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Standards and Guidance in the Care of Archaeological Collections

Society for 2020 Standards and Guidance in the Care of Archaeological Collections

Society for Museum Archaeology 2020

© Society for Museum Archaeology and individual contributors 2020.

Editors: Gail Boyle and Anooshka Rawden.

Images reproduced on the front cover and on pages 6, 37, 51 and 70 courtesy and © Bristol Culture. Design and layout by Maria Geals.

Standards and Guidance in the Care of Archaeological Collections 1 Contents

Introduction ...... 5 Part 1: Collect ...... 6 Introduction to archaeology ...... 7. . Resources ...... 9 Collections policies (key considerations) 10 Collections development policy ...... 10 . . Deposition policy and procedure ...... 11 . . . Selection and retention ...... 11 . . . Treasure ...... 13 Donations, bequests and purchases ...... 15 . . Human remains ...... 15 . . . Rationalisation and disposal ...... 16 . . . Resources ...... 17 Preparation and Transfer of Archaeological ...... 18 Collecting archaeological archives ...... 18. . . Definitions ...... 18 The purpose of an archaeological ...... 18 Archive contents ...... 19 Existing guidance ...... 20 . . . Deposition standards and guidelines ...... 20 How an archive is created ...... 22 Project stages and communication ...... 22. . . Communication between the project stakeholders ...... 22. . Copyright and ownership ...... 25 . . . Human Remains ...... 26 . . . Human remains in archaeology collections ...... 26. . . Key legislation ...... 26. . . . ...... 27 . . . Collections care ...... 28 . . . Display ...... 28 Writing a human remains policy ...... 28

Standards and Guidance in the Care of Archaeological Collections 2 Record Holders & Sources of Support ...... 29. . . Historic Environment Records (HERs) ...... 29. . . The Portable Antiquities Scheme ...... 30 . . . Subject Specialist Networks ...... 31 . . . The Society for Museum Archaeology (SMA) ...... 32 Chartered Institute for Archaeology (CIfA) ...... 33. . . Planning archaeologists ...... 34 Museum Development Network ...... 35 . . Part 2: Manage ...... 37 Managing Archaeological Collections ...... 38 . . Collections management: archaeology ...... 38 Primary Procedures ...... 39 Sources of archaeological materials ...... 39 . . Actions and conversations ...... 39. . . Archaeological archives ...... 40 . . . Archives in poor condition ...... 40 Transfer of title and copyright ...... 41. . . Ownership ...... 42. . . . Treasure ...... 42 Human remains ...... 43 . . . Transfer of title ...... 43 Bulk accessioning ...... 43 . . . : specific additional considerations in relation to archaeology . . . . . 44 Cataloguing: specific additional considerations in relation to archaeology . . . 44. Object exit: specific additional considerations in relation to archaeology . . . . 45 . Loans in (borrowing objects): specific additional considerations in relation to archaeology ...... 45 . . . Loans out (lending objects): specific additional considerations in relation to archaeology ...... 45 . . . Documentation planning: specific additional considerations in relation to archaeology ...... 46 . . . Health and Safety ...... 47 . . . Introduction ...... 47 Relevant legislation ...... 47 . . .

Standards and Guidance in the Care of Archaeological Collections 3 Inherent hazards ...... 47 . . . Contamination from the ground ...... 48 Contamination in storage ...... 49 Reducing risk when working with collections ...... 49 . . Resources ...... 50 Part 3: Use ...... 51. . . . Using Archaeology Collections ...... 52. . . Practicalities ...... 52 . . . Positive outcomes ...... 53 Research ...... 54 . . . . Collections research ...... 54 . . . Enabling research ...... 54 Research charter ...... 55 . . . Research & community archaeology projects ...... 56. . Public impact and research ...... 57 . . . Engagement ...... 58 Collections engagement: archaeology ...... 58. . . Audiences ...... 59 Acknowledgements ...... 62. . . . Bibliography ...... 63 Contributor Biographies ...... 65

Standards and Guidance in the Care of Archaeological Collections 4 Introduction

These standards and guidelines have been produced by the Society for Museum Archaeology (SMA), which is the Subject Specialist Network for British Archaeology in the UK. They seek to update the 1992 Standards in the Museum Care of Archaeological Collections, one of a series of guidance documents produced by the Museum and Galleries in 1992. Although the 1992 Standards remain a useful guide, they are recognised as being outdated and no longer reflect the reality of archaeology collections management in light of a rapidly changing sector. SMA also recognises that are no longer the only type of organisation, which are managing archaeological collections.

The updated content was produced after a thorough review of the 1992 Standards, which included an evidence mapping exercise and consultation with focus groups comprising a wide range of sector representatives in 2019. It is hoped that as a result these revised guidelines are more accessible and will signpost all those who work with archaeological collections, whether professionally or voluntarily, whether a subject specialist or not, to current best practice.

It is with thanks to Arts Council England for its Subject Specialist Network Fund grant to the Society for Museum Archaeology, and support from a wide range of recognised thematic and collections specialists, that these new Standards have been made possible.

Gail Boyle and Anooshka Rawden (Eds .) March 2020

Standards and Guidance in the Care of Archaeological Collections 5 Part 1: Collect

Standards and Guidance in the Care of Archaeological Collections 6 Part 1: Collect

Introduction to collecting archaeology

Museums may hold large amounts of Although these broad categories persist, times archaeological material amassed over have changed since this list was produced. long periods of time from a wide variety of sources, which can incorporate material ཌཌ The Portable Antiquities Scheme (PAS) dating from the earliest human activity now covers most of England and Wales to the present day. Some of this material and creates accurate records of metal- will originate from the interests of early detected objects (and any other chance antiquarians and collectors, and others finds) made by members of the public. can derive from modern development-led ཌཌ Archaeological work was incorporated into commercial archaeological investigations, the planning system across the UK in the or from community archaeology projects. early 1990s to manage the impacts that development may have on the historic In 1997, Susan Pearce divided archae- environment. As a result, most fieldwork in ological collections found in museums the UK is now carried out by independent into six categories (Pearce, 1997 p49): commercial archaeology units, and is funded by developers who are required 1. Single pieces or small groups found as to carry out archaeological investigation chance finds, often with very limited in advance of development as part of the records attached. The majority of these planning process. The products of their in any given museum are likely work are often deposited in museums as to be local finds. ‘archaeological archives’. 2. Large groups formed as private collections, sometimes with substantial records The majority of archaeological collecting by attached. These may be from anywhere museums in the UK results from the delivery of in Britain or abroad but may well include the planning process. The National Planning local material. Collections of this kind Policy Framework (NPPF) states that: were mostly acquired before c. 1950. 3. Material from museum-based “Local planning authorities should require excavations. These will be local with developers to record and advance excellent records. The material is likely understanding of the significance of to be of relatively recent accession. any heritage assets to be lost (wholly 4. Material from excavations conducted or in part) in a manner proportionate by other bodies, including from all old to their importance and the impact, excavations, and from new excavations and to make this evidence (and any where consultation is a possibility. archive generated) publicly accessible.” 5. Material from fieldwork projects. This NPPF (199) is likely to be of recent and ongoing accession, and the museum should have It goes on to define making archaeological links with the organisation. evidence ‘publicly accessible’ by ensuring 6. To this list must be added material that “copies of evidence should be deposited with has been discovered by metal-detectors. the relevant historic environment record, Here a judgement has to be formed about and any [archaeological] archives with a the value of associated information. local museum or other public depository.”

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An archaeological archive is defined by “An accredited repository for the the Archaeological Resources in Cultural collection, curation and safe-guarding Heritage European Standard (ARCHES) of archaeological archive material which as follows: is pro-actively managed and developed by staff qualified to ensure continued “An archaeological archive comprises public engagement with, and the best all records and materials recovered possible access to the archaeological during an archaeological project and resource, for the purposes of enquiry, identified for long-term preservation, , learning, research, inspiration, including artefacts, ecofacts and other enjoyment and general interest.” environmental remains, waste products, Society for Museum Archaeology (2018) scientific samples and also written and visual documentation in paper, film and This definition applies to museums with digital form.” archaeological collections but also to other types of organisation, such as local These archives will for the most part authorities that have created their own form a distinct group of entities within archive stores with no direct museum an overall archaeological collection and affiliation. These include, for example, those sit alongside the other elements within managed by Cambridgeshire County Council it. Many museums will have acquired and Suffolk County Council, where historically large quantities of material as a result of there has been no county museum and local the planning and development process, museums have never had the capacity to although there is no statutory requirement collect large archaeological archives. for them to do so. The sheer quantity of material being produced in this way has In addition to archaeological archives, objects led to some museums refusing to collect may also be acquired by private purchase archives, usually as the result of limited or public auction, through the Treasure storage space and lack of staff expertise. process and through community archaeology excavation and field-walking activities, All museums that continue to collect as well as by gift from individuals who have archives should develop a Deposition Policy made chance finds. Occasionally material and Procedure (also known as ‘Deposition will also be gifted as part of a bequest. Guidelines’ or ‘Conditions of Acceptance of Archaeological Archives’) that prescribe All the material in archaeology collections the process by which these archives will be form part of the evidence base relating collected, the form they should be physically to the wider archaeological and heritage- presented in, the documentation required related landscape. It is important to and a schedule of fees associated with recognise an archaeological collection is the process. made up of both objects and the records that they are associated with. These records If the products of these archaeological also take many forms, for example, personal interventions are to remain accessible correspondence, administrative papers and for future generations, it follows that they transcribed oral histories, each of which should be deposited in publicly accessible may provide information that leads to the repositories – a Publicly Accessible better understanding of human activity, Repository has been defined by the archaeological sites or their social and Society for Museum Archaeology as: historical contexts.

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The development of all archaeology collections should be governed by a Collections Development Policy, which will refer to its scope, the geographic area it encompasses and the legislative framework under which material will be collected, as well as policies such as those governing human remains.

Resources

ཌཌ Association of Local Government Officers (UK) ཌཌ Northamptonshire Archaeological Resource Centre (Deposition Guidelines) ཌཌ Portable Antiquities Scheme (PAS) ཌཌ Society for Museum Archaeology: Definition of ‘Publicly Accessible Repositories’

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Collections policies (key considerations)

Collections development policy The template includes references to key areas of law relevant to archaeological Museums hold objects in trust for future collections such as spoliation, UNESCO generations. In order to do so appropriately conventions, and human remains. and ethically, all museums should have a policy which governs what they will collect There is no statutory requirement for as well as what may be considered for museums to collect archaeological disposal, based on the organisation’s ability archives that result from excavation or to care for its collections in the long term. any other form of intervention. Museums should be specific about their position In order to meet the required standards on this (i.e. whether they are prepared of Council England UK Museum to collect archaeological archives or not) Accreditation Scheme, museums in the UK in their Collections Development Policy. should have: The Collections Development Policy should also include a definition of what the museum “a policy, approved by the governing considers an archaeological archive to body, for developing collections, be, and a clearly defined geographic including acquisitions and disposals.” collecting area. Arts Council England (2018) Accreditation Guidance Archaeological archives are the result of archaeological projects, which are carried All museums should consider adopting a out by a wide variety of organisations, Collections Development Policy as good including commercial archaeology practice, regardless of whether they are units, community groups and academic Accredited or wish to become so. organisations. The majority of archives will be those created by archaeology units A Collections Development Policy as the result of a condition placed on a should include: developer as part of the planning process. Museums may receive requests to deposit ཌཌ The museum’s statement of purpose. archives from numerous organisations, ཌཌ An overview of current collections. which may or may not be operating ཌཌ Themes and priorities for future collecting. commercially, or which may or may not be ཌཌ Themes and priorities for rationalisation in receipt of research-funding or grant-aid. and disposal. Whilst the Collections Development Policy ཌཌ Information about the legal and ethical is crucial in establishing what a museum framework for acquiring and disposing will or will not collect and from where, of items. as well as framing its future collecting ཌཌ The date you’ll next review the policy. activity, the detail of how it approaches the deposition of archives should be Arts Council England provides a template the subject of a detailed Deposition Collections Development Policy, which Policy and Procedure (also known as museums can adapt for their specific ‘Deposition Guidelines’ or ‘Conditions of collecting areas. Acceptance of Archaeological Archives’).

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Deposition policy and procedure Selection and retention

The nature, scale and scope of an archive Control measures that limit what is collected is often unknown at the point at which can be specified in a Deposition Policy an archaeology unit (or any other type and Procedure. Nevertheless, it is not best of organisation) approaches a museum practice to introduce measures to reduce for confirmation that it would be willing to archives to such an extent that what is accept it (see Spectrum; Object Entry in collected would make future reinvestigation this document). Additionally, whereas many of the original research questions it objects can be considered for acquisition addressed impossible. An archaeological on an individual and case-by-case archive should not be the subject of basis (such as stray finds and Treasure), ‘cherry-picking’ but should be managed archaeological archives are generally by the adoption of an agreed selection accepted based on their production within and retention strategy. A selection and a geographic collecting area. As a result, retention strategy should be developed in a museum may have limited control over consultation with all stakeholders relative to the volume of archives it receives as this the production and curation of an archive. is dependent on what is found during The Chartered Institute for Archaeology excavation and how much development (CIfA) and Historic England have produced takes place within its collecting area. a Toolkit for Selecting Archaeological Archives (2019) to help ensure selection is All museums collecting archaeological focused on what should be retained in order archives should have a Deposition Policy to preserve the integrity of the archive, while and Procedure as well as a Collections also ensuring sustainable collecting. Development Policy. The Deposition Policy and Procedure (also known as There are several other important ‘Deposition Guidelines’ or ‘Conditions of considerations that should be referenced Acceptance of Archaeological Archives’) in a Deposition Policy and Procedure: is a document that complements a Collections Development Policy. It should ཌཌ Museums are recommended to charge a provide clear guidance to archaeology units, deposition fee to offset the costs involved universities, societies and others regarding in the administration of the deposition the museum’s specific requirements for process as well as representing a the creation, compilation and transfer of financial contribution to the long-term archaeological archive components. These storage and curation of the archive. requirements may cover the treatment of This is one of the recommendations specific types of finds, preferred methods of made by Historic England in response to packing (including box sizes and packaging The Mendoza Review (2017) as follows: materials) and the documentation required as part of the transfer of ownership to “DCMS should recommend to museums the museum. The Deposition Policy and that they should consider charging Procedure ensures a common standard for the deposition and curation of for all archaeological archives received archaeological archives where they by the museum and reduces the museum are created as part of the planning resources required to process and curate process. Any charges should be fully them. Good examples of Deposition Policy justified and transparent and should and Procedures have been included in be informed by guidance produced the ‘Additional Resources’ section of by ACE and Historic England. DCMS this chapter. should also recommend to museums

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that receipts generated in this way ཌཌ Museums should reference their position should be directed only to sustaining with regard to collecting ‘negative archaeological archive storage and archives’, which have recently been curation, either in the charging museum defined by the Archaeological Archives itself or in a supporting publicly Forum (AAF) as: accessible archaeological archive.” Historic England (2018) “A negative site is defined as those which, on investigation, reveal no archaeological Historic England funded a Research Report record of any kind i.e. there were no in 2019, ‘A Survey of Fees for the Transfer contexts. Negative archives are the of Archaeological Archives in England’ archives produced from such negative (Research Report Series no. 3/2019) which sites. They will be ‘paper’ only and you may find useful when thinking about include no information of archaeological how to calculate appropriate deposition fees. significance. Sites which produce no finds are not necessarily negative ཌཌ Museums should consider their capability sites, and it is possible for a paper of curating specific types of materials, for record to be produced for a site where example some museums do not collect no finds were recorded or retained.” waterlogged materials, unanalysed soil or Archaeological Archives other environmental samples. Decisions Forum (AAF) (2020) not to acquire some parts of archives should be taken on a case-by-case ཌཌ Museums should specify that the born basis and in consultation with relevant digital elements of an archive must specialists, rather than by blanket be deposited with a CoreTrustSeal approach. It is widely accepted that not accredited digital archive repository. all the records and materials collected or At the time of writing, the Archaeology created during an archaeological project Data Service (ADS) at the University require preservation in perpetuity. These of York represents the only gold- records and materials constitute the standard accredited UK repository Working Project Archive, which will be for heritage data and is a recognised subject to selection, in order to establish Trusted Digital Repository (TDR). ADS what will be retained for long-term make all of its content available for curation by deposition with a museum researchers online. The Society for (or Publicly Accessible Repository) Museum Archaeology has been provided as the Preserved Archive. Museums with wording regarding the digital should reference the CIfA Selection archiving process for inclusion within Toolkit within its Deposition Policy and a Deposition Policy and Procedure, Procedure as the mechanism by which a which is available on its website. selection strategy is determined. This will For further information on the digital provide the details of the project-specific elements of an archive, see the section selection process, which will be applied in this guidance titled ‘Preparation and to a Working Project Archive prior to Transfer of Archaeological Archives’. its transfer into curatorial care as the Work Digital/Think Archive guidance Preserved Archive. has also been produced by the DigVentures team, working with the For definitions of a Working Archive and Chartered Institute for Archaeologists, Preserved Archive, see the section in this and is useful for everyone working guidance titled ‘Preparation and Transfer of with digital data in archaeological Archaeological Archives’. projects. The guidance forms part of the

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Archaeological Archives Forum’s ongoing England and Wales, Northern Ireland and series of practice guides for archives the Isle of Man. Museums should make management aimed at practitioners. themselves aware of these differences, which are summarised on the Portable ཌཌ Museums should specify that a data Antiquities Scheme (PAS) website. sharing agreement will be required for all archaeological documentary archives Museums should also make themselves with the depositing organisation (i.e. the aware of the different requirements for archaeological unit). This includes written reporting non-treasure items across the UK. statements regarding use and storage of The Portable Antiquities Scheme provides personal data, important for GDPR. The further information on this. Society for Museum Archaeology has produced a template for this, which is Museums are often the first port of call available on its website. for members of the public to seek advice and/or identification of items they believe ཌཌ Museums should specify the conse­ may be Treasure. Some finders will be quences of not preparing the archive unaware they must report Treasure to the required standard. This might finds. It is the responsibility of the finder be refusal of the deposition at point to report Treasure finds, but in England of delivery, or recharging for the work and Wales they are best assisted in this required to rectify the issues that by the local Portable Antiquities Scheme have been identified. Alternatively, (PAS) Finds Liaison Officer (FLO) – see arrangements might be made to enable the section within this guidance entitled the depositor the possibility of rectifying ‘Record Holders’ for more information on the problems at the museum. PAS and FLOs.

Treasure Any person who fails to report a find of Treasure is guilty of a criminal offence and The Collections Development Policy should liable to conviction. outline the museum’s position regarding the acquisition of Treasure. Reference should Museums are advised to appraise themselves be made to its approach to collecting single of the detailed explanation of the Treasure items and groups of items (such as hoards) process, which can be found on the Portable that may be acquired because they fall Antiquities Scheme (PAS) website. under the definitions articulated in the 1996 Treasure Act (England, Wales and Northern The process that follows the preliminary Ireland) and the Treasure Designation Order identification of Treasure for museums in (2002) or Treasure Trove (Scotland). It is not England and Wales is summarised below: best practice for museums to state they will collect all items of Treasure found within their 1. The FLO will complete a Treasure receipt. collecting area. This is primarily because not all 2. The FLO will liaise assist the finder in objects that fall under the definitions will add reporting the find to the Coroner. value to the collection or be archaeologically 3. The FLO will produce a record of the significant. The acquisition of Treasure should object (photographs, weight, measure­ therefore be assessed on a case by case basis. ments, description, etc.) and use this to produce a report The law regarding Treasure and the summarising the circumstances of processes by which it is reported, admin­ the find, identification, context and istered and acquired varies between any significance.

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4. The Treasure report is shared with the museum’s overall collection development museum that collects archaeological strategy. Considerations in the decision- finds from the geographic area in which making process may include, for example: the find of Treasure has been made as well as with the finder/landowner/ ཌཌ The Collections Development Policy - occupier on whose land the find has what does it say? been made. ཌཌ Archaeological significance – is the 5. The collecting museum is asked whether it find locally, regionally and/or nationally wishes to express an interest in acquiring significant? the treasure (see below for more detail ཌཌ Collection value – is there an equivalent on the implications of doing so). The in the collection already? British Museum or the National Museum ཌཌ Rarity – is it a comparatively rare find in Wales may also wish to acquire the find, the locality/region? particularly if there is no local interest. ཌཌ Display – what value can it add to the 6. If a museum expresses an interest in narrative? Will it be a draw for new acquiring the find, the Coroner will be audiences? Can it raise the museum’s asked to hold an inquest. This does not ambition and standing? Will it help you happen when the finder and landowner/ tell new stories through your ? occupier agree to forego their right to a ཌཌ Community engagement – will this reward for the find. If those parties agree find provide opportunities to engage to forego their reward at this stage, the with people in different ways, and how Treasure Section at the British Museum important a find will this be for the local will disclaim the Crown’s interest in the community? find and it will be able to go directly to ཌཌ Research – will you be preserving the the appropriate museum. find’s future research potential? 7. If the collecting museum does not wish ཌཌ Funds – does the museum have the to express an interest in acquiring, the capacity to pay the reward associated Treasure is disclaimed and it will be with the find, or have the capacity to returned to the finder and/or landowner. fundraise for it? 8. After a find has been confirmed as Treasure at an inquest, it goes through a Making the decision to express an interest to valuation process to determine the level acquire Treasure should not be undertaken of reward payment that will be paid to lightly. Expressing an interest means that the the finder/landowner/occupier. This part museum is fully prepared to pay the Treasure of the process is administered by the valuation fee to the finder/landowner/ Treasure Section at the British Museum occupier, after this has been determined by for all finds from England, Wales and the Treasure Valuation Committee. Museums Northern Ireland. should be aware that the administration of the process which leads to the valuation Advice on the Treasure process for is a costly and resource heavy exercise museums can be found on the Portable and so once an expression of interest has Antiquities Scheme website. been made, this should be seen as a firm commitment to acquire the Treasure and all Decisions on whether to express an interest efforts should be made to avoid withdrawal to acquire Treasure should be rooted in what from the process. This also means that is articulated in the Collections Development museums should, to the best of their ability, Policy, and should relate to the significance make attempts to try and ascertain what the of the find to the local/regional/national value of an object might be before expressing archaeological record as well as to the an interest. This is not an easy process, but:

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ཌཌ Information may be found for similar exceptional and fully justified, though it is items within the Treasure Annual good practice to discuss and keep a written Reports, published online. record of the rationale to collect any object. ཌཌ Information may be found for similar items within Treasure Valuation Human remains Committee Minutes, published online. ཌཌ Auction sale prices may be found online, For detailed guidance relating to the care and but remember valuations for Treasure management of human remains, please see are based on hammer prices and not the relevant section within these guidelines. retail prices. ཌཌ Just like finders, museums can arrange The law does not recognise property rights a private valuation during the valuation in human remains in England and Wales - stage (but will have to cover the financial this means there is no right of ownership cost of doing so). in them. Museums should only agree to ཌཌ Advice can also be sought from the collect human remains in accordance with Treasure Administration Team. its Collections Development Policy and as specified in a written Human Remains Policy. It is worth remembering that museums For more information see ‘Writing a Human can make representations with regard Remains Policy’ in the Human Remains to provisional valuations as part of this section of this guidance. process, but these should be supported with evidence that demonstrates why the Excavated human remains should only provisional valuation should be revised. be retained with guidance from, and in consultation with, the reporting Once a valuation has been agreed, museums osteoarchaeologist (the relevant specialist are given three months to make the payment, in human remains from the archaeology or four months if they are undertaking unit) and where specific research agendas fundraising and applying to funding bodies. make this ethically appropriate: they may also only be retained in a museum where Information about national funding bodies exhumation licenses and documentation for the acquisition of Treasure can be found from the archaeology unit confirms that on the Portable Antiquities Scheme website. the remains have been exhumed legally, and where the Ministry of Justice has Donations, bequests and purchases not made conditions for their reburial. Acquisition of human remains should be Other items may be donated or purchased approached with care and it is crucial to from individual owners or, more rarely, establish that: purchased at auction or through bequests to the museum made in an individual’s will. ཌཌ The remains can be held lawfully These items should be treated as typical (a license sought or provided). acquisitions, and standard considerations like ཌཌ Provenance has been established. provenance, relevance and condition must be ཌཌ There is no suspicion that the remains taken into account prior to acquisition. have been acquired or traded illegally. ཌཌ There is potential scientific and research In all circumstances, any acquisition of these value in retaining rather than reburying types of objects or groups of objects should the remains. be subject to the organisation’s Collections Development Policy. Any acquisition which Human remains under 100 years old are falls outside of this should be wholly subject to the Human Tissue Act (2004, 2006).

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Rationalisation and disposal The following considerations have been reproduced from SMA’s guidance: Guidance produced by the Society for Museum Archaeology (SMA) as a result of the Disposal of archaeological material should Historic England (2016-2017) Rationalisation only be undertaken in accordance with all of Museum Archaeology Collections project, legal and ethical considerations as outlined in: includes key considerations, practical advice and case studies to help inform disposal and ཌཌ Museums Association Code of Ethics rationalisation projects in museums holding ཌཌ Museums Association Disposal Toolkit archaeological collections. The SMA website ཌཌ Museums Association supplementary also provides access to reports from each guidance notes of the five organisations that undertook the scoping studies which informed the content of In summary: the guidance. The project responded directly to the need for more practical information to When disposing of material there should be: help guide museums through the process of rationalisation, and additionally assessed the ཌཌ A strong presumption for keeping items validity of the process when cost, resource within the public domain. and gains were reviewed against the capacity ཌཌ A strong preference for free gift or required for delivery. transfer to other accredited museums and items should be offered to them in The variation that exists across the museum the first instance. sector in terms of, for example, scale, resource and governance means that Action should be taken to ensure continued the guidance reflects a series of practical public trust in museums by: considerations to highlight what should be considered before, during and after a ཌཌ Being fully aware of actions that have rationalisation project. the potential to result in legal, financial or reputational damage. Museums who are considering undertaking ཌཌ When in doubt seek expert legal advice this type of activity should appraise and ensure reasonable due diligence can themselves of the recommendations provided be demonstrated. within SMA’s Rationalisation Guidance. Anyone contemplating disposal should It is important to note that while one appraise themselves of restrictions placed outcome of a rationalisation process may upon this type of activity by: be the disposal of objects, rationalisation provides an opportunity to consider ཌཌ Specific forms of organisational collections in a new light, highlighting governance and associated legislation, opportunities to use material in new and such as charity law. different ways through the application ཌཌ Legal frameworks governing, for of a collections review process. example, the recovery and ownership of archaeology, human remains The Museums Association Disposal Toolkit and Treasure. (2014) articulates disposal as “...the ཌཌ The Museums Association Disposal permanent removal of an item from a Toolkit and Code of Ethics, which museum collection.” specifically identify the circumstances when disposal is unacceptable.

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Disposal of archaeological material should ཌཌ Staff time. not be allowed to contribute to the future ཌཌ Administrative costs. contamination of the archaeological record. ཌཌ Equipment and materials. Disposal may be achieved by: ཌཌ Legal advice. ཌཌ Disposal processes (e.g. destruction). ཌཌ Free gift or transfer to another Accredited museum. The process of digitisation as part of a disposal ཌཌ Exchange of items between museums. project should be approached with caution: ཌཌ Free gift or transfer to another institution/ organisation within the public domain ཌཌ It is time-consuming and requires (e.g. schools, colleges, community specialist knowledge and equipment to organisations). produce high quality digital copies. ཌཌ Return to donor. ཌཌ It should not be considered without ཌཌ Sale of items to an Accredited museum. provision being made for long-term ཌཌ Transfer outside the public domain. curation of the digital assets produced. ཌཌ Sale outside the public domain. ཌཌ All records produced this way should ཌཌ Recycling of items. be deposited with an accredited ཌཌ Destruction of items. Trusted Digital Repository (such as the Archaeology Data Service). Whilst controlled reburial may be an option, ཌཌ Sufficient funds need to be allotted to permanent destruction of archaeological digital production and deposition costs. objects for disposal (e.g. grinding to hardcore) may be the only solution to ensure that no Resources contamination of the future archaeological record occurs through the act of disposal. ཌཌ Introduction to Human Remains in In all cases, stakeholder engagement and Museums, Museums Galleries Scotland detailed research and documentation must ཌཌ Collections Development Policy template, be undertaken in advance of any disposal. Arts Council England Public engagement is also strongly advised. ཌཌ Guidance on the Rationalisation of Museum Archaeology Collections, All aspects of the disposal process must Society for Museum Archaeology be documented to Spectrum standards. ཌཌ Guidance for the Care of Human A paper trail must be created that records: Remains in Museums, DCMS ཌཌ Guidelines for the Care of Human ཌཌ Reasons for disposal. Remains in Scottish Museum Collections, ཌཌ Desired outcomes. Museums Galleries Scotland ཌཌ Opinions and advice considered. ཌཌ Code of Ethics for Museums, ཌཌ Method of disposal. Museums Association ཌཌ Conclusion of process: retention, ཌཌ Researching and Processing a transfer, sale etc. Restitution or Repatriation Claim, ཌཌ Any conditions attached. Collections Trust ཌཌ Information and photographs ཌཌ Disposal Toolkit: Guidelines for Museums, relating to the item. Museums Association ཌཌ Documentation relating ཌཌ UK Museum Accreditation Standard (2018) to transfer of title. ཌཌ The Novium Museum: Procedure for ཌཌ Note of any new location. the Deposition of Archaeological Archives (2016) Allowances should be made within the project budget for these types of activities:

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Preparation and Transfer of Archaeological Archives

Collecting archaeological archives ཌཌ The Working Project Archive comprises all the records and finds collected Almost everything in a museum archaeology during data-gathering and retained for collection is derived from archaeological subsequent analysis and reporting. projects. Archaeological archives are the ཌཌ The Preserved Archive comprises results of those projects, compiled to be all records and finds selected from suitable for accessioning into the permanent the Working Project Archive for final collection of a museum/repository. compilation and transfer to a museum/ repository for curation in perpetuity. The essential principle of archive compilation is to make the results of the project, the Selection is therefore important in deter­ records and finds accessible for future use. mining the contents of the Preserved Archive. Staff responsible for the care of As such, once an archive is accessioned, museum archaeology collections must be it becomes part of a greater whole, the involved in the development and application collection, which represents the results of the archive selection process. of studying the past of any given locale. Archaeological archiving is about preparing The purpose of an something that will enhance that resource. archaeological archive This should be comprehended by anyone who creates or compiles archives for All archaeological projects must result transfer to a museum or repository. in a stable, ordered, accessible archive that represents the results of data- Definitions gathering, analysis and interpretation. An archaeological archive must be compiled An archaeological archive comprises in accordance with the requirements of the all records and material objects (finds) museum/Publicly Accessible Repository recovered during an archaeological project that will curate it in perpetuity, as part and identified for long term preservation, of a broader archaeology collection including artefacts (e.g. pottery, metalwork), that represents studies into the past of environmental remains (e.g. animal bone, a particular area or locale and has the seed remains), waste products (e.g. slag), potential to inform further research. scientific samples and also written and visual documentation in paper, film and An archaeological archive must represent the digital form. results of the project and have the potential to inform future research and enable As a project progresses, the archive will curatorial activities such as enquiry, exhibition, develop as follows: learning and any other form of public access.

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Archive contents As well as providing the long term stability of the digital archive a TDR will: An archaeological archive has two basic components: ཌཌ proscribe preservation file formats. ཌཌ ensure the archive is findable by The documentary archive exists in both assigning a globally unique and physical and digital forms and can include: persistent identifier. ཌཌ provide a framework within ཌཌ project planning documents (e.g. project which the data is described so that it is brief, project design, practice manuals findable and reusable. and standards). ཌཌ ensure the data is accessible through ཌཌ administrative and formal documents well-defined access conditions using (e.g. licences, transfer of title, selection standardised communication protocols. strategy, data management plan). ཌཌ textual records (e.g. pro-forma for The material archive includes all material data-gathering, notebooks, databases, collected during data-gathering. These can spreadsheets). be sub-divided into: ཌཌ graphic and spatial material (e.g. photo­ graphs, , x-radiographs, ཌཌ bulk finds, which are inherently robust CAD files). and are not recorded in detail, or have specific storage requirements Digital material is part of the documentary (e.g. pottery, brick, tile, animal bone). archive but should not be collected for ཌཌ registered finds, which may be recorded curation by anyone other than a Trusted as individual objects and/or need to be Digital Repository (TDR). stored in environmentally controlled conditions (e.g. metals, ancient glass, See the following: worked bone, flint tools, leather, textiles). ཌཌ material retrieved from samples and ཌཌ Archaeological Data Service – Data Seal sampling and related to, or identifiable of Approval by, a sample number (e.g. mortar, mollusc ཌཌ OCLC Research – Attributes of a Trusted shells, seeds or micro-finds). Digital Repository ཌཌ human remains, which are required to be ཌཌ Collections Trust – Trusted Digital stored in particular ways. Repository Checklist ཌཌ specimens or samples collected during analysis, which may result from laboratory A museum/Publicly Accessible Repository work (e.g. thin-sections of pottery or stone, may collect copies of digital material purely polished samples for scientific analysis). for reference purposes but is unlikely ever to attain TDR status. Staff responsible All archive components should be fully for the care of museum archaeology documented in an archive catalogue collections should therefore require digital with accompanying indexes. This should archive material to be sent to a TDR that be a requirement of acceptance of an collects archaeological data, such as the archaeological archive by a museum/ Archaeology Data Service. Publicly Accessible Repository.

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Existing guidance

Here is a list of standards and guidance The Chartered Institute for Archaeology documents relating to archaeological archives. (CIfA) Selection Toolkit is aimed at museum/ They are mostly written to inform people who repository as well as other practi­ create archives rather than staff responsible tioners and is essential for understanding for the care of museum archaeology how selection should be managed collections but are useful for establishing what throughout an archaeo­logical project. archaeologists should be expected to do.

Title Published by Web address Comment

Archaeological Archives, Archaeological http://archives . Comprehensive a guide to Best Practice Archives Forum archaeologyuk org/. guide mapped to in Creation, Compilation, aaf_archaeological_ project stages . Transfer and Curation archives_2011 .pdf

A Standard and Guide Europae https://www europae-. International to Best Practice for Archaeologiae archaeologiae-consilium . standard based on Archaeological Archiving Consilium org/eac-guidlines the AAF Guide . in Europe

Standard and Guidance for Chartered https://www archaeologists. . Aimed at practi- the creation, compilation, Institute for net/codes/cifa tioners abiding by transfer and deposition of Archaeologists CIfA membership archaeological archives requirements .

Standard and Guidance Chartered https://www archaeologists. . Standards for finds for the collection, Institute for net/codes/cifa work; aimed at documentation, conser­ Archaeologists practitioners abiding vation and research of by CIfA membership archaeological materials requirements .

The Selection Toolkit for Chartered http://cifa .heritech .net/ Everything you Archaeological Archives Institute for selection-toolkit need to produce a Archaeologists selection strategy .

Digital Archives in DigVentures https://digventures com/. Requirements for Archaeology projects/digital-archives/ digital archiving .

Deposition standards and guidelines

It is recommended that every museum/ be made available to anyone planning Publicly Accessible Repository develops an archaeological project, in advance of their own standard requirements and the project start. This document might be guidelines for the compilation and transfer called a Deposition Policy and Procedure, a of archaeological archives. This should Deposition Standard or Deposition Guidelines.

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These should cover: Archive Compilation

Project Planning ཌཌ the contents of the archaeological archive. ཌཌ how to clean, treat, mark, label, pack and ཌཌ preliminary conditions for accepting box all types of finds. an archive e.g.: planning conditions ཌཌ how to mark, label, catalogue, pack and box being fulfilled; deposition of final report all elements of the documentary archive. with Historic Environment Record; ཌཌ requirements for selecting digital OASIS record created and maintained. material and transferring it to a Trusted ཌཌ reference to any archiving standards Digital Repository. referred to in the archaeological ཌཌ the documentation of all archive elements standards and guidance of the relevant (catalogues, indexes and box lists). planning authority e.g. requirement to ཌཌ requirements for security copying of the archive, digital archiving, consequences physical documentary archive. for contractors who fail to archive. ཌཌ how to establish and maintain Archive Transfer communication through the course of a project. ཌཌ procedures for the delivery of archives to ཌཌ procedure for notification of the store. commencement of field work. ཌཌ procedures for checking that archive ཌཌ the procedure for acquiring an requirements have been met. accession number. ཌཌ the consequences of an archive not ཌཌ involvement of museum/repository meeting the standard. staff in the archive selection process. ཌཌ archive transfer and accessioning costs. ཌཌ requirement to produce a selection strategy. Staff responsible for the care of museum ཌཌ requirement for a data management plan. archaeology collections should ensure that ཌཌ the updating of event indexes in OASIS. anyone planning an archaeological project ཌཌ procedures for dealing with treasure within their collecting area has received a finds under the Treasure Act 1996. copy of the archive deposition standards ཌཌ procedures for dealing with human and guidelines and knows how to contact remains. you with any enquiries. ཌཌ procedures for transfer of title and copyright. Here are two examples of recently produced archive deposition standards and guidelines.

Title Produced by Web address Year

Gloucestershire Gloucestershire https://www cheltenhammuseum. org. uk/wp-. 2018 Archaeological Museums Group content/uploads/2018/04/Gloucestershire- Archive Standards Archaeological-Archive-Standards-2018 .pdf

Archaeological Northamptonshire https://www .northamptonshire gov. uk/. 2020 Archives Standard Archaeological councilservices/archives-and-heritage/ Resource Centre northamptonshire-archives/Pages/ archaeological-archives-%E2%80%93- northamptonshire%E2%80%99s- archaeological-resource-centre aspx.

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How an archive is created the archive is to be compiled and curated. Some archives remain with academic A variety of different organisations carry departments for teaching purposes, so the out archaeological projects. They should all need for communication with the museum/ be working towards the aim of producing a Publicly Accessible Repository is not always stable, ordered, accessible archive. acknowledged.

Professional archaeological contractors Community Groups rely on enthusiastic (sometimes referred to as an ‘archaeology volunteers who will not always have unit’ or ‘commercial unit’) account for nearly experience of all parts of the archaeological all the archaeological projects carried out in process, including archiving. Their focus the UK. They range from large organisations is often on fieldwork, especially survey or with several regional offices to small excavation, and they may need support and localised outfits that carry out small jobs assistance through the post-fieldwork and within a limited area. archiving stages of their projects.

Across the spectrum, levels of archiving Project stages and communication expertise are inconsistent, as can be the frequency with which archives are An archaeological project consists of these deposited. If they often work in a particular principal stages: area then they should become familiar with museum/repository deposition standards ཌཌ planning. and guidelines. ཌཌ data-gathering. ཌཌ assessment and analysis. Their projects are embedded in the planning ཌཌ reporting and dissemination. system, where archaeological work is required ཌཌ archive compilation. prior to development, such as housing, ཌཌ archive transfer. offices, roads or pipelines. Such projects will be initiated by a Development Control At all stages, communication between the Archaeologist (DCA) working on behalf of a project stakeholders is vital for successful planning authority. DCAs are often known delivery of a well compiled archaeological by other job titles such as Archaeological archive. Establish good lines of commun­ Officer, County Archaeologist, Planning ication during project planning and the or Planning Archaeologist. They rest of the process will be much easier. will issue a brief which will be met by a contractor commissioned by the developer. Communication between the project stakeholders Professionally contracted projects include watching briefs (where ground works are The final project archive is shaped through observed and archaeological evidence consultation between the project stake- recorded), field evaluations, excavations, holders. Decisions are taken throughout the surveys and desk-based assessments. lifetime of a project that will influence the All these will produce archive material, archive, e.g. even if it is solely documentary or digital. ཌཌ changing research aims of the project. Universities usually conduct research ཌཌ percentage of site excavated. projects in the form of surveys or ཌཌ selection and retention strategies. excavations. They will have produced a ཌཌ extent to which material is assessed as project design which should describe how part of post excavation analysis.

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Project stakeholders include the relevant standards and guidelines for depositing archaeological archives are ཌཌ Collections curator (or member or staff understood by the project team. responsible for the care of museum archaeology collections). Staff responsible for the care of museum ཌཌ Development Control Archaeologist. archaeology collections should also be ཌཌ Developer or landowner, or their involved in developing the archive selection consultant. strategy for archaeological projects. ཌཌ Project team, potentially including; project manager, post-excavation Communication as the project progresses manager, archives officer, finds specialists. ensures that the interests of the museum/ Publicly Accessible Repository are Communication should be continuous consistently represented and understood, through the course of the project. Some especially in the implementation of selection relationships will become very established strategies. An ideal communication plan over multiple projects e.g. museum/Publicly would include a programme of regular Accessible Repository staff responsible reviews and updates to the museum/ for the care of museum archaeological Publicly Accessible Repository to ensure collections and DCAs working in the same that personnel have knowledge of progress area, and may be fostered on a wider and also what has been recovered. basis than project by project. There will be projects where stakeholders are less Communication is also vital during archive familiar and a communication plan may be compilation, so that museum/Publicly required, usually as specified in the project Accessible Repository personnel know the brief/design. size of the archive and can programme in delivery and accessioning. Staff responsible for the care of museum archaeology collections should be consulted The usual process for a development-led during planning, at least to ensure that archaeological project is as follows:

Project stage Description Archive Deposition Requirements

Project planning Having viewed a The project brief specifies use of the planning application deposition standard and guidelines of the the DCA prepares a museum/repository . brief that describes the The research aims of the archaeological project scope and aims of the are summarised for the collections curator . archaeological project .

The developer invites The WSI references the museum/repository tenders from contractors . deposition guidelines . These usually take the The curator should be consulted on the archive form of a Written Scheme selection strategy . of Investigation (WSI) that describes how they will complete the project in line with the brief .

continued overleaf

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Project stage Description Archive Deposition Requirements

Data-gathering The successful contractor The Collections Curator should be informed of commences fieldwork . start and end dates of fieldwork . The Collections Curator should be consulted on amendments to the research aims of the archaeological project . The Collections Curator must be consulted on amendments to the selection strategy, for instance when it has become possible to undertake recording and de-selection in the field . Consultation on unexpected or significant finds (e g. . waterlogged wood, human remains) and finds that require conservation for long term preservation .

Assessment Results of fieldwork are Consultation on amendments to the archive assessed to determine selection strategy . appropriate levels Consultation on any assessment strategies of analysis . that would impact the project archive e g. .: excavated material that will not be fully assessed but may be included in the project archive . Consultation on the use of excavated finds in outreach, community work and displays prior to deposition of the project archive .

Analysis Post-fieldwork analysis and Consultation on amendments to the archive interpretation commences . selection strategy .

Reporting Production of the Reference to where the archive is project report . being curated .

Archive compilation The Preserved Archive is Final application of the archive selection compiled in accordance strategy, turning the working project repository requirements . archive into the preserved archive .

Archive transfer The Preserved Archive Communication with DCA/HER to ensure is transferred to that all planning conditions have been met . the repository . To a timetable agreed with the curator .

The curator checks and The curator should have procedures for accessions the archive into instances where the archive does not meet the archaeology collection . the standard .

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For academic or research-based projects, the museum/repository a shared copyright process will largely be the same as that shown licence to access and disseminate the above, except that project planning will be archive for as long as it is in their care. based on an application to a research funding body. This should refer to archive standards, The collecting institution must acquire museum/Publicly Accessible Repository ownership of the material archive. This deposition standards and guidelines, secures the archive within the systems a selection strategy and procedures for of governance of the museum/repository communicating with the staff responsible for and allows them to access and utilise the the care of museum archaeology collections. archive for any purpose. Where appropriate (e.g. outside Scotland), this is achieved with The stages of a community archaeology a Transfer of Title agreement between the project should not be very different to museum/Publicly Accessible Repository any other, with project planning flowing and the owner of the material archive through to archive transfer. This is not (most often the landowner at the time always understood however, and careful the finds were collected, sometimes the communication may be required to ensure archaeological organisation). that people understand the implications of undertaking archaeological work. The Society for Museum Archaeology has drafted model wording regarding digital Copyright and ownership archive content for collecting policies, which is available here. Curators require a shared licence to the copyright of the contents of the Museum/Publicly Accessible Repository documentary archive. Copyright resides deposition standards and guidelines should with the creators of documents but in order describe how these requirements will to enable future use, they should give the be achieved.

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Human Remains

Human remains in material’ (e.g. skin, hair collected from archaeology collections a deceased person and teeth) can be found on the Human Tissue Authority The excavation and curation of human (HTC) website. Scotland does not have a remains are covered by legislation, however Human Tissue Authority (HTA) and the legislation and guidance differ between the 2006 Act is restricted to tissue from a countries forming the United Kingdom. deceased person. ཌཌ Individuals in collections which are Human remains are a finite resource with less than 100 years old are exempt which to understand past populations, from the HTA. For material from mortality and health. They should be treated identifiable individuals of any date, with care and respect to ensure their long- we recommend using the Medical term survival. Multiple guidance documents Research Council guidance. have been published by government and professional bodies, and expert support The majority of available resources are exists from a number of institutions. guidance documents, issued by the Advisory Panel on the Archaeology There is public support for the curation and of Burials in England (APABE), display of human remains, and with the the Department of Culture Media and development of new methods for scientific Sport (DCMS), and Historic England analysis, the greatest risk to collections is (formerly English Heritage). now destructive sampling. Institutions should ensure they have robust and transparent For England: policies and procedures in place to govern the management, care and access to human ཌཌ Guidance for the best practice for the remains, and to ensure ethical considerations treatment of human remains excavated are imbedded into these processes. from Christian Burial Grounds in England (Second edition) (2017) Key legislation Advisory Panel on the Archaeology of Burials in England, Historic England and The primary legislation covering the The Church of England excavation and retention of human remains are The Burial Act (1857) and the Human For England, Wales and Northern Ireland: Tissue Act (2004), the Human Tissue (Scotland) Act (2006) and ecclesiastical law. ཌཌ Guidance for the Care of Human Remains in Museums (2005) DCMS ཌཌ The Burial Act (1857) enables archae- ཌཌ Human Tissue Act (2004) Human ological contractors to apply for the Tissue Authority authority to exhume human remains, and for them to be reburied or curated. For Scotland: The burial licence should form part of a site archive. ཌཌ Human Tissue Act (2006) ཌཌ The 2004 and 2006 Human Tissue Acts ཌཌ The Treatment of Human Remains in only cover human remains which are Archaeology (2006) less than 100 years old. A list of ‘relevant

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Collections management should be conditional on the provision that an offprint will be given to the ཌཌ Human remains should be stored in institution, and student access must be secure locations with controlled access. supported by a covering letter from their ཌཌ Institutions without a dedicated specialist institution. curator should ensure that there is a ཌཌ Destructive sampling: institutions should named contact/person(s) responsible recognise that human remains are a for any holdings of human remains. finite resource with which to understand ཌཌ Where appropriate, descendants past individuals, communities and (DCMS, 2005 p26-7) should be diseases. They should ensure that the consulted on the management, requested human remains are recorded care and use of human remains. to a high level before sampling, avoid ཌཌ Museums/Publicly Accessible Reposit­ repeated sampling for the same ories should make ethics and policy research question and ensure that documents publicly accessible and an the process is documented (including inventory of human remains holdings before/after images). A Memorandum of made available where possible. They Understanding document should detail should additionally maintain a research the laboratories undertaking the work, register in relation to human remains and ensure that offprints of publications/ held in their collections. theses are also given to the museum/ ཌཌ Where museums/Publicly Accessible Publicly Accessible Repository. Repositories do not hold Arts Council ཌཌ Documentation should establish that England (ACE) accreditation (which the unique identifiers for each of the requires Spectrum documentation genomic bank submissions by the standards to be implemented in the laboratory undertaking any sampling management and care of collections) will be shared with the museum/ they should create and implement Publicly Accessible Repository. However, policies and plans which ensure the if the sampled human remains are following priority areas are covered: sensitive (e.g. because of the nature environmental standards, security, of the acquisition, from an identified access, pest control, housekeeping, individual, the age of the material condition assessments, management etc.), the museum/Publicly Accessible of risk to the collections, loans in and Repository may wish to make genomic out (including due diligence), destructive data available upon request, preferably analysis, and /claims following an ethical review. for return of human remains. ཌཌ Where a museum/Publicly Accessible ཌཌ Museums/Publicly Accessible Repository has an ‘open by default’ Repositories where collections are policy for collections data and images/ accessed on a regular basis should digitisation programmes, they undertake annual audits, which may should carefully consider whether encompass whole or part(s) of the it may be appropriate to apply an collection depending on size. exception to sensitive human remains ཌཌ Access for research should be transpar­ collections data. ently managed using a Research Request Process - an application form which Seek advice and help from peers and includes: contact details, study methods, independent specialist bodies where anticipated research outcomes, role of appropriate (e.g. APABE or Historic research within wider scholarship and a England), particularly for destructive copyright agreement for images. Access sampling requests.

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Collections care ཌཌ It is recommended that employing a human osteologist before undertaking ཌཌ The storage and packing of human any reconstruction work and to lay-out remains should use inert and acid-free human remains in a display. materials, they should be packed in such a way as to limit damage, with identification Writing a human remains policy information given on the box and in each bag used to hold the remains. A Human remains Policy must address: ཌཌ Human bones can be marked using indelible marker pen or Indian ink. Marks ཌཌ Scope and origins of the collections. must be in areas free from pathology or ཌཌ Management of the collections: anatomical landmarks. The governance, acquisition and disposal, storage and security, Display access to collections, loans and display, collections care (e.g. packing, A survey undertaken by Historic England marking, pest control etc.) specific to showed that the curation, research and human remains in your collections. display of archaeological human remains is ཌཌ Destructive sampling. expected and supported by the public. ཌཌ Imaging and copyright use (e.g. use of radiography, photography). ཌཌ It is recommended that the museum ཌཌ Media (e.g. filming, inclusion in social media). undertakes consultation and evaluation to establish the views of audience groups You can ask for help or fact-checking from on the display of human remains and professional bodies (e.g. APABE, Historic their use to support research. England and HTA). ཌཌ It is recommended that public engagement activities that include human remains are Useful examples of Human Remains sign-posted in order to provide visitors Policies include: with a choice not to view human remains. ཌཌ Handling/demonstration activities should ཌཌ Natural History Museum, London use casts or replicas to reduce damage ཌཌ Science Museum Group and avoid risk of theft. ཌཌ University of Bradford

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Record Holders & Sources of Support

Historic Environment Records (HERs) The information held by HERs can often be accessed online or by contacting the HER The national network of Historic Environ­ directly (see below). You can telephone, write, ment Record offices (HERs) provide or send an email giving details of the nature systematically organised information to and purpose of your enquiry, or you can anyone interested in archaeology and an appointment to visit the HER offices the historic build environment. HERs are where you can view the database and one of the primary sources of information supporting collections in person. In addition for planning, development-control work to booking an appointment, you should also and land management, but can equally check if there is a search charge, and how contribute to environmental improvement the data can best be provided. and economic regeneration, education and social inclusion, and promote the England exploration and enjoyment of the historic environment. HERs are held within There are currently over eighty-five HER’s defined geographic areas, in each case in England held by County Councils, District the record will cover the whole of the local Councils or Unitary Authorities. Maintaining authority area, or multiple areas if held by the Historic Environment Record (previously joint services. known as Sites and Monuments records) is a core function of historic environment The historic environment data held on services. Some major historic towns and archaeological sites and finds, historic cities are covered by Urban Archaeological buildings and historic landscapes Databases (UADs) which are often held is regularly updated as and when as part of, and are accessible via, the new information is reported, or new local Historic Environment Record. Nearly archaeological projects are undertaken. two-thirds of HERs in England can be The majority of HERs hold records on accessed online via the Heritage Gateway, Monuments, which represents any type of where you can cross search several national heritage feature such as a round barrow or as well as local datasets on the historic building; Events which represent projects environment. Some HERs can be contacted such as excavations or geophysical online through their host authority and the surveys, as well as data on Sources and contact details for all local authority and Archives. The records are usually held in most national park authority HERs can also a database with monuments and events be found on the Heritage Gateway website. linked to layers in a digital mapping system, or Geographical Information Wales System (GIS). As well as being useful to private and academic researchers, this The HERs in Wales are maintained by the information is critically important for four Welsh Archaeological Trusts and can local authorities and other organizations, be accessed online through the Archwilio providing the basis for strategic advice website. The core records on Archwilio are where development proposals impact on supported by additional information held by the historic environment. the four regional archaeological trusts.

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Scotland The laws regarding Portable Antiquities in the Isle of Man are also very different. Historic Environment Scotland provides All archaeological objects found in online access to more than 320,000 the Isle of Man should be reported to records and 1.3 million catalogue entries for the national heritage agency and no archaeological sites, buildings, industry and archaeological object may be exported maritime heritage across Scotland through from the Isle of Man without a licence. Canmore, the online catalogue of the National Record of the Historic Environment. ཌཌ Reporting archaeological objects in Northern Ireland is covered by the Northern Ireland Historic Monuments and Archaeological Objects (Northern Ireland) Order 1995, The Historic Environment Record which requires finds to be reported to a of Northern Ireland (HERoNI), holds relevant authority, i.e. the Department information on all elements of Northern of Communities’ Historic Environment Ireland’s historic environment in the form Division, to the Ulster Museum, or to the of databases, written records, maps, Police, within 14 days of discovery. photographic, drawn and digital material which supplement the three main online The main aim of the Portable Antiquities databases: Scheme is to encourage the voluntary recording of archaeological objects found ཌཌ The Historic Environment Map Viewer by members of the public in England ཌཌ The Northern Ireland Sites and and Wales. Thousands of archaeological Monuments Record objects are discovered every year, often by ཌཌ The Northern Ireland Buildings Database metal detector users, but also by chance when people are out walking, gardening The Portable Antiquities Scheme or at work. All the finds recorded by the Scheme are made publicly available on its The Portable Antiquities Scheme (PAS) is online database. The records of each of administered by the British Museum and these objects help to advance knowledge Amgueddfa Cymru (National Museum of the history and archaeology of England Wales) and delivered in partnership with and Wales. a wide variety of museums and other heritage organisations across England The PAS works with both national and local and Wales only. partners and the Scheme is delivered by a network of regionally based Finds Liaison The differences between the laws relating Officers (FLOs), the PAS Central Unit (based to the reporting of archaeological objects at the British Museum), National Finds across the UK are summarised on the PAS Advisers, interns and volunteers. It publishes, website as follows: amongst other things, best practice guidance, information for landowners and ཌཌ The laws regarding Portable Antiquities finders as well as object identification guides. in Scotland are very different than those in England and Wales and PAS FLOs are hosted by a variety of organisations does not operate there. The reporting around the regions, for the most part based of all Treasure and non-Treasure finds is in museums, but also with local authority mandatory in Scotland and are reported historic environment teams. Contact details under Treasure Trove. for FLOs can be found on the PAS website.

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The main role of a FLO is: ཌཌ Sharing their Collections Development Policy and aspirations for collecting ཌཌ To record and identify objects that are certain types of finds with the FLO. more than 300 years old and to make ཌཌ Publicly acknowledging acquisitions of these available via the PAS database. finds made through the scheme. ཌཌ To assist finders in reporting Treasure. ཌཌ Sharing local intelligence and information ཌཌ To manage volunteers and self-recorders useful to a FLO. who are trained to record finds. ཌཌ To liaise with metal-detector user groups FLOs do not: and to promote best practice. ཌཌ To participate in outreach, learning and ཌཌ Undertake object valuations. engagement activities, which promotes ཌཌ Record purchased objects or the scheme and encourages recording. excavated objects from projects on the PAS database. Museums can be involved in this process ཌཌ Record non-human made objects such as they are often the first point of contact as fossils/meteorites. for finders. It is important therefore that museum staff build strong relationships with The PAS website is an invaluable resource the local FLO and create clear channels of for both museums, finders and researchers. communication. The objects recorded on the database, as well as the guides, can be used to increase FLOs can assist museums by (for example): knowledge and understanding of museum objects and to improve the records ཌཌ The identification and acquisition of finds. associated with them. ཌཌ Sharing their knowledge and understanding of small finds. Subject Specialist Networks ཌཌ Contributing content for displays and exhibitions. Subject Specialist Networks (SSNs) are ཌཌ Providing advice on best practice. organisations that help to develop the ཌཌ Helping to attract new audiences. knowledge and expertise associated with ཌཌ Assisting at finds days or engagement specific types of collections, materials events. and professional practice. SSNs operate ཌཌ Providing advice on Treasure cases and across the whole of the UK, with many assist the process. different types of administrative ཌཌ Sharing local intelligence and information structures, memberships and status: useful to a museum. some are established professional membership bodies associated with Museums can assist FLOs by (for example): a particular museum discipline, some focus on particular types of collection or ཌཌ Becoming familiar with what the FLO materials and others comprise of networks can and can’t record: they record objects of museums with a common focus or of all material types from prehistory to type of collection. SSNs are funded in 1700s with a specific find spot. a variety of ways, but in the main they ཌཌ Liaising with finders and encouraging the fund their activities through membership recording of finds. subscriptions and/or project funding.

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Arts Council England (ACE) currently ཌཌ Increasing access to collections with both recognises thirty-seven SSNs, which: traditional and non-traditional audiences through campaigns, programmes, “have a mission statement and a defined projects and resources. purpose to act as an access point to curatorial knowledge. They also have a The SSN Consortium enables SSNs to work governance structure with a committee together better to provide a joined-up or a board and are usually either an approach to specialist support. It provides: independent charity or a less formal structure residing in a host museum. ཌཌ A one-stop-shop website for those Host museums lead the network needing to access specialist support and are often nationally funded across a range of specialism areas. museums or an Arts Council England ཌཌ A calendar of events, training, workshops, National Portfolio Organisation.” and key specialist support. Arts Council England (2019) Those caring for museum archaeological A list of ACE recognised SSNs can be found collections are advised to make themselves on the ACE website. aware of the range of SSNs that can provide support to them but in particular: Not all SSNs that self-identify as such are recognised by ACE, but nevertheless this ཌཌ Society for Museum Archaeology. does not mean they do not provide the ཌཌ Geological Curators Group. same kinds of support and expertise as ཌཌ Human Remains Subject Specialist Network. those that are recognised. ACE describes ཌཌ Museum Ethnographers Group. the work that SSNs do in broad terms ཌཌ Money and Medals Network. as sharing expertise, ideas and best ཌཌ Natural Sciences Collections Association. practice by delivering research projects, conference days, mentoring, training and Contact details including website addresses the development of best practice guidance. can be found on the ACE website and the SSN Consortium website. Many of these networks have now come together under the umbrella of the SSN The Society for Museum Consortium, which is the largest collections Archaeology (SMA) specialist support organisation in the UK. The SSN Consortium articulates the types of SMA is a fully constituted membership society support its members can provide, as well as that is recognised by Arts Council England the work they do, as follows: as the Subject Specialist Network for British Archaeology in the UK. It is a founder ཌཌ Strategic advice and guidance for at-risk member of the SSN Consortium and exists to: collections and organisations. ཌཌ Advocacy and research, advancing ཌཌ Promote museum involvement in the knowledge and understanding of all aspects of archaeology, and the relevance of their subject area and emphasise the unique contribution increasing partnerships. of museums to the essential unity ཌཌ Training, in-depth specialist support, of the archaeological profession. networking and mentoring activity ཌཌ Promote greater public understanding supporting professionals and of the archaeological past and a fuller volunteers across the heritage public appreciation of the importance communities. of archaeology.

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ཌཌ Campaign for the acceptance of museums conference, occasional day seminars and as guardians of a vital part of the nation’s practical training sessions and workshops. heritage and as the appropriate location The Society also contributes to national for the storage and interpretation of all discussions on archaeological archive archaeological material. practice and curation and has recently ཌཌ Develop a coherent philosophy for the produced Guidance on the Rationalisation role of archaeologists in museums. of Archaeology Collections and delivered three annual surveys of Museums Collecting It aims to achieve this by: Archaeology commissioned by Historic England. It has been particularly successful ཌཌ Acting as a pressure group within the in using the data gathered by these surveys museum profession, and offering advice to inform national strategy and played an to the Museums Association and other integral role in developing Historic England’s national bodies on current issues of Recommendations and Action Plan drawn archaeological importance. up in response to the Mendoza Review ཌཌ Encouraging closer relations with of Museums. SMA has also produced a colleagues outside museums, and Matrix of Competence that enables those with other organisations involved in pursuing Charted Institute for Archaeologists archaeology. accreditation to illustrate it with evidence that ཌཌ Working towards the improvement demonstrates a level of competency relevant of all aspects of archaeological work to museum archaeology skills and experience. in museums. In 2018 SMA was awarded funding by ACE The Society is managed by a committee, to deliver the SMART Project (Society for which consists of a combination of Museum Archaeology Resources and Officers, Ordinary Members and co-opted Training Project) of which these new Members representing Scotland, Wales and standards in the care of archaeological Northern Ireland. Its general membership collections are one product. is drawn from all over the UK and beyond, and consists of museum professionals, Chartered Institute for individuals with a keen interest in museum Archaeology (CIfA) archaeology and a variety of institutions. The Society works collaboratively with a The Chartered Institute for Archaeologists wide variety of other archaeology sector- (CIfA) is the professional body representing wide organisations and in particular: archaeologists working in all areas of the heritage sector, both in the UK and ཌཌ Chartered Institute for Archaeologists overseas. The Institute advocates for ཌཌ Association of Local Government archaeology and archaeologists, either Archaeological Officers alone or alongside other organisations, ཌཌ Historic England to influence policy makers in government and the private sector, while promoting SMA provides expert guidance and best- professional development and providing practice advice for all those managing and training opportunities. caring for museum archaeology collections irrespective of their level of archaeological CIfA acts as the self-regulating body knowledge and expertise. It publishes a for the archaeological profession wide range of practical resources and best through its membership and Registered practice guidance, as well as ‘The Museum Organisation (RO) scheme. CIfA has Archaeologist’, and it arranges an annual three progressive levels of accredited

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membership with CIfA Members (MCIfA) group training events. The CIfA Special having demonstrated the highest Interest Groups hold regular conferences, level of understanding of the sector networking and training events and often and its requirements, while taking full work alongside other SSNs (i.e. the SMA) to responsibility and accountability for their undertake projects for the promotion and own (and others) work. Individuals can also betterment of the sector. Relevant Special be accredited at Associate (ACIfA) and Interest Groups include: Practitioner (PCIfA) level, depending on their knowledge and experience. Through ཌཌ The Archaeological Archives Group the Registered Organisation (RO) scheme, which aims to focus upon issues relating businesses are assessed and inspected by to professional standards, best practice, CIfA for their ability to provide informed advocacy and access, while promoting and reliable advice, and ability to execute awareness of archaeological archives appropriate schemes of work while within the profession. minimising uncertainty, delays and cost. ཌཌ The Finds Group which aims to promote finds work constructively within the CIfA develops regulations, sets standards profession and wider heritage sector. and issues guidelines that are binding on ཌཌ The Information Management Group all members and Registered Organisations, focuses on how those working in the ensuring that CIfA members and RO’s work historic environment/heritage sector to high ethical and professional standards. create, access and share digital data The Institute’s commitment to uphold together, including archiving of digital professional practice means anyone may data and re-use of digital archives. raise a complaint if they believe that a member or an RO has failed to comply with Planning archaeologists the CIfA Code of Conduct or Regulations of the Institute. Local government archaeological services are responsible for the provision of The CIfA standards and guidance include: advice on strategic planning policies and on individual applications through ཌཌ Standard and guidance for the creation, the development control process. Local compilation, transfer and deposition of Planning Authorities are responsible for archaeological archives making sure development is undertaken ཌཌ Standard and guidance for the responsibly and in accordance with collection, documentation, conservation relevant planning law, policy and guidance. and research of archaeological materials Planning policy guidance notes set out the Government policy on planning issues and The CIfA Area and Special Interest Groups the Planning Archaeologist is responsible (SIGs) can offer advice on issues which for providing advice on archaeology have a specific relevance to their subject or and development to the Local Planning geographical area. The SIGs bring together Authorities based on these guidance notes. CIfA members and non-CIfA members with specific historic environment interests and A Planning Archaeologist (also known as represent the views of the group to CIfA Local Authority Archaeological Advisors, through participation in the Advisory Council. Local Government Archaeological Officers, Non-CIfA members can join a SIG for a small or Development Control Archaeologists) will yearly subscription, allowing them to stay undertake a preliminary assessment of any up-to-date with current policy and practice, proposed work to identify archaeological access group newsletters, and attend implications, based on information held

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by the Historic Environment Record (HER). the local planning authority. Engagement Where there is not enough existing with archaeological projects from information to determine how the proposed the outset will also allow appropriate development will affect any archaeology selection strategies to be developed in present, the Planning Archaeologist conjunction with the archaeology unit and will recommend assessment work to be planning archaeologist, establishing the carried out before planning permission is significance of any resultant archaeological granted. In some instances, the Planning archive, and the potential for re-use in Archaeologist will issue a Brief for the work, research, outreach, teaching, display, but it is always the case that the contracted engagement and learning activities. archaeology unit will compile a Written Scheme of Investigation (WSI) detailing Museum Development Network how they propose to undertake the project for approval by the Planning Archaeologist. Museum Development is funded by Arts The Planning Archaeologist will monitor the Council England, Museums and Galleries project against the WSI and on completion Scotland, the Welsh Government and the and reporting of the work, advise the Northern Ireland Museums Council. Some Local Planning Authority on whether the individual regions also receive small scale development should proceed, or if further funding from other sources, including some work is required. Planning Archaeologists local authorities. can also provide advice directly to planning permission applicants, landowners and The Museum Development Network is other agencies in order to modify proposals made up of 12 regional delivery teams to reduce their archaeological impact. across the UK: Only once the archaeological conditions have been met, including arrangements for ཌཌ Museums and Galleries Scotland dissemination of the results and deposition ཌཌ Museum Development North East of the archive arising from the fieldwork, ཌཌ Museum Development Yorkshire will the Planning Archaeologist recommend ཌཌ Museum Development North West that the archaeological conditions ཌཌ Northern Ireland Museums Council be discharged. ཌཌ Welsh Government (Museums, Archives and Division) Planning Archaeologists in their role as ཌཌ Museum Development East Midlands local government advisors should engage ཌཌ Museum Development West Midlands with all project stakeholders including ཌཌ SHARE Museums East public and private sector professional ཌཌ London Museum Development organisations, museums and archives ཌཌ South East Museum Development professionals, natural environment ཌཌ South West Museum Development services, academics, landowners and community groups. It is advisable to The role of Museