would take.
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48. The borrower and the Museum agree on the specific items to be borrowed and the duration of the loan. The Museum provides the borrower with an appraisal of the loan and a calculation of costs, if necessary.
49. Depending on the source of the artefacts or records, the Registrar or Archivist shall make all necessary notes about the duration of the loan, condition upon return, including maintenance of the loan master file and conservation records.
50. The “Outgoing Loan Agreement Form” shall be completed in triplicate. (See sample at Annex 2A Appendix 3).
53. Once returned, the Outgoing Loan Agreement Form is to be completed in full to ensure proper records are kept of returned items, to include receiver’s signature and date.
54. Incoming Loans. The Museum may accept incoming loans on an indefinite basis. In each case such loans shall be adjudicated according to the same criteria that apply to full ownership acquisitions. In particular, there must be complete documentation between the Museum and the lender to include awareness of any legal or financial liabilities, risks to artefacts, and usage restrictions.
55. Permanent loans shall be accepted only from similar institutions or museums.
56. Permanent loans may be left with the Museum for purposes of identification, research, consideration for purchase, loan or other manner of acquisition. The items will be appropriately documented and will receive the same care as accorded the permanent collection while in custody of the Museum. Their status should be monitored by an annual review of the loan agreement.
57. If the loaned materials have not been retrieved within 90 days of the termination of the loan agreement or by the specified period, the lender shall be contacted and advised that they should retrieve their items. If they do not indicate intent to retrieve their items, they will be advised that the items will be treated as the property of the Museum, and may be accessioned into the collection or discarded.
58. Advice shall be sought from the Museum Committee and, should the Museum Committee deem necessary, legal advisors regarding the disposition of loaned or unclaimed materials.
59. For all incoming loans, the lender will provide the form that shall be used.
RESEARCH POLICY
60. The conduct of research is a legitimate objective of the Museum as defined in the Statement of Purpose. Research is vital and fundamental to the Museum’s strength, for it must collect, interpret and present material in a professional manner.
61. Program planning with the Museum must provide for a substantial ongoing research element. The Museum recognizes an obligation to provide adequate staff and other resources to maintain an active program in all categories of museum research.
62. Definition. Research may be defined as a critical investigation aimed at:
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a. the discovery of new facts and interpretations;
b. the revision of accepted conclusions and theories in light of new information; and
c. the practical application of this knowledge.
63. Categories of Research. The categories of Museum research are as follows:
a. Basic Research. Research in which the principle objective is to expand knowledge.
b. Program Research. Research that is related primarily to the needs of specific programs and operations of the Museum (exhibit preparation, documentation and conservation of collections).
c. Evaluation Research. Research that studies approaches to museum related functions and procedures (exhibit evaluation, visitor surveys).
64. Research Priorities. The current and forecasted needs of the Museum will be given precedence when selecting and planning research projects. Research that duplicates work being carried out elsewhere shall receive low priority. The priority list for the curatorial research subject matter follows the order set in the Collections Policy:
a. research related directly to the Regiment;
b. research related indirectly to the Regiment; and
c. comparative research.
65. Research Programs. The Museum shall instigate and implement high quality research programs to present its collections with accuracy and in a historical perspective. These programs shall:
a. recognize that the prime focus of the Museum must be its collections and archives. Such a program will not only document the existing collections, but also provide the occasion for recognizing and acquiring artefacts not included in the collections;
b. generate and develop display and exhibition story lines and texts;
c. generate and provide material and publications, papers and conferences; and
d. aid in the development of interpretive materials for other types of presentations such as through the media, educational audio-visual productions and information brochures.
66. The Museum should encourage research which will add to the knowledge of the history and heritage of the Regiment through scholarly enquiry. The Museum will strive to:
a. maintain close liaison with other similar institutions, other agencies, and individuals engaged in research projects;
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b. suggest and encourage research based on Museum collections;
c. make collections and information pertaining to them available to bona-fide researchers; and
d. not duplicate existing programs, nor to undertake research carried out at other institutions.
67. Uses of Research. The results of research shall provide the following:
a. need for direction of collections development;
b. the need to generate exhibitions, publications and other programs; and
c. produce new knowledge about key people and events in the history of the Regiment.
68. Liaison with Other Institutions. The Museum shall maintain a close liaison with other museums, archives, collectors, clubs, associations, universities and government agencies to encourage research based upon the collections of the Museum.
69. Research Rights. A meaningful research program involves a considerable investment of museum resources, including space, equipment, budget, and staff time. It is the intention of the Museum to make every effort to provide scholars and the public adequate access to the Museum collections, subject to the limitations to provide these services. Museum staff shall, however, have the first priority to materials for research purposes.
70. Specimens and artefacts and information shall only be made available for outside requests at a time chosen by the appropriate staff member in consultation with the Curator.
71. All researchers will be required to sign a copyright agreement form acknowledging the assistance given by the Museum to ensure there are no infringement of current copyright laws as it applies to reproduction and distribution of intellectual property of the Regiment. Each agreement is for a single project at a time.
72. Access to oral history subjects shall be governed by:
a. ethical guidelines that information shall not be provided if the information requested may reflect unfavourably on a still living Regimental personage, unless the person is aware of the oral history records in existence and has given permission to the Museum to permit access to those records;
b. the existence, or lack thereof, of restrictions placed on the records, such as:
(1) security classification;
(2) wishes of the donor or interview subject;
(3) any legal considerations; and
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c. the nature of the research being conducted.
73. All current legal considerations will be observed. If any doubts exist by the researcher, the Museum Manager shall be the final arbitrator.
74. Access and Control. The Museum continues to receive requests for access to the collections from various segments of the population, including visiting scholars, private collectors, members of historical societies, and staff from other museums. These people are interested in examining parts of the Museum first-hand for academic research, satisfying personal curiosity or even for commercial gains.
75. Although the Museum is a public institution and by implication fully accessible to the public, the Museum also has the responsibility to protect its collections so that they remain a valuable resource for future generations.
76. Access and control shall be in accordance with the following guidelines:
a. all researchers shall be under strict supervision by the respective staff member;
b. all researchers shall provide acceptable credentials and accept specific terms such as:
(1) academic credentials;
(2) letters of reference;
(3) applicable museum membership;
(4) knowledge of techniques for handling artefacts and archival documents;
(5) purpose of research;
(6) booking a formal appointment;
(7) a reproduction fee IAW industry standards;
(8) all photography shall be done by staff members;
(9) the researcher shall acknowledge the source of all photographs and documents; and
(10) no public access shall be granted to documents or artefacts which are fragile or raise legal issues, including, but not limited to:
(a) donor anonymity;
(b) operational or personal security; and
(c) copyright.
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77. For information and guidance on matters of an ethical nature, researchers shall be referred to the Museum Manager.
CONSERVATION POLICY
78. The Regimental Museum and Archives will, in reasonable balance with its other purposes and functions, take all reasonable steps to prevent the deterioration of the objects in the collection, to restore them as necessary and to preserve them for future generations.
79. The Museum and Archives will seek the best available advice particularly from the Canadian Conservation Institute or other competent agencies on realistic environmental conditions required for the optimal preservation of all collections and will then establish its own standard criteria which will be reviewed annually and updated as necessary.
80. Principles.
a. the Museum and Archives will actively work within TMM to provide the facilities and equipment to achieve the environmental conditions required and to monitor the maintenance of these conditions;
b. the Museum will regularly review the adequacy of its measures to protect artefacts from damage by the public, fire, and theft;
c. the Museum will develop written standards and criteria, and clear responsibilities for the handling, packaging, transport and display of objects in order to minimize damage through these activities;
d. the Museum will evaluate each restoration project and to recommend the methods for carrying out the project; and
e. the Museum will engage in the restoration of objects only after thorough research and with the requisite skills to ensure authenticity.
81. Types of Conservation. The primary responsibility of the Museum is to ensure its collections are preserved and protected to the highest standards possible. The responsibility of the Committee is to ensure such standards are met in the two areas of conservation recognized by the Canadian museum community:
a. Preventative Conservation. That is the adoption and adherence to procedures and practices which will protect the collection from harm:
(1) extremes of temperature and relative humidity;
(2) excessive light and ultraviolet radiation;
(3) environmental contamination;
(4) infestation;
(5) loss due to theft and vandalism;
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(6) careless handling, incorrect storage;
(7) environmental damage (faulty physical plant);
(8) improper exhibit techniques and inadequate measures to deal with natural disasters such as fire or flood; and
(9) civil disturbance and vandalism.
b. Remedial Conservation. Remedial conservation is those procedures which attempt to overcome the damage brought about by the ravages of time and through exposure to harmful conditions. This includes cleaning, mending, stabilization, corrosion and tarnish removal, replacement of missing parts and other appropriate procedures. Where required, such procedures (if beyond the Museums or Archives staffs’ capabilities) will be carried out by accredited institutions only.
82. Collections Storage Areas. All items when possible will be stored within a closed cabinets or covered racks to guard against possible water damage. The Collections Manager is responsible for the cleanliness and organization of the collections storage areas. All storage guidelines can be found in Chapters one and two of the Canadian Conservation Institutes Notes.
83. Storage Units. The choice of storage unit will be based on the category of an item. All storage methods will be constructed of inert materials. This will apply to wrapping, padding, and support materials. Paints and other varnishes should also be of proven stability.
84. Environmental Control. Environmental conditions in storage should be similar to those found in the Gallery.
a. Lighting. Lighting should have an intensity of 150 lux or less and an ultraviolet context not to exceed 75 uW/lm. All lighting is to be turned off when not required and external light exposure should be minimized. Spotlights in the gallery must be tested for lx to ensure paintings and other objects are not being over-exposed.
(1) The lux (symbol: lx) is the International System unit of illuminance and luminous emittance, measuring luminous flux per unit area. In photometry, this is used as a measure of the intensity, as perceived by the human eye, of light that hits or passes through a surface. A lux metre is used to measure this.
b. Temperature and Humidity. The temperature and relative humidity (RH) levels shall be monitored to ensure the environment is appropriate for collections, ensuring no excessive fluctuations take place. Adequate air circulation must also be taken into consideration to discourage mould growth.
c. Hygrothermographs. Digital hygrothermographs must be placed in the Gallery, Collections, Vault, and Archives, as well as any sealed-off exhibits such as an encased painting. These will be used to monitor RH and temperature. Readings will be downloaded and backed up monthly using HOBO software.
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86. Inspection and Maintenance. It is extremely important to carry out regular inspections to monitor the condition of objects and to identify potential problems before they occur. A clean, well-organized storage area will facilitate easy access to the collection for inspection, and will minimize the potential for overlooking problems. Inspection routines can be broken down in a number of ways; daily, weekly, and longer-period inspections are perhaps the easiest for staff to put in place and maintain.
a. Daily inspection. Give the storage area a cursory inspection every day to pick up signs of trouble such as leaking pipes, condensation, etc. Check RH and temperature daily and record the values for future reference. If no controls are installed, or if systems are not working, move sensitive objects to a safer, more stable location during periods of excessive environmental fluctuations. It is not necessary to examine objects in detail unless there are known problems that need continual monitoring.
b. Weekly inspection. Check artefacts and storage units located in different parts of the storage area for signs of insect infestation. In addition, look for accumulated dust or debris as such traces are an indication of problems. Dust is abrasive and it also reacts with moisture to accelerate chemical degradation, making it important to keep storage areas as clean as possible. Briefly inspect the objects in the storage area to ensure that they are adequately covered, well supported, and in their proper locations.
c. Quarterly or Semi-Annual inspection. Inspect all objects in storage for signs of damage or other changes in condition (such information should become part of the documentation unique to each artefact). If any change in condition of objects is discovered, take whatever steps are necessary to prevent additional damage. Check all wood, leather, paper, textile, and other organic materials for evidence of infestation and mold growth. Examine metals for signs of active corrosion. Inspect all mounts, padding, covering, and storage materials to ensure they are still doing their job. Examine and calibrate environmental monitoring equipment. Check light levels and inspect all electrical equipment. Assess pipes, ventilators, radiators, and other installations for proper function and signs of problems. Inspect all heating and ventilating, fire protection, and security systems, and perform any necessary maintenance.
RECORD KEEPING
87. Registration and Cataloguing. The services the museum will render to the community are directly proportional to the availability, accuracy and quantity of information the Museum possesses about its collection. All other aspects of museum work depend to a greater or lesser extent on the information collected on the artefacts.
88. The Museum will adopt written policies and procedures for registering and cataloguing artefacts and archival material in accordance with established museum practices. This process is outlined in detail in Chapter 3 Annex A.
89. All new acquisitions, to the extent possible, will be registered upon receipt and the General Manager will report to the Director regularly on the progress in reducing backlog of unregistered material.
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90. As funds and time permit, the Museum will proceed with a program of cataloguing its holdings, with the intention of registering and cataloguing the entire collection.
91. The curatorial staff will work closely with the other museums in the development of information on collections.
92. Inventories. The inventory is a list of the Museum’s collection holdings. It allows for tracking of artefacts in order to examine, evaluate, and properly conserve them. The Museum shall maintain an accurate inventory to meet its legal and ethical obligations.
93. In particular, an inventory can:
a. provide ready proof of accountability for the Museum’s collections;
b. identify collections management problems, such as incorrect or missing numbers, incorrect registration information, etc.;
c. provide current location records and condition reports; and
d. enable the consolidation of old and new records.
94. The Museum collections are insured at replacement cost by the Consolidated Insurance Program. To ensure the total value is known, and to avoid problems in insurance settlements should a loss occur, the Curator is required to complete a listing of all objects in the collections, item by item, showing the value of each item, including the appraised value where available. A copy of the inventory will be backed up on the RHQ drive and will be updated quarterly with new accessions.
95. Items on loan to the Museum shall be listed separate from owned items.
RISK MANAGEMENT POLICY
96. The primary document guiding disaster preparedness for the PPCLI Museum is the TMM Disaster Management Plan, Reference K. All staff of the PPCLI Museum must be familiar with this plan. This section is intended as PPCLI-specific support to that plan. The Museum operation presents three areas of vulnerability. While there may be others such as vehicles, boilers and valuable papers, this section will deal primarily with:
a. the owned or leased building that houses the Museum collections, facilities and equipment;
b. the owned or borrowed collections in this or other locations; and
c. the individuals with access to either buildings or collections, including staff, board members, the general public and volunteers.
97. Definition. Risk management can be defined as the safe guarding and protection of the Museum (collections, building(s), properties and contents, staff, visitors and the property of staff and visitors).
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98. Security. It is appreciated that 3rd Canadian Division Support Group is the owner of the facility or building known as “The Military Museums” (TMM). As such, the building is Crown- owned and subject to the security regulations and codes of DND. The overall process of providing security for the Museum is unique, complex and ongoing.
99. As such, DND will provide site security to TMM through the Corps of Commissionaires. This service is provided on a 24/7 basis. DND, through Construction Engineering (CE), is also responsible for providing alarm and surveillance services to the Museum. A security company is contracted by CE to handle this service. The Operations Officer is the principle liaison with CE.
100. The PPCLI Museum is responsible for the allocation of alarms within its own gallery. The Commissionaires will monitor these alarms and advise visitors of infractions.
101. The main role of security is prevention. The Museum staff shall, as part of daily routine, pay particular attention to the following:
a. enforce the no smoking policy and ensure that no food is consumed in areas containing artefacts;
b. strict control of access to non-public areas of the Museum;
c. no parcels or large bags are allowed in the gallery. These items must be left in the appropriate locker areas;
d. ensure that all ‘NO TOUCH” signs are prominently displayed;
e. all public areas are monitored during “open” hours; and
f. ensure the “No photography” policy is observed.
102. Risk Assessment and Analysis. Risk Assessment and analysis is the process of allocating limited resources to eliminate or lessen the impact of the most probable and most critical risks likely to affect the Museum.
103. Risks or hazards presented to the Museum or gallery are human, social, and natural in nature. Museum staff are responsible for negating the potential effects of hazards and providing input to the elimination or mitigation these risks.
104. The four step process of Risk Assessment and Analysis involves:
a. Threat Identification. Identify those events that might cause damage or loss to the Museum.
b. Probability of Loss. Determine the likelihood of each threat becoming reality.
c. Criticality of Loss. Determine how critical each loss would be if the event should occur.
d. Hazards Analysis Ratings. Rate each loss according to its probability and its criticality as per sub-para b and c.
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105. Museum Hazards. Hazards that should be examined in the risk management and analysis process are:
a. Physical Malfunctions. Building failure, boiler explosion, sprinkler leakage, glass breakage, smoke, fire, alarm system malfunctions, flammable materials.
b. Operational Malfunctions. Mysterious disappearance, improper handling, negligent acts, inadequate or improper insurance agreements, inadequate record keeping, poor building maintenance, poor communications, inadequately trained staff.
c. Dishonest Activity. Vandalism, malicious mischief, theft, staff dishonesty.
d. Transit Perils. Improper handling and packing, inadequate mode of transportation.
e. Natural Perils. Earthquake, flood, tornado, wind storm, lightning, and fire.
f. External Perils. Riots, civil disobedience, war, or government confiscation.
106. Preparedness. Preparedness by its very definition indicates thoughtful planning and decisions in advance about how emergencies will be handled. Assigning specific tasks, knowing sources of supplies and how to obtain them even on holidays, and having correct telephone numbers for police, fire services, and museum staff are an integral part of disaster strategy.
107. Planning also includes establishing priorities for materials to be saved first and those to be abandoned if necessary. In establishing priorities, catalogues and shelf lists should be considered. Loss of records will add to the confusion of recovery if large numbers of materials are affected. In addition, planning includes decisions about whether particular collections are important because of artefact value only or intellectual value. For example, preserving the intellectual content of books is much less expensive than restoring books.
108. The Museum Manager shall be responsible for all matters of risk management for the PPCLI gallery. They are to assist in the management of TMM with the enforcement or implementation of the security plan.
109. Priority Items. Priority items to save in the event of a disaster are based on historical value to the Regiment as a whole, and monetary value. This list is to be considered as a tool for saving key artefacts in a short amount of time in the event of a disaster. The priority items to salvage in the event of a disaster are as follows:
a. the Original Colour (Ric-A-Dam-Doo);
b. the WB Wollen painting “The Canadians at Ypres”;
c. the portrait of Princess Patricia by James Jebusa Shannon;
d. the Victoria Crosses;
e. the medals of Hamilton Gault, Shorty Colquhoun, Pelly, and Cameron Ware;
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f. Princess Patricia’s Wedding Dress;
g. the FG42; and
h. the individual files and P31 files from the Archives.
110. Insurance. As the Museum is a NPP activity subject to management under the Canadian Forces Central Fund (CFCF), the Non-Public Property Consolidated Insurance Program (NPP CIP) provides the insurance coverage for all artefacts listed on the current Museum Inventory. Chapter 11 of A-FN-105-001/AG-001 (Reference A) covers in detail the rules and regulations applicable to museum property.
111. To avoid problems in claim settlement, the Museum is required to maintain the Museum Inventory, showing item by item, including the appraised value and the date of such appraisal. As the collection is worth over $1 million, CIP must be advised of the value appraised over $1M so it can ensure additional coverage is provided.
112. The NPP CIP insurers have agreed that the items valued at one thousand dollars or less not be appraised as long as information is available to provide reasonable substantiation of values placed on them.
113. Items on loan to the Museum shall be listed separate from those items owned by the Museum.
114. The CFCF pays all premium charges applicable to insurance coverage.
115. The Museum Manager shall ensure that the appropriate documents are maintained and reviewed annually.
116. Appraisals. An appraisal is an estimate of the monetary value of a particular piece of property for the purpose of income tax, insurance, sale, purchase etc.
117. The purpose of appraisals is to determine an artefact’s value prior to accessioning, when an object is going out on loan or when an object is being considered for purchase. An appraisal may ensure that fair market value is set.
118. Appraisal Criteria. Revenue Canada permits that items considered to have a value of one thousand dollars or less need not be appraised by a third party (the Collections Manager’s appraisal is acceptable). However, as in the case of the insurer, all pertinent information must be available to provide reasonable substantiation of values placed on the items should a loss occur. This procedure will eliminate the need to have qualified appraiser review many items which have only a minimal monetary value.
119. All items which have appreciated in value and are considered to be worth more than one thousand dollars shall be appraised by a qualified appraiser. The report of the appraiser shall be retained in the document file.
120. All items on loan to units shall be appraised prior to leaving the museum or, in any case, must be appraised soon after to establish the current value.
121. A portion or grouping of the Museum collection shall be appraised annually. An appraisal report shall be forwarded to the Museum Director for inclusion to the fall
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Regimental Executive Committee meeting. Based on size of the collection the groupings are as follows:
a. textiles;
b. accoutrements;
c. art;
d. weapons;
e. archival artefacts;
f. vehicles; and
g. other (Instruments and Precious metals).
ARTEFACT STATUS
122. Items of NPP may be classified as artefacts and memorabilia by:
a. the CDS;
b. the CO of a unit or other element of the CAF; or
c. the president of a branch, regimental or group fund.
123. Allocating items Artefact status provides them with unique status. They are to remain fully operable but are removed from service. Artefacts are not to be altered in any way. For example, a weapon should not be welded inoperable if it is granted artefact status.
124. Items classified as artefacts must have this status recorded in CFAMS and have the appropriate documentation added to their file.
ACCOUNTING FOR PUBLIC PROPERTY, NPP, AND WEAPONS MANAGEMENT
125. All items issued through the Canadian Forces Supply System (CFSS) that are assigned to the Supply Customer Account (SCA) will be subject to a 100% verification when the Chairman of the Regimental Executive Committee (REC) changes and assumes responsibility of the account. All SNAC related items, particularly weapons, will be verified quarterly IAW Reference D, A-LM-007-014-AG-001, Canadian Forces Supply Manual and Chapter 28, National Defence Security Policy (NDSP).
126. All artefacts which are donated to, or received by, the Museum become the property of the Crown either as public property or NPP. Artefacts which are issued through the CF Supply System are classified as public property. The museum will need to establish two Distribution Accounts (DA) for its artefacts; a public property DA, through base supply, and an NPP DA, through the base comptroller. The provisions for accounting for NPP are detailed in A-FN-105- 001/AG-001, NPF Accounting Manual.
127. DA Account Number for Museum. The current public property DA number for the museum is AQ2R.
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128. Weapons Accounting and Security. In accordance with NDSP Chapter 28, small arms held by a museum are considered still in service with DND and are not normally irreversibly modified. Such weapons form part of the CF inventory and are controlled through normal supply and accounting procedures. Donated weapons are to be brought on CF inventory and, as such, need not be registered with civilian police agencies. The PPCLI Museum does hold a business firearms license with the RCMP. This shall be displayed on the wall in the office and renewed as required.
129. Small arms shall be displayed under the direct supervision of museum staff unless the weapons have been rendered inoperable by the removal of essential operating components. When not on display, operable weapons are to be secured in an approved weapons room.
130. Inoperable weapons on long-term display shall be protected by intrusion alarm(s). Such weapons are to be displayed in secure showcases or securely fastened to walls or floors in such a manner as to prevent removal. When valuable small arms or collections are displayed, the cases shall also be equipped with individual alarms in addition to the area alarm.
131. Display cases shall be equipped with high quality tamper-proof locks and the lock or locking mechanism of the cabinet should be inaccessible to the public. Display cases shall be constructed from quality material (3/4" plywood or equivalent) using both glue and screws. Exterior screws should be countersunk and the heads concealed. Plexiglass or glass with a minimum thickness of 1/2 inch is to be used as the glazing in display cases.
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Annex A To Chapter 3 PPCLI Museum Manual 1 April 2016
COLLECTIONS PROCEDURES
References: A. A-AD-266-000/AG-001 Canadian Forces Museums – Operations and Administration. B. A-LM-007-014-AG-001, Canadian Forces Supply Manual and Chapter 28, National Defence Security Policy (NDSP). C. Canadian Conservation Institute Notes available at: http://www.cci-icc.gc.ca/resources- ressources/ccinotesicc/index-eng.aspx D. Standard Practice Handbook for Museums Third Edition.
MUSEUM RECORDS
1. The primary purpose of the collection documentation is to ensure the permanent and absolute identification of each item in the collection. To the extent possible every object shall have its own individual number painted or attached to it. This and the number shall be entered in the Museum Register. In the case of multiple items of similarity, such as buttons or shoulder title patches with no known provenance, these items can be grouped under one number.
2. Museums house and care for collections for the purpose of preservation, conservation, research, interpretation and display. The Museum holds the material in-trust for public benefit. Therefore, significant responsibilities are assumed upon the acceptance of any material, for any reason, by the Museum.
3. The need for accountability, collection control, full documentation and rapid information retrieval emphasizes the importance of establishing and maintaining an efficient record system.
4. Provenance. In the collections sense, Provenance is the complete background and history associated with an object, whether it be fact, tradition or hearsay. The historical significance of an object lies not in itself alone, but also in the information relating to it. The object and its written record must be clearly connected so there can be no doubt concerning its identity. This is the reason why systematic collection records must be maintained in every unit or institute, and more importantly, within the Regimental Museum and Archives upon accessioning.
5. The assignment of an identifying number to an artefact constitutes registering it in the Museum’s collections. The process is often referred to erroneously as “cataloguing” a faulty usage which is apt to cause confusion between the two distinct procedures.
6. Accession. To accession is to record the addition of a new item to a library, museum, or other collection.
7. Register. To register an object is to assign it an individual place in a list or register of the materials in the collections in such a manner that it cannot be confused with any other object listed. The object’s individuality is established by linking the object’s place in the list with the information that accompanied it when it was received by the museum, unit, or institute. The linking is established by applying the same number to both the object and its written record. Thereby this identifying number becomes the registration number. No additional information is needed to maintain the permanent and absolute individuality of the object.
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8. Catalogue. To catalogue an object is to assign it to one or more categories of an organized classification system so that it and its record may be associated with the other objects similar or related to it. In order to ensure accuracy in making this assignment, time and expert knowledge are required. The object needs to be studied with care, identified explicitly and compared skilfully with other similar objects. However, the cataloguing or classification of an object can in no way alter or invalidate the significance and function of its registration number.
9. The failure to distinguish clearly between registering and cataloguing has led to either an assumption that objects must be classified before they can be registered, or to an attempt to establish a registration system that will serve as a means of classifying materials. In either instance, the registration process is retarded and the attempted fusion of the two procedures causes complication and confusion.
10. Importance of Records. The value of records depends upon information recorded and how the information is recorded. Therefore, record keeping requires careful thinking in the planning stage about what information should go into a record, and established and carefully observed rules and procedures for preparing records. The quality of the record will affect its reliability as a source of information about the object it represents. The detail and accuracy of information recorded and made available will determine the usefulness of the records, and in turn, will affect all object-related activities. The records, whether manual or computerized are central to collections management and all other object-oriented activities in the Museum.
11. Additionally, accurate records will provide:
a. proof of legal ownership;
b. accountability;
b. control over every item in the collection;
c. accessibility to information and material at any time; and
d. complete and full documentation.
12. Types of Museum Records. The following are the records most commonly used in Collections:
a. The Temporary Custody Agreement. (Annex 2A Appendix 1) This is the first record to be prepared when an item is received at the museum. Similar to a loan, this document allows the museum to hold a potential donation until review by the Acquisition Sub-Committee is completed.
b. The Gift Agreement. (Annex 2A Appendix 2) Once a donation is to be accepted, the donor must provide a Gift Agreement. This document will include a full description of the item(s) and is the legal transfer of ownership from the donor to the Museum. As much information as possible, especially provenance, must be gained from the donor and recorded on the Gift Agreement. In practice, many items do not go to the Acquisitions Sub-Committee as donors prefer to make their donation on the spot. In this case, the Gift Agreement is the first record to be used.
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c. The Loan Agreement. (Annex 2A Appendix 3) This document outlines the terms of loans to other institutions. It also lists all items loans and is considered a binding agreement.
d. The Accession Register. This is a sequential record, listing each accession as it is accepted in to the Museum’s collection. The Register is a permanent, official record of the Museum’s official holdings. The Register records all accessions in accession order, along with basic identifying information such as object name, the source, date of acquisition, collector, the title of the object or a brief description of the object. The Register should be kept in permanent ink in a bound book, not a binder of loose leaf. A duplicate copy shall be held in a separate and secure location. The duplicate shall be a scanned copy of the Register.
e. The Item Information Worksheet. This is a legacy record and may be found in Collections. It has been superseded by CFAMS. The Item Information Worksheet registration record comprises the essential management and descriptive information the Museum requires to identify an object. This will draw on the information presented with the Gift Agreement and may be enhanced through research on an item. This will include at a minimum the accession number, source, current location in the collection, condition, manufacturer, period, description, date received, value if known, location of photographs, exact measurements, marks, publications, and provenance of the item. The Registrar must make every effort to gain as much of the item’s provenance as possible for this record.
f. The Master File. There shall be a folder containing all correspondence, legal documents, newspaper clippings, Information Form, Location File, and any miscellaneous records concerning the object. These will be kept in the Collections area for easy access and reference. They will be arranged in order by accession number. Duplicate Master Files are also organized by donor name.
g. CFAMS. Canadian Forces Artefact Management System is used to keep descriptions and information on all items in the collection, and is the primary method of maintaining proper control over the contents of the collections. This software is provided by DHH and is the standard program for CF Museums as laid out in Ref A Section 4-2. CFAMS is also compatible with Canadian Heritage Information Network (CHIN), a repository of Canadian and international museum collections. In addition to accession information and item information, CFAMS will record the location of the item in the Collections and serve a catalogue function.
h. Appraisal. If a donor requests a tax receipt, an appraisal will be conducted. This appraisal will be kept with the Master File.
i. Tax Receipt. If the donor so requests, a tax receipt may be issued for the donation. A copy of this shall be kept with the Master File. See Chapter 1 of this manual for further information on tax receipts.
13. This simple system can be expanded as the need arises but the minimum records described must be maintained throughout the Museum. Similar records must be kept covering
3A-3/16 loans for special exhibits or for longer terms. Each unit or institute must keep duplicate records of the register and its main catalogue in a separate location safe from fire, theft or other hazards.
14. Basic Requirements. The efficient use and control of Collections depends upon the Museum staff to establish and maintain a functional system of recorded and readily accessible information.
15. Since the practical value of a museum catalogue is determined by the quality and quantity of data accumulated, minimum input standards have been developed. The basic requirements for cataloguing object information used by the Museum are standard museum practices and used by most museums in Canada. These are laid out in Reference D Chapter 3.1.6.
16. The test is that the Museum should be able to produce any object from its collection when any document from its registration system is picked at random. It should be able to produce all documentation for any subject picked from its collection at random.
REGISTRATION PROCEDURES
17. When practical, the responsibility of handling all collections records should be assigned to one person. The Registrar has one of the most important positions in the Museum. They must maintain a liaison between the curatorial and administrative staff; the Registrar holds the key to the collections and provides access to reference material.
18. Registration Sequence. The registration process will flow as follows:
a. a potential donation is received;
b. a Temporary Custody Agreement is issued;
c. the item is placed in quarantine if required;
d. item description is given to the Acquisition Sub-Committee for consideration;
e. if accepted, a Gift Agreement is drafted and signed by the donor;
f. an accession number is assigned and recorded in the Accession Register;
g. an Item Information Worksheet is filled out;
h. a Master File is created and placed in the filing storage;
i. all relevant information is added to CFAMS; and
j. when an item is removed from quarantine it is placed in secure storage in the Collections.
19. Frequently donors will bring items to the museum and will insist on immediate donation. A Temporary Custody Agreement should still be issued if possible as this avoids potential conflict when a donor or relative wishes an item not be donated. Museum staff should always offer a donor the opportunity for second thought.
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20. Quarantine. All objects are to be quarantined prior to being integrated into the Museum’s collection. Quarantine allows for proper inspection to ensure pests such as insects and mould are not spread into the Collections.
21. Different materials have different quarantine procedures. Further information on quarantine procedures can be found in the Canadian Conservation Institute Notes at http://www.cci-icc.gc.ca/resources-ressources/ccinotesicc/3-1-eng.aspx. Below is a broad guideline.
a. Archival Materials. In general, archival materials go into quarantine for three weeks. They do not go in the freezer.
b. Textiles. Textiles shall be placed in the freezer for three weeks. Judgement must be applied with items like leather since freezing may be harmful. If an item is in poor condition it should only be placed in a sealed bag, labeled, logged into the quarantine room register, and observed for a minimum period of 30 days.
c. Wood, Metal, Plastics. These items can be visually inspected in the quarantine area. If infestation is suspected then items must be treated and remain in the quarantine area until no signs of infestation remain.
d. Upon removal from the freezer, items must thaw for two days on the rack prior to removal from quarantine, and be visually inspected.
22. Receiving Area. Any artefact accessioned into the Museum must be deposited in a distinct Receiving and Cataloguing Area controlled by the Registrar. Only the Registrar (or other staff responsible for registering and accessioning articles) shall be allowed to remove any item(s) from this area.
23. This area exists to provide maximum security for documentation of an artefact. It is in this area that material is accepted on a provisional basis can be held until the Acquisitions Sub- Committee determines whether or not the object is authentic, or falls within the guidelines of the Museum’s Collecting Policy. Failure to do this can result in un-accessioned items being mixed in with existing collections.
24. Collection Documentation. In most cases documentation will fall into four distinct areas of preparations:
a. Temporary Custody. Material held on a temporary basis in the Museum’s receiving area pending acceptance or rejection decision by the Acquisition Sub- Committee.
b. Permanent Collection. Material donated, purchased or otherwise acquired by the Museum.
c. Loan Collection. Material accepted on short term for temporary or special exhibit purposes.
d. Object Declined. Material not within the scope of the Museum’s Collection Policy.
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25. Temporary Custody. Temporary Custody does not indicate ownership has been transferred to the Museum. In effect, this is a short-term loan by the potential donor to the Museum.
26. Issue a Temporary Custody Agreement for each lot as soon as it is brought into the museum. Keep the object out of the collection until accessioning has been approved or declined. Distribute the receipt copies as follows:
a. Original. To owner.
b. Copy One. To temp file.
c. Copy Two. Keep with the artefact until an accessioning decision.
27. The Temporary Custody Agreement should be filed alphabetically by surname.
28. Permanent Collection. This encompasses all artefacts and material acquired by gift or purchase, and accepted by the Acquisitions Sub-Committee. Once accession has been approved, proceed as follows:
a. Sequence of Events. The Registrar will:
(1) prepare a Gift Agreement or Agreement of Purchase;
(2) obtain necessary signatures;
(3) record in Accession Book; and
(4) add all information to CFAMS and set up a Master File.
b. Recording. The Registrar will create the following records:
(1) Numerical Files:
(a) Accession Register;
(b) Master File; and
(c) CFAMS information.
(2) Alphabetical Files (by Donor):
(a) Donation Certificate or Purchase Agreement; and
(b) Donor or Source Card (if applicable).
29. Loan Collection. Material and artefacts accepted for temporary displays should be received as follows:
a. Recording. The Registrar will:
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(1) advise the Museum Manager of the value of the artefacts so borrowers can be made aware of insurance requirements;
(2) complete a loan form as provided by the lender;
(3) keep a record of the loan;
(4) record loan items in the Donor File;
(5) return loaned material or property when temporary display is completed; and
(6) recover lender’s copy of Loan Form with Lender’s signature acknowledging return of all material in good condition.
b. Filing. Borrowed items will be kept in file alphabetically by the name of the lending institution.
c. Loan Form.
(1) by lender’s name; and
(2) donor’s Source file by name.
30. Declined Objects. The Accession Committee will sometimes reject donated objects. When that occurs, the Museum Manager will tell the owner tactfully and remember the following procedures:
a. Recording.
(1) letter to the owner declining the material;
(2) arrange with the owner for immediate return of material;
(3) recover the original copy of the “Temporary Custody Agreement” with the owner’s signature, acknowledging return of all material in good condition;
(4) file copy of Temporary Custody Agreement with the Recovery Receipt. Other copies may now be destroyed; and
(5) record on Donor/Source File, if one already exists for the donor.
b. Filing. Rejection letters and associated paperwork will be filed alphabetically by rejected donor’s name.
31. In addition, the following will be considered:
a. Part of the Temporary Custody Agreement will include a section to acknowledge recovery of items if they are returned to the prospective donor. This is used when the Museum is returning an object to its owner, and should be signed by the
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person who has received their property back. This kept in the Temporary Custody Agreement file; and
b. a Temporary Custody Agreement is also used for articles deposited with the Museum for identification or research. Ensure the completion of the Recovery Receipt portion when the material is returned to its owner.
ACCESSION MARKING
32. The primary purpose of collection documentation is to ensure the permanent and individual absolute identification of each item in the collection. Since each object in a museum is identified by a number, choosing the most suitable numbering system is an essential step.
33. The choice of an acceptable labelling technique depends upon the type of artefact on which the accession number is being applied. An artefact must never be permanently altered; the label must always be removable from the artefact. For example, the accession number is applied with a pencil to all artefacts made of paper. This method is completely reversible by using an eraser to remove the marks. Nail polish, on the other hand, should never be used on paper as it soaks into the fibres and cannot be removed.
34. Marking Principles. The purpose of artefact marking is to identify an object in the Museum’s collection. To facilitate this process, the accession number must be clearly marked on the object or attached to the object using an acceptable labelling system. 35. The following marking principles should be observed:
a. All numbers must be:
(1) legible and simply written;
(2) large enough to find with minimal handling of the artefact;
(3) in proportion to the size of the artefact;
(4) in an area where the number will not wear away;
(5) consistently located on similar objects;
(6) securely attached but capable of being removed without damaging the artefact; and
(7) in an ink or colour that contrasts with the colour of the artefact.
b. Do not use permanent, unstable or toxic materials such as:
(1) typewriter correction fluid;
(2) self-adhesive labels;
(3) scotch tape or marking tape;
(4) Dymo Lables;
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(5) straight pins or safety pins;
(6) felt marker or ball points;
(7) paper clips (metal or plastic); or
(8) staples.
36. Application of Numbers. When applying numbers to an artefact, five methods are normally used in this process. They are:
a. nail polish and ink;
b. pencil;
c. pellon;
d. tag; and
e. acetic-film.
37. Museum staff must use the applicable method and techniques outlined below. When in doubt, expert advice should be sought or the necessary reference material consulted.
38. Alpha-Numeric Codes. The primary purpose of collections documentation is to ensure the permanent and individual identification of each item in the collection. Over time different labelling methods have been used at the museum. Section 2.a is the current system, while section 2.b reflects a legacy system that will be encountered on many artefacts.
39. The following practical and widely used system of numbering will be used. It consists of a compound number divided by decimals into separate identifying units, each part following its own sequence:
a. Example 1: 2014.57.16.a
(1) ‘2014’ identifies the year;
(2) ‘57’ is the accession number: in this case it was the 57th item accessioned in 1983;
(3) ‘16’ indicates the objects original position in the 57th accession of 2014 (this item was the 16th object catalogued for the 57th accession); and
(4) ‘a’ indicates an element of a single object or set. For example, a pair of collar dogs donated together would be marked ‘a’ and ‘b’. The same principle would be used to indicate smaller items that belong to a whole, such as buttons on a tunic. The tunic would be 2014.57.16, and each button would be marked ’2014.57.16a’, ’2014.57.16b’, and so on.
b. Example 2, Legacy system: 82.13.2.T
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(1) ‘82’ indicates the year 1982;
(2) ‘13’ indicates the 13th accession acquired in 1982;
(3) ‘2’ indicates the second object in the 13th accession in 1982; and
(4) ‘T’ identifies the class of object as per the Category Codes below.
40. The first part represents the year of accession. Thus all objects accessioned in any year will bear the same initial portion of the compound number. The second part of the number begins with 1 annually and increases consecutively as accessions are acquired. The third part varies according to the number of objects in each accession. The last part of the alpha-numerical code identifies the object by its category.
41. In the past the PPCLI Museum used additional numbers to indicate groups of objects as opposed to letters, and only the last two digits of the year were used. This legacy system may be found on many artefacts. When, for example, the accession number consists of an object composed of two or more elements, the object number was extended by additional numbers or letters.
a. 83.57.16.N happens to be a rifle; the sling could be numbered;
b. 83.57.16.1.N the bayonet, 83.57.16.2.N the scabbard;
c. 83.57.16.3.N the entire object would be registered as 83.57.16.1-3.N
42. Category Codes (Legacy System). To further simplify the identification of the items within the museum collection, the Museum used a “letter suffix” as part of its accession numbering system. This system is no longer applied but may be found on old accession entries. The following letters were used indicating each category:
A. All Framed Pictures and Photo Displays;
B. Badges, Crests, buttons and signs;
C. Military Clothing;
D. Historical papers and documents;
E. Jewellery and Silver;
F. Flags and Pennants;
G. Medals and Decorations;
H. Military Publications;
I. Unassigned;
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J. Books;
K. Unassigned;
L. Newspapers, clippings, and general scrapbook materials;
M. Maps;
N. Weapons( including ammunition, shells and casings);
P. Unassigned;
Q. Museum Operations, Stores, and Miscellaneous Items;
R. Photo Albums, Films, and Recorded Tapes;
S. General Military Stores, Load Carrying Equipment;
T. Plaques, Awards, and Trophies;
U. Signals Equipment;
V. Unassigned;
W. Unassigned;
X. Unassigned;
Y. Unassigned; and
Z. Foreign Currency.
43. Labelling Methods. The traditional method of numbering museum objects with artist’s oils and fine camel hair brushes has been in use for many years. Vermillion, yellow, black and white provide excellent contrast where background colour separation is required. However, oil paints may require a day or so to dry unless a drop of dryer is added.
44. The use of archival ink pens is commonly used in PPCLI Collections. This method, when used on porous surfaces such as old wood, requires a base coat of white shellac or nail polish.
45. Museum staff shall consult “Standard Practices Handbook for Museums Third Edition” for all questions on marking. The following chart outlines the labelling methods or application of the accession number and location of the accession number on the artefact.
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Table 1 - Labelling Methods ARTEFACT LABELLING LABEL COMMENTS MATERIAL METHOD LOCATION Animal Specimen Tag Method Attach the tag to the Do not make a hole in Basketry artefact through the artefact. Semi-Tanned Skin existing holes or Skin around narrow parts
Bones Nail Polish Method 1st Option: Never write on a Ceramics The base-at centre or broken surface. Glass just inside or outside Ivory the foot of the based Never write the Metal depending on whether number directly on an Mineral Specimens or not the whole base artefact without a Shell touches the surface it layer of nail polish. Stone sits on. Unfinished Wood 2nd Option: Weapon Serial The back-at the numbers may be bottom usually on the highlighted for left hand side. identification If the two options purposes with White are not feasible, use Grease Pencil your own discretion. Try for an inconspicuous spot but not one that is Books Pencil Method difficult to find. Never use polish or Write the number on ink. the back lower left hand corner. Documents Pencil Method Write the number on Never use polish or Drawings the back lower left ink. Paper hand corner. Photographs Prints Watercolours Textiles Fabric Interfacing Dresses, Coats, Never use pins, (applying an Shirts, Blouses staples, wire or other additional layer to the Inside back neck metal fasteners. inside of a garment) band, or inside bottom left sleeve Shirts and Trousers Never use nail polish, Inside back waistband ink or iron on Hats – Inside at materials directly on a centre back hat band heritage textile. or centre back of crown Gloves – inside (attach one end of tag to hem)
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ARTEFACT LABELLING LABEL COMMENTS MATERIAL METHOD LOCATION Vests - Inside left armhole Rugs, Quilts and Other Coverings On reverse corner along a hem or sleeve edge Drapes Reverse lower left hand corner or each panel Pillow Cases Inside left corner near hem Shoes On heel breast parallel to bottom of Finished Wood Acetate- Film Commodes/Chests – Numbers may be Drawing Ink Method Chest back bottom left written in a larger corner format on big pieces Chairs - Back of the of furniture. back left leg. A fine watercolour Pellon Method Tables – on the apron brush may be used to (adding a tag from or at the base or a leg apply the ink. Pellon material) or underside of table top. All removable parts Tag Method Beds – Outer side such as drawers, neat bottom legs at shelves, etc are to be head of bed. numbered. Lamps - Lower right hand side at back or on base. Upholstered Furniture - Pellon Label sewn near right back leg.
For storage Hang a large paper tag in plain sight to avoid moving furniture to look for the accession number. Plastics Acetate –Film See “Label Location” Celluloids Drawing Ink Method for bone, ceramics etc. (French Ivory) Artefacts in Frames Nail Polish Method Paintings Two locations on the
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ARTEFACT LABELLING LABEL COMMENTS MATERIAL METHOD LOCATION wooden stretcher at lower right edge and upside down on upper right edge. Others - Bottom left corner on back of frame (if possible, also label the artefacts in the frame using the correct method).
46. Do not use any method which will result in damage to an artefact either at the time of application or in the future when removal or the number may be required.
47. Place numbers in the same relative position on similar types of objects.
48. Mark each object in such a way that the numbers cannot be seen when the artefact is on display, but can be easily found and clearly read by authorized personnel on appropriate occasions. Metal tags are not generally recommended; instead use white paper tags with cotton string. Numbering tags are done in pencil. Print should be clearly legible.
MUSEUM FORMS
49. The first step forward achieving an efficient recording system is to design suitable forms. However, one should recognize that even the best possible forms will inevitably constitute a compromise between the desire for completeness and the constraints of space and format. They have been designed to accommodate every kind of acquisition and should meet the future needs as the Museum’s collection expands.
50. The registration record comprises essential management and descriptive information that includes all information the Museum requires in identifying an object based on the details outlined on the forms.
51. Accession Register. When a new acquisition is received and accepted, the Accession Register is then completed. The basic information needed for each accession includes:
a. Accession Number. Place this number in the upper right hand corner.
b. Name and address of donor. Also to include status as gift, purchase, bequest, etc.
c. Date Received. Date or dates on which accession was received.
d. Nature of Acquisition. Purchase, donation, loan, or transfer etc.
e. Number of Items. Indicates numbers of items (not sub-components).
f. Description. List each item and describe briefly.
g. Received by. Initials of Registrar.
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h. Date Accessioned.
52. The Accession Register will be scanned as a .pdf and stored on an external hard-drive to ensure a back-up is kept.
53. The Archives will maintain its own Accession Register. When a donation is received, the Archivist and Collections manager will determine the appropriate repository for each item in the donation. Archives items will not appear in the collections accession register. However, duplicates of donation paperwork will be held in the Archives to identify the original donor source.
54. CFAMS. The second step in the accession process is more detailed and provides the basic information for computer input. CFAMS should contain at a minimum the following:
a. accession number;
b. manufacturer or maker;
c. period when the item or artefact was used;
d. a detailed description including condition and dimensions;
e. source and source biographical information;
f. marks, if any;
g. date received;
h. provenance;
i. measurements in millimetres; and
j. town or city of origin, state or province, and country.
55. It should be again noted that the above documentation is not the final step; it simply facilitates information management. To add to the conformity of description, uniform descriptions should be used.
56. There are three supplementary record files associated with or derived from the Museum’s Accession Register which are useful and discussed below. The document file is very important and contains all correspondence, legal documents, newspaper clippings and any other related material.
57. The CFAMS database file will be backed up at the end of each work week on an external hard drive. This file will also be uploaded onto Dropbox so it is held at an external location.
58. Temporary Custody Agreement. The Temporary Custody Agreement will contain:
a. source and source contact information;
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b. reasons for temporary custody;
c. list of items to be reviewed for donation;
d. a section for acknowledgement that all items have been returned to the owner;
e. provenance of the artefacts; and
f. a signature block for the potential donor and recipient.
59. Gift Agreement. The original will be kept by the Museum and a copy provided to the donor. If the donation includes archival items, a copy will be made for the Archives. The Gift Agreement will contain:
a. Source and Source contact information;
b. relation of Source to the donation;
c. list of items being donated;
d. provenance;
e. a clear statement that the donation indicates a transfer of ownership and copyright control to the Museum;
f. a signature block for the donor and the recipient;
g. a spot to indicate a tax receipt has been requested; and
h. a spot to indicate that a tax receipt has been issued.
60. Loan Agreement. The Loan Agreement will contain as a minimum the following:
b. borrower contact information;
c. a specified term for the loan;
d. a List of Items to be loaned;
e. a statement of purpose for the loan;
f. a signature block for the borrower and museum staff; and
g. a list of conditions specific to the artefacts or the loan itself.
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Annex 3A - Appendix 1 To PPCLI Museum Manual 1 April 2016
TEMPORARY CUSTODY AGREEMENT
PRINCESS PATRICIA’S CANADIAN LIGHT INFANTRY REGIMENTAL MUSEUM AND ARCHIVES 4520 Crowchild Trail S.W. Calgary, AB T2T 5J4 (403) 410-2320 ex 2680 Fax: (403) 974-2864
COLLECTIONS MANAGEMENT: TEMPORARY CUSTODY AGREEMENT This form to be prepared, in ink.
Reason for Temporary Custody:
Possible Acquisition Examination Attribution Identification
Copying
Other ______
Donor:
Name: ______Organization:______
Address: ______
Postal Code: ______Telephone: ______
Email: ______
Condition Value Appraisal Supplied
Description & History: (itemized list on reverse)
I ______, state that I am the rightful owner of the object noted above and have full power and authority to provide the Princess Patricia’s Canadian Light Infantry
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Regimental Museum and Archives with temporary custody for the identified reasons. I also agree that I will allow the Museum custody for a period not to exceed 90 days from the date of this agreement, and that I will take repossession of the object at the Museum’s request. I agree that the Museum will not be held responsible for any object remaining in its possession after 90 days and is free to keep or dispose of the object.
Depositor’s Signature:______Date: ______
Received by:______Date: ______
Physical Location: ______Image File:______
Registration Number: ______Transfer Number:______
I ______, state that the object(s) was/were returned to me in good condition.
Depositor’s Signature: ______Date:______
Itemized List of Contents
Item No Description Condition Kept/Returned Value
Attach a separate sheet if necessary To be filed when completed
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Annex 3A - Appendix 2 To PPCLI Museum Manual 1 April 2016
PRINCESS PATRICIA’S CANADIAN LIGHT INFANTRY REGIMENTAL MUSEUM AND ARCHIVES 4520 Crowchild Trail S.W. Calgary, AB T2T 5J4 (403) 974-2883 Fax: (403) 974-2864
COLLECTIONS MANAGEMENT: GIFT AGREEMENT
This form to be prepared, in ink, for all donations.
Date of Donation: ______
Copy to Donor: Yes No Call back to Donor: Yes No Date: ______
Method of Reception: Donation / Gift Tax Receipt Requested Received By: ______Purchase (attach receipt)
Other (indicate) Donor:
Name: ______Organization: ______Address: ______Postal Code: ______Contact Number: ______Email: ______
History of Person and/or Object: (Itemized list on reverse)
See Attached. (Temporary Issue to an Individual)
Museum Use / Location: Archives Collections Gallery Exhibitions
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The materials donated to the PPCLI Regimental Museum and Archives become the
property of the Regiment to be added to the collection or disposed of as appropriate. The PPCLI will retain Copyright over all donated items.
Office Use Only
Tax Receipt Authorized Yes No Tax Receipt Issued Yes No
Letter of Thanks Yes No Comments:
I ______, state that I am the rightful owner of the object(s) noted above and have full power and authority to dispose of the object(s) by transferring complete ownership and possession by gift to the Donee (PPCLI Museum and Archives) and that title and copyright (if applicable) to the object(s) is free and clear of all claims. I hereby agree to indemnify and save harmless the Donee with respect to this gift.
Donor’s Signature: ______Date: ______
Received By: ______Date: ______
Archives Accession No.______Collections Accession No.______
Itemized List of Contents:
Item No Accession No Description Condition Value
Attach a separate sheet if necessary To be filed when completed Archives Accession No.______Collections Accession No.______
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Annex 3A - Appendix 3 To PPCLI Museum Manual 1 April 2016
OUTGOING LOAN AGREEMENT
PRINCESS PATRICIA’S CANADIAN LIGHT INFANTRY REGIMENTAL MUSEUM AND ARCHIVES 4520 Crowchild Trail S.W. Calgary, AB T2T 5J4 (403) 974-2883 Fax: (403) 974-2864
COLLECTIONS MANAGEMENT: OUTGOING LOAN AGREEMENT This form to be prepared, in ink, for all outgoing loan materials. A copy shall be given to the borrower.
The PPCLI Museum and Archives The objects are loaned for: agrees to loan the following objects to:
Name: ______Examination:______
Address: ______Exhibition: ______
Telephone: ______Date of Return: ______
Item No Accession No Description Condition Value
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Attach a separate sheet if necessary To be filed when completed
The Borrower agrees to the conditions set out below.
Lender’s Signature:______Date: ______
For PPCLI Museum
Borrower’s Signature: ______Date: ______
For : ______Photo Id No:______
Loan Transfer No.______Collections Accession No.______
Date Returned:______Museum Staff Signature:______
OUTGOING LOAN CONDITIONS
PURPOSE
1. The object(s) are loaned to the borrower for the purposes set out in this agreement only, and the borrower shall obtain written approval from the PPCLI Museum prior to any change in purpose.
NOTIFICATION AND DELIVERY
2. The borrower is responsible for taking delivery of the object(s) and shall inform the PPCLI Museum Registrar by email of the receipt of and condition of the object(s), and shall advise the Registrar if and when the object(s) are moved to a different location, such as in a traveling exhibit.
INSURANCE
3. The Borrower shall insure the object(s) against all risk for the value determined by the PPCLI Museum under an ‘all-risk’ policy.
4. The PPCLI Museum may from time to time at its discretion review and adjust the value of the object(s) and a value established by the PPCLI Museum shall, upon written notice from the PPCLI Museum to the Borrower, be binding upon the Borrower for all purposes of this Agreement and the Borrower shall ensure that any policy of insurance maintained by it as contemplated by this Agreement shall reflect the adjusted value of the object(s).
5. Any inaction by the PPCLI Museum regarding evidence of coverage shall not be deemed a waiver of the obligation of the Borrower to insure the object(s).
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6. If the Borrower fails to secure and maintain insurance as provided for in this agreement, they will still be held liable to the PPCLI Museum in the case of loss or damage to the object(s), and for the cost of replacement or repair.
7. Insurance values stipulated by the PPCLI Museum are to be considered strictly confidential.
8. The borrower agrees to forward, upon request:
a. proof of insurance;
b. condition report(s) on the object(s);
c. all publicity for an exhibition in which PPCLI Museum objects are exhibited;
d. proof of a firearms permit; and
e. approximate number of visitors to the institution.
PRESERVATION AND CONDITION
9. Borrowed objects will be returned in the same condition in which they were loaned.
10. The borrower shall undertake measures to maintain constant and adequate protection of the object(s) from hazards such as fire or water damage, exposure to excessive light levels, conditions of extreme humidity or temperature, insects, dirt, theft, and handling by unauthorized or inexperienced personnel or the public.
11. The PPCLI Museum will ensure packing materials are sufficient to withstand any reasonable strain as can be expected from shipping of the object(s).
12. Borrowed objects shall not be cleaned, unframed, repaired, mounted, reset, or submitted to any examination or application which would tend to alter the condition without the prior written consent of the PPCLI Museum.
13. Borrowers shall not remove any accession numbers or other identification markings from objects.
14. Objects such as clothing, costume, adornments, fabrics, or delicate objects may be mounted only in a fashion approved by the PPCLI Museum.
15. More specific care and protection measures may be agreed upon by both parties and added to this Agreement as Appendices.
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SECURITY
16. The Borrower shall notify the PPCLI Museum as soon as possible in the event of theft, damage to, or loss of the object(s), and within 48 hours of the discovery of the incident submit a full written report to the PPCLI Museum.
17. Small object(s) must be displayed in locked cases. Large object(s) and uniforms not displayed in cases or behind glass must be beyond the reach of the visitor. Exhibition areas must be under surveillance by either guards, staff, closed, circuit TV, etc.
18. Borrowed object(s) may not be displayed, transferred, or loaned in other than the initially approved location without the prior approval of the PPCLI Museum.
19. Special conditions regarding the loan of war art and weapons may be attached to the PPCLI Museum Loan Agreement CREDIT
20. The Borrower shall credit the PPCLI Regimental Museum and Archives in exhibitions, related publications and press releases, in such form or text as the PPCLI Museum may direct.
21. The Borrower shall send copies of press clippings relating to the object(s) to the PPCLI Museum.
22. Should other information or data pertaining to the object(s) be obtained by the Borrower, the Borrower shall send a copy thereof to the PPCLI Museum.
23. If an object(s) is borrowed from the PPCLI Museum for the purpose of reproduction, the PPCLI Museum reserves the right to follow up the work in order to ensure its quality. The charges relating to this follow-up shall be paid by the Borrower. If the reproduction is to be used in an exhibition, the label accompanying the reproduction during the exhibition shall carry the following text "Reproduction of an original belonging to the PPCLI Regimental Museum and Archives".
PHOTOGRAPHY
24. Permission to photograph, film, televise, or reproduce a borrowed object(s) in any way, is prohibited unless otherwise agreed to.
COPYRIGHT
25. The Borrower shall ensure that the owners of the copyright in object(s) subject to this Agreement are paid the appropriate fees.
ADMISSION FEE
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26. The Borrower may charge a special admission fee to members of the public visiting any object(s) on exhibit.
INDEMNITY
27. The Borrower shall, at all times, indemnify and save harmless Her Majesty and the PPCLI Museum from and against all claims, demands, losses, damages, costs, actions, and other proceedings made, sustained, brought, or prosecuted by any person in any manner based upon, occasioned by, or attributable to the Loan of the object(s) under this Agreement.
WITHDRAWAL AND RETURN OF OBJECTS
28. The PPCLI Museum reserves the right to withdraw/recall any object(s) from the Borrower, if in the opinion of the PPCLI Museum:
a. the Borrower has been negligent in the care of any object(s);
b. the Borrower has not fulfilled any terms of this Agreement;
c. the object(s) are exposed to an unreasonable risk of harm; and
d. the purpose for which the object(s) are loaned cannot be attained.
27. Notwithstanding the period specified in this Agreement, either party may terminate the Loan by giving written notice of sixty (60) days to the other party.
EXTENSION OF LOAN
28. Requests for the extension of a Loan will be considered and may be granted with the written agreement of the PPCLI Museum, on the same terms and conditions as are set forth herein and on sixty (60) days’ notice, following a request in writing by the Borrower to the PPCLI Museum for an extension of the Loan of the Object(s) beyond the period specified in this Agreement.
RETURN OF LOANS
29. Upon termination of the Loan, the Borrower shall return the object(s) to the PPCLI Museum, at no cost to the PPCLI Museum.
30. Unless specified otherwise, the Borrower is to retain and provide appropriate storage for all packing materials provided by the PPCLI Museum for reuse in returning the borrowed object(s) to the PPCLI Museum.
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31. Loans will be returned only to the PPCLI Museum at the shipping address indicated in the Loan Agreement or its duly authorized agent unless otherwise notified by PPCLI Museum in writing.
BINDING EFFECT
32. This Agreement shall be binding upon the Parties thereto and upon their respective successors and assigns.
Borrower:______Date:______
Lender:______Date:______
Please sign and date one copy and return to PPCLI Museum and Archives 4520 Crowchild Tr SW Calgary, AB, Canada T2T 5J4. [email protected]
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Annex B To Chapter 3 PPCLI Museum Manual 1 April 2016
REGULATIONS AND APPLICABLE LAWS
1. The following regulations are relevant to the Public Museum in Alberta, and depending upon what is collected, may be relevant to the operation or the PPCLI Museum and Archives:
a. Provincial Legislation
(1) Alberta Historical Recourses Act 2010; (a) Grants Regulation 1989; (b) Archaeological Recourses Regulation 1982; (c) Disposition Regulations 1987; and (d) Historical Recourses Amendment Act.
(2) Foreign Cultural Property Immunity Act 1985;
(3) Department of Culture and Multiculturalism Act 1987;
(4) Freedom of Information and Protection of Privacy Act; and
(5) The Copyright Act 1985;
b. Federal Legislation
(1) The Cultural Property Export and Import Act 1988;
(2) The Copyright Act 1970; and
(3) The Federal Personal Information Protection and Electronic Documents Act 2001.
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Annex C To Chapter 3 PPCLI Museum Manual 1 April 2016
DEACCESSION CASE STUDY
References: A. PPCLI Museum Operations Manual. B. Museum Standing Orders 1969. C. CFP-266 Canadian Forces Museums Administration and Operation. D. Canadian Museums Association, Ethics Guidelines, 2006. E. Alberta Museums Association (AMA), Deaccessioning and Disposal of Collections Overview. F. AMA Standard Practices for Museums Handbook 3rd Ed. 2014. G. Policy On Disposition Of Museum Collections And Objects 19 March 1996, Alberta Ministry of Community Development H. Canada Revenue Agency website. http://www.cra-arc.gc.ca/chrts-gvng/chrts/prtng/gfts/rtrnng- eng.html I. Email exchange between Mr. Michel Litalien and Mr. Rory Cory, 19 October 2015.
BACKGROUND
1. In 2015 the Museum was requested to return the medals of a WW2 Veteran to a family member. The outcome of this issue is described below in the email from the Judge Advocate General. The background is attached as Appendix 1 to Annex C. This case can be used as a reference for contested repatriation cases.
2. H 16727 Ernest J Dodd joined PPCLI 22 May 1940. He was a Private and later Acting Sergeant. He was wounded 28 August 1944 in Italy, and remained on duty. He was wounded again on 21 October 1945 and remained on duty. He was struck off strength on 15 June 1945. He was past president of the Winnipeg branch of the PPCLI Association and was a former national president of the PPCLI Association. He is listed in the In Memoriam file as having died January 6, 1978, and was buried in Winnipeg.
3. Ernest Dodd’s medals and a Red Cross flag were sent to the Museum by his wife, Mrs. Kay Dodd, in June 1978. Andrew Dodd, Ernest Dodd’s son, requested the return of medals and flag in June 2015. Andrew Dodd, a cadet at the time the items were donated, was given the medals by the Regiment to present them on behalf of the Regiment to Lady Patricia during a visit to the Banff Cadet Camp in July 1978.
ISSUES
4. The Museum had five records pertaining to this donation:
a. accession numbers for all items;
b. donor cards that have the donated items marked as ‘gift’;
c. artefact display card with information on the donation;
d. a letter to Mrs. Dodd from Capt J. Miles at the time indicating that the donation had been received; and
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e. a letter from Mrs. Dodd stating it would be nice if Andrew Dodd could present the medals to Lady Patricia during her visit.
5. No tax receipts were located for this donation. Revenue Canada was contacted and reviewed the Regimental Fund and Hamilton Gault Memorial Fund files for 1978 but did not find any reference to this donation. The Archives and Collections have been thoroughly searched for tax records for this donation but with no result. No official gift agreement was located either.
6. The medals and Red Cross flag were appraised by Museum staff at a total value of $220.00.
7. Policy in place at the time was vague. Museum Standing Orders 1969, in effect at the time of donation, stated:
a. The policy shall be that items entered in the museum acquisition book shall not be removed (except for necessary repair and cleaning, etc.).
b. Surplus or duplicate items may be traded or disposed of to other museums as approved by the president.
8. The Museum Operations Manual stated: “It shall be the policy of the PPCLI Regimental Museum and Archives, should the case for repatriation ever occur, to follow the policy statement below: “The Museum will deaccession collections for the purpose of repatriation, when it can be shown that other bodies have a right to the material. The Museum will proceed with the repatriation only when it has the assurances that the collections will be preserved and cared for in accordance with the highest standard of museum practices.”” These statements did not exclusively rule out returns to donors.
9. CFP-266 Canadian Forces Museums Administration and Operation stated:
a. Artefacts which are donated directly to the museum become the NPP of the CF Museum. Therefore these artefacts are property of the Crown in right of Canada, with ownership vested in the local commander. CFP-266, 4-2-6 (24).
10. CFP-266 does not address deaccession. DHH Programs Manager at the time, Michel Litalien, stated “[offering deaccession items for distribution to other CAF Museums]… is more a courtesy thing between CAF Museums, except for Crown Assets artefacts/Crown owned (this is agreed with supply/DDSAL). For auction I would suggest you contact your local NPP rep. I believe you have to wait a certain time between the issue of a tax receipt for a donated object and the disposition/sale of it (except transfers).” This was also inconclusive.
11. Museum ethics, as outlined in the Canadian Museums Association publication Ethics Guidelines, encourage keeping artefacts given to the public trust within the public trust. This was echoed in the PPCLI Museum Manual Accession Policy, section 209, paragraph 2. As a member in good standing of the Alberta Museums Association (AMA), it would be considered good practice, but not an obligation, for the Museum to offer deaccessions to other Alberta museums if they are first refused by other CF museums. Reference E suggests that objects are first “…offered as a gift, transfer, exchange, or sale to an appropriate public collecting institution (e.g., museums, art galleries, heritage centres, archives).”
12. Returning objects to donors is not recommended practice and, in Canada, museums that
3C1-2/4 are Registered Charities with the Canada Revenue Agency are not permitted to return deaccessioned objects to original donors, even if an official tax receipt was not issued. When a gift has been made to a registered charity, title to the property transfers to the recipient charity in perpetuity. Returning objects to original donors is considered a new and separate transaction by the Canada Revenue Agency, thereby conferring a personal benefit on private individuals. This provides the CRA with grounds to revoke the museum’s charitable status. Registered Charities can only gift property to other qualified donees such as other registered charities or the Crown. AMA Standard Practices for Museums Handbook 3rd Ed. 2014 p. 200. However, the PPCLI Museum is not a registered charity per se, and issues tax receipts as a government entity.
13. AMA receives grants from the Lottery-funded Alberta Historical Resources Council. To receive funds from this source, the PPCLI Museum had to comply with their regulations, which in the AMA-endorsed Policy On Disposition Of Museum Collections And Objects of 19 March 1996 states: “Before any deaccessioned object or collection is considered for sale, it will first be offered at no cost to other appropriate Alberta public non-profit or government custodial institutions.” “If no appropriate Alberta public institution subject to this policy is prepared to accept custodial responsibility for the object or collection being deaccessioned, the materials may be disposed of by sale or such other means as is deemed appropriate by the organization deaccessioning the objects.”
14. The AMA Deaccessioning and Disposal of Collections Overview also stated:
a. “If no appropriate public institution is able to accept the objects, they may be disposed of through public sale following these guidelines: The sale must be public, usually a publicly advertised auction, and private sales are to be avoided. Under no circumstances may a trustee or an employee of the institution or their family members / close associates purchase the objects at the public sale. It is permissible for the original donor to purchase the objects at fair market value. Under no circumstances may objects be gifted back to the original donor.”
15. The Canada Revenue Agency website at the time included the following question and answer on charities returning gifts:
a. Can a registered charity return a gift to a donor?
b. In most cases, a registered charity cannot return a donor's gift. At law, a gift transfers ownership of the money or other gifted property from the donor to the charity. Once the transfer is made, the charity is obliged to use the gift in carrying out its charitable purposes.
c. However, a charity may try to retain the goodwill of donors seeking the return of their gifts by offering to transfer the gifted property to another registered charity.
16. It was determined that Mr. Dodd would have had to supply evidence to support his claim to the medals, including:
a. establishing that the artefacts were not donated. In this case, he would require a loan agreement or some other documentation indicating that the medals were not gifted to the PPCLI Museum; and
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b. demonstrating the legal title of the medals had been transferred to him through some form of documentation. Being related to a donor is not sufficient to demonstrate title.
17. Legal opinion was sought. The JAG provided the following email dated 13 January 2016, which proved the deciding factor in the case.
a. Firstly, the overarching law that pertains to this situation is the NPP provisions contained in sections 38-41 of the National Defence Act (NDA). Any actions taken in accordance with the guidance given in other regulations, manuals, etc, such as CFAO 27-5, the CF Museum –Operations and Administration manual, the PSP Policy manual have to keep the requirements of the law in mind. As it states in section 38 of the NDA, NPP:
b. “….shall be used for the benefit of officers and non-commissioned members or for any other purpose approved by the Chief of the Defence Staff in the manner and to the extent authorized by the Chief of the Defence Staff.”
c. Other guidance such as the AMA policies, or other museum guidelines may be useful as best practices, but are not binding. While the operations of the museum may be subject to the guidance of a committee and supported by a charitable organization, the museum artefacts (with the exception of the public property weapons) are all NPP, and remain vested in the person appointed as Base Commander. Taxation/charitable status issues associated with gifts don’t really come into play in this case.
d. Based on the evidence you have provided, it appears that Mr. Dodd does not have any legal claim of ownership of the medals. He appears to be asking for their “return” to him, but there is no evidence that he was ever the rightful owner of the medals, so they cannot be “returned”. It may be that he disagrees with the actions of his mother to gift the medals, but unless he can provide some additional evidence that they were improperly gifted by her, or that they were actually only loaned, and that he has, in fact, some claim, they remain NPP and subject to the relevant provisions of the NDA. If he chose to contest CF ownership of the medals in civil court, he would likely be unsuccessful.
e. My advice would be not to gift or sell the medals to Mr. Dodd. Selling NPP brings issues of gaining the proper authority, ie.: the CDS or his delegate (DGMWS), as Capt Peabody notes. It appears unlikely that approval would be given to sell the medals to any person, as this would not be beneficial, except possibly in some abstract sense. Your other COAs involving gifting the medals, or a set of replica medals to Mr. Dodd appear to breach NPP policy. While it might be argued that incurring some cost in maintaining a positive image is ultimately beneficial to the museum, further guidance is given in Chapter 2 of A- FN-105-001/AG-001, Policy and Procedures for Non-Public Property (NPP) Accounting at para 35:
f. “The funds of Base/Unit Fund, SISIP FS, CANEX, mess, and Museums shall not be alienated by any disposition of NPP that may result in personal gain or advantage, gifts to private or public institutions, to relieve an officer, non- commissioned member or civilian employee of his personal responsibility for
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loss or damage to public or NPP, for testimonials or gifts, for national appeals for financial assistance, or for the provision of anything connected with religious services.”
g. This essentially is direction by the CDS as required in section 39(3) of the NDA regarding alienation of NPP. The previous paragraph 34 also specifies that this policy is not restricted to cash or cash-equivalent NPP. The policy appears to prohibit most, if not all, gratuitous acts by a CF museum using its NPP. So abstract arguments about positive image cannot really stand up in this case. Although you may wish to give Mr. Dodd something because it is the nice thing to do, this does not appear to be an option.
h. Providing a set of replica medals at cost to Mr. Dodd would appear to be your most palatable, lawful COA.
ACTIONS TAKEN
18. Based on the legal opinion provided by the JAG the REC determined that the medals would not be returned to Mr. Dodd. As a gesture of good faith, the Regiment opted to provide Mr. Dodd a replica set of medals at no cost.
CONCLUSIONS
19. Repatriation to families is an emotionally charged issue, but the Regiment must respect policies and procedures. Clarifying the status of the Museum’s collections as NPP and being able to defer to NPP policy has greatly improved the clarity of this issue The Museum Manual has been updated to reflect these policies.
20. This case highlighted the importance of good record keeping, which underscores the requirement to have the right personnel in the Museum who will respect best practices. This applies not only to record keeping but to ensuring artefacts and records are properly cared for so donors can have confidence that their family heirlooms will be safely preserved for the public to see.
21. The Regimental Chain of Command has a responsibility to respect the artefacts and ensure the Museum is properly staffed.
RECOMMENDATIONS
22. To avoid future concerns, upon receiving potential donations Museum staff must be very clear that donations are permanent transfers of property. Easily accessible records must be kept on all donations.
23. The REC must refrain from considering the ‘easy out’ of returning donations and avoid setting precedents that are in conflict with NPP regulations. If necessary, the Museum must develop a clear communications plan in the case of an issue going public.
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Annex 3C - Appendix 1 To PPCLI Museum Manual
BRIEFING NOTE FOR CHAIR REC SGT EJ DODD ARTEFACTS RETURN
References: A. PPCLI Museum Operations Manual. B. Museum Standing Orders 1969. C. CFP-266 Canadian Forces Museums Administration and Operation. D. Canadian Museums Association, Ethics Guidelines, 2006. E. Alberta Museums Association (AMA), Deaccessioning and Disposal of Collections Overview. F. AMA Standard Practices for Museums Handbook 3rd Ed. 2014. G. Policy On Disposition Of Museum Collections And Objects 19 March 1996, Alberta Ministry of Community Development H. Canada Revenue Agency website. http://www.cra-arc.gc.ca/chrts-gvng/chrts/prtng/gfts/rtrnng- eng.html I. Email exchange between Mr. Michel Litalien and Mr. Rory Cory, 19 Oct 2015.
AIM
1. The aim of this briefing note is to provide the context and relevant policy concerning the request by Mr. Andrew Dodd to have his father’s medals returned to the Dodd family.
BACKGROUND
2. H 16727 Ernest J Dodd joined PPCLI 22 May 1940. He was a Private and later Acting Sergeant. He was wounded 28 August 1944 in Italy, and remained on duty. He was wounded again on 21 October 1945 and remained on duty. He was struck off strength on 15 June 1945. He was past president of the Winnipeg branch of the PPCLI Association and was a former national president of the PPCLI Association. He is listed in the In Memoriam file as having died Jan 6, 1978, and was buried in Winnipeg.
3. Ernest Dodd’s medals and a Red Cross flag were sent to the Museum by his wife, Mrs. Kay Dodd, in June 1978. Andrew Dodd, Ernest Dodd’s son, requested the return of medals and flag in June 2015. Andrew Dodd, a cadet at the time the items were donated, was given the medals by the Regiment to present them on behalf of the Regiment to Lady Patricia during a visit to the Banff Cadet Camp in July 1978.
DISCUSSION
4. The Museum has five records pertaining to this donation:
a. accession numbers for all items;
b. donor cards that have the donated items marked as ‘gift’;
c. artefact display card with information on the donation;
d. a letter to Mrs. Dodd from Capt J. Miles at the time indicating that the donation had been received; and
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e. a letter from Mrs. Dodd stating it would be nice if Andrew Dodd could present the medals to Lady Patricia during her visit.
5. No tax receipts have been located for this donation. Revenue Canada was contacted and reviewed the Regimental Fund and Hamilton Gault Memorial Fund files for 1978 but did not find any reference to this donation. The Archives and Collections have been thoroughly searched for tax records for this donation but with no result. No official gift agreement has been located either.
6. The medals and Red Cross flag were appraised by Museum staff at a total value of $220.00.
7. Museum Standing Orders 1969, in effect at the time of donation, stated:
a. The policy shall be that items entered in the museum acquisition book shall not be removed (except for necessary repair and cleaning, etc.); and
b. Surplus or duplicate items may be traded or disposed of to other museums as approved by the president.
8. The Museum Operations Manual states: “It shall be the policy of the PPCLI Regimental Museum and Archives, should the case for repatriation ever occur, to follow the policy statement below: “The Museum will deaccession collections for the purpose of repatriation, when it can be shown that other bodies have a right to the material. The Museum will proceed with the repatriation only when it has the assurances that the collections will be preserved and cared for in accordance with the highest standard of museum practices.””
9. The following policy is outlined in Reference C.
a. Artefacts which are donated directly to the museum become the NPP of the CF Museum. Therefore these artefacts are property of the Crown in right of Canada, with ownership vested in the local commander. CFP-266, 4-2-6 (24).
10. CFP-266 does not address deaccession. According to DHH Programs Manager, Michel Litalien, “[offering deaccession items for distribution to other CAF Museums]… is more a courtesy thing between CAF Museums, except for Crown Assets artefacts/Crown owned (this is agreed with supply/DDSAL). For auction I would suggest you contact your local NPP rep. I believe you have to wait a certain time between the issue of a tax receipt for a donated object and the disposition/sale of it (except transfers).”
11. Museum ethics, as outlined in the Canadian Museums Association publication Ethics Guidelines, encourage keeping artefacts given to the public trust within the public trust. This is echoed in the PPCLI Museum Manual Accession Policy, section 209, paragraph 2. As a member in good standing of the Alberta Museums Association (AMA), it would be considered good practice, but not an obligation, for the Museum to offer deaccessions to other Alberta museums if they are first refused by other CF museums. Reference E suggests that objects are first “…offered as a gift, transfer, exchange, or sale to an appropriate public collecting institution (e.g., museums, art galleries, heritage centres, archives).”
12. Returning objects to donors is not recommended practice and, in Canada, museums that are Registered Charities with the Canada Revenue Agency are not permitted to return
3C1-2/4 deaccessioned objects to original donors, even if an official tax receipt was not issued. When a gift has been made to a registered charity, title to the property transfers to the recipient charity in perpetuity. Returning objects to original donors is considered a new and separate transaction by the Canada Revenue Agency, thereby conferring a personal benefit on private individuals. This provides the CRA with grounds to revoke the museum’s charitable status. Registered Charities can only gift property to other qualified donees such as other registered charities or the Crown. AMA Standard Practices for Museums Handbook 3rd Ed. 2014 p. 200.
13. AMA receives grants from the Lottery-funded Alberta Historical Resources Council. To receive funds from this source, we must comply with their regulations, which in the AMA- endorsed Policy On Disposition Of Museum Collections And Objects of 19 March 1996 states: “Before any deaccessioned object or collection is considered for sale, it will first be offered at no cost to other appropriate Alberta public non-profit or government custodial institutions.” “If no appropriate Alberta public institution subject to this policy is prepared to accept custodial responsibility for the object or collection being deaccessioned, the materials may be disposed of by sale or such other means as is deemed appropriate by the organization deaccessioning the objects.”
14. The AMA Deaccessioning and Disposal of Collections Overview also states:
a. “If no appropriate public institution is able to accept the objects, they may be disposed of through public sale following these guidelines: The sale must be public, usually a publicly advertised auction, and private sales are to be avoided. Under no circumstances may a trustee or an employee of the institution or their family members / close associates purchase the objects at the public sale. It is permissible for the original donor to purchase the objects at fair market value. Under no circumstances may objects be gifted back to the original donor.”
15. The Canada Revenue Agency website includes the following question on charities returning gifts:
a. Can a registered charity return a gift to a donor? In most cases, a registered charity cannot return a donor's gift. At law, a gift transfers ownership of the money or other gifted property from the donor to the charity. Once the transfer is made, the charity is obliged to use the gift in carrying out its charitable purposes.
b. However, a charity may try to retain the goodwill of donors seeking the return of their gifts by offering to transfer the gifted property to another registered charity.
16. Mr. Dodd must be prepared to supply evidence to support his claim to the medals.
a. He must establish that the artefacts were not donated. In this case, he would require a loan agreement or some other documentation indicating that the medals were not gifted to the PPCLI Museum.
b. He must demonstrate the legal title of the medals had been transferred to him through some form of documentation. Being related to a donor is not sufficient to demonstrate title.
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CONCLUSION
17. Based on museum policy and existing practice, it is reasonable to assume that the Museum is the rightful owner of the artefacts in question. However, legal opinion is required to ensure this is accurate.
18. If ownership of the medals by the Museum is supported after a legal review, the Museum Committee has two available courses of action.
a. The Museum, as a gesture of good will, could deaccession the artefacts, which would require approval of the officer delegated authority by the CDS, and selling them back to Mr. Dodd at fair market value. There are no tax concerns to prevent this. Gifting the medals to Mr. Dodd establishes a precedent and raises ethical issues about the Museum’s claim to hold items in the public trust.
b. The Regiment could provide Mr. Dodd with a replica set of the medals. The cost of these replicas is $300 through the Kit Shop, and would demonstrate sound ethical principles but also respect for the Dodd family and their service to PPCLI.
RECOMMENDATION
19. These artefacts have a provenance directly linked to the Regiment’s history in WW2, and the role of one of the Regiment’s veterans in the PPCLI Association. It is the opinion of the Museum General Manager, based on broadly accepted museum ethical standards, that these artefacts should be retained as part of the Collection.
20. Prior to any action, this case should be examined from a legal perspective and JAG advice should be sought to attain clarity on the legal aspect of this situation. In particular, confirmation of the following is requested.
a. Does the Museum have legal claim to the items? Does Mr. Dodd?
b. With no tax receipts, are there any impediments to returning the artefacts to the donor’s son? Standard practice in the museum field discourages this, but the legal component is unclear.
Prepared by: DA Peabody, Capt, PPCLI Museum General Manager Reviewed by: QM Innis, Maj, Regimental Major/Museum Director Approved by: Date Prepared: 10 November 2015
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CHAPTER 4 GALLERY MANAGEMENT
EXHIBIT POLICY
1. The Regimental Museum and Archives acknowledges the great importance of the quality of its exhibits and the primary role in telling the history and story the Museum wishes to convey.
2. In 2013 the Gallery was renovated and reopened in January 2014. This exhibit plan laid out the story of PPCLI chronologically, and was built around the Hall of Honour. The Gallery concluded with a medals and Colours display that included the three Victoria Crosses won by Patricias in World War One.
3. The Gallery should not be considered in terms of permanent exhibits, but must be seen as constantly evolving. The Hall of Honour is the most permanent of displays in the Gallery. All other exhibits must be considered long-term or temporary.
4. Principles. The Museum will evaluate all of its exhibits in order to upgrade them until each:
a. conveys a clear story or message;
b. is informative, stimulating, and provides opportunities for more than one level of knowledge;
c. is visually attractive and well designed;
d. is understandable and coherent;
e. is scientifically accurate and current;
f. is clearly related to the theme of the Museum;
g. is conducive to return visits; and
h. does not place the artefacts at risk.
5. The Museum will plan exhibits which allow for interaction by visitors, and must consider different age groups. Children must be able to access information as well as adults, and height of display panels must be considered.
6. New exhibits or upgrades to or replacements of existing exhibits must be done within the context of the Museum Plan. Changes in the Gallery must be considered with regard for the existing exhibits and the flow of the Gallery.
7. The Museum recognizes the great importance of temporary exhibits in keeping the museum fresh and interesting for repeat visitors, and in broadening its appeal and educational effectiveness. These exhibits may be mounted internally using the Museum’s own collections and resources, or they may be obtained from outside sources.
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8. The Museum will only prepare travelling exhibits when directed by the Museum Committee.
9. The Museum has agreed to a common look and feel display standard with the other museums in TMM. Using regimental colours as a theme, display cards are a beige background with a maroon border. This layout is part of a common look and feel for TMM. The PPCLI Cap Badge can be placed in the corner if considered suitable. A template is found at Annex A. The Title font will be Trajan Pro, and the body text will be Trebuchet MS. The Museum Manager must liaise with TMM Communications staff to ensure standards are kept synchronized.
10. Gallery Access. The Gallery must remain wheelchair accessible. Any displays must have at least four feet of clearance to allow wheelchair passage through the Gallery.
11. Gallery Security. The Gallery is monitored by Commissionaires on a 24 hour basis. However, to ensure exhibits are not damaged alarm sensors must be placed at critical exhibits. Alarms are monitored by the Commissionaires and requests for maintenance and installation of new alarms are through the Operations Officer of TMM to CE.
12. Displaying Weapons. All displayed weapons should be rendered temporarily inoperable to the extent possible. This could include removing the bolts or firing pins. Ideally, all weapons should be secured behind half-inch glass and locked securely. Any weapons in a diorama display should be attached securely to the display with a metal cable. At no time may visitors handle weapons unless under the direct supervision of PPCLI Museum staff.
13. IT Infrastructure. The Gallery includes several monitors and touch screens for video and interactive use, as well as audio repeater devices cued by motion sensors. Due to power irregularities in the building, these devices are protected by Uninterruptible Power Supply (UPS) devices. These should be inspected semi-annually to ensure continued function. A contractor may be considered for Gallery IT maintenance.
GALLERY MAINTENANCE
14. The following tasks must be done on a regular basis, as they are not the responsibility of the TMM-contracted cleaning staff:
a. dusting and straightening of displays;
b. cleaning of display case glass;
c. replacing burnt-out lights;
d. ensuring all audio/video equipment is functioning;
e. ensuring all cabinets are locked; and
f. a ‘walk-around’ to check on all aspects of the gallery.
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Annex A To Chapter 4 PPCLI Museum Manual 1 April 2016
GALLERY DISPLAY CARD TEMPLATE
1. The following template will serve as a guide for drafting display cards for the Gallery and temporary exhibits. This is the agreed standard at TMM. The following general rules apply:
a. title font shall be Trajan Pro;
b. body text shall be Trebuchet MS;
c. ideal font shall be 48 for title, and 24 for body text. This may be varied depending on the display card purpose and size restrictions;
d. the external border will match the Regimental colour pantones; and
e. use of the cap badge and other graphics is optional.
Figure 4A- 1- Sample Display Card
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CHAPTER 5 OUTREACH POLICY
OVERVIEW
1. A major goal of the Regimental Museum and Archives as a public trust is to share its resources with other public institutions and the public beyond its walls without discrimination, provided that the use remains consistent with the Mission Statement. The integrity of the collection shall be respected and every effort will be made to present a truthful and well- researched presentation, with the following guidelines in mind:
a. there can be no use of the collections to benefit a private company without prior approval of the Museum Committee;
b. individuals and representatives of other organizations may have reasonable access to the collections for research purposes, but such supervised research will normally occur on the premises of the Museum;
c. loaned out items shall be governed by the guidelines and procedures as contained in other sections of this manual;
d. where material in the collections may be of ceremonial importance, there may be right of recall as determined by the Museum Committee; and
e. user fees may be charged for access to information or collections as determined by the Museum Committee.
2. Responsibilities. Ultimate responsibility for the management of the collections of the Regimental Museum and Archives rests with the Museum Committee.
3. Communications. The Museum will make every effort to communicate its purpose, scope, offerings and programs to the public through:
a. distribution of high quality written materials;
b. effective use of traditional media through press releases, interviews, special programs, and paid advertising;
c. effective use of social media, in coordination with the Regimental and TMM social media pages;
d. strategically located showcases for temporary exhibits; and
e. special events to mark exhibit openings, Regimental anniversaries, seasonal holidays, etc.
4. The Museum will provide an orientation display near the front entrance so that visitors may easily understand the subject matter and location of exhibits and program events, and how best to use them. In due course, this will be supplemented by a printed “Museum Guide” developed in cooperation with TMM.
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5. The Museum will develop ways of personally welcoming visitors as a special mark of hospitality. Volunteers will be integral to this effort. A posted greeting and thank you at the beginning and end of the gallery by the Colonel-in-Chief and Colonel of the Regiment will also serve this role.
EDUCATION
6. Education - In House. It is the Museum’s responsibility to present its collections for the education of the public and members of the Regiment, and to use its resources to this end. Education activities should always be coordinated with the TMM Education department to avoid duplication of effort.
7. The Museum will seek to maximize its educational effectiveness and its position as a premiere military museum in the community through:
a. its support of TMM guided tours of the galleries for all ages, particularly by pre- arrangement with special groups; and
b. support of public programming, including lectures, seminars, films and demonstrations. The Meet a Serving Soldier program by TMM education department is an example of such programming.
8. Education - External. The Museum must recognize the educational obligation to the whole community. Thus, it must extend the activities and collections of the Museum education programming beyond the walls of the Museum.
9. The Museum will strive for full utilization of its resources through a program of outreach activities which will include:
a. school visits and temporary displays at schools;
b. the provision of speakers and lectures;
c. support to events such as ‘Soldier for a Day’ and TMM fundraising events;
d. the preparation of special media presentations (educational purposes, newspaper articles, television and radio programs); and
e. the answering of enquiries related to the Museum’s exhibits and programs.
PUBLIC SERVICES
10. Public Services. The Museum will encourage those amenities and services, ancillary to the exhibits and educational programs, which make a visit to the Museum and the remainder of TMM comfortable and enjoyable. This will include, but not be limited to, the following:
a. engagement with the public by uniformed personnel, as a representative of the Canadian Armed Forces and PPCLI;
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b. support by Museum staff to TMM programs aimed at improving visitor experience such as the Gift Shop; and
c. support to TMM events.
11. Public Response. Stagnation is failure in the Museum world. The Museum will encourage a high level of public attendance and participation through the upgrading of all its programs as described in its mandate. The Museum Manager must be familiar with current practices in other institutions and look for ways to incorporate innovative ideas into PPCLI displays.
12. The Museum may actively solicit and survey the opinions of its visitors, and these surveys will be regularly summarized and reported to the Museum Committee by the Director.
13. Public Relations. Military members must respect all rules and regulations concerning public relations when engaging with the public. As a general summary, the following guidelines apply:
a. when in doubt, seek advice and support from Public Affairs through the chain of command;
b. discuss only your own job within your personal areas of experience or expertise;
c. respect federal laws and policies governing the disclosure of information (ex. Privacy Act, NDA, Defence Administrative Orders and Discipline, Operational Security, Queen’s Regulations & Orders);
d. agree to be interviewed only if you personally want to do it (not applicable, but something to be noted. A member cannot be ordered to speak to the media unless they agree to it);
e. do not respond to (media) inquiries that fall outside of your personal experience or expertise, unless otherwise approved;
f. do not undermine the safety of personnel involved in, or the potential success, of a CF Operation;
g. do not speculate about events, incidents, issues or future policy decisions;
h. do not offer your personal opinion on Government policy or DND/CF policy; and
i. do not discuss advice given to the Minister, Cabinet, or the chain of command.
14. Museum staff shall not be rude or abrupt when faced with questions on policy matters or issues. When engaging the public it is best to be polite and remind them that you can only speak to your area of expertise.
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COOPERATION WITH OTHER MUSEUMS AND AGENCIES
15. Cooperation with Other Museums and Agencies. The Museum will seek, for its own benefit and the benefit of others, to strengthen its association with other museums and museum related associations and government agencies through:
a. direct contact with other museums;
b. membership in and support of museum oriented associations and societies (See Annex 5-A);
c. continuing awareness of museum oriented programs and policies of governments, and close liaison with the appropriate government;
d. a commitment to the use of the Museum’s human resources and technical skill to assist and advise other museums as appropriate and as requested, and acknowledging that the Museum’s ability to help others is governed by its own strength and competence in each area; and
e. coordination of programs with agencies involved in education, tourism, public service and other activities in which the Museum has a vital interest.
16. Recognized Museum Program (RMP). This program is administered by the Alberta Museums Association and recognizes excellence in practice. It is granted on a review basis for five year periods and provides:
a. confirmation that museum practices are in accordance with recognized museum standards;
b. access to AMA grants for operational funding; and
c. assurance to donors that their donations will be safely and properly conserved.
17. The PPCLI Museum shall endeavour to retain this status and conduct its operations with a view to easy achievement of Recognized Museum status.
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Annex A To Chapter 5 PPCLI Museum Manual 1 April 2016
ORGANIZATIONAL AFFILIATIONS
1. The PPCLI Museum and Archives maintains institutional membership in the following organizations:
a. Alberta Museums Association. http://www.museums.ab.ca/ Suite 404 10408.124 Street Edmonton, AB T5N 1R5 P: 780.424.2626 F: 780.425.1679 E: [email protected]
b. Archives Society of Alberta. http://www.archivesalberta.org/ Suite 407, 10408 124 St NW Edmonton, AB T5N 1R5 P: (780) 424-2697 F: (780) 425-1679 E: [email protected]
c. Organization of Military Museums of Canada. http://www.ommcinc.ca/ OMMC Inc. Head Office 2513 Beacon Avenue, PO Box 2204 Sidney, British Columbia V8L 3S8 P: 250-654-0244 E: [email protected]
d. Canadian Museums Association. www.museums.ca 280 Metcalfe Street, Suite 400 Ottawa ON K2P 1R7 P: 613-567-0099 or 1-888-822-2907 F: 613-233-5438 E: [email protected]
2. Maintaining good standing with these organizations opens doors for networking, educational opportunities, and funding.
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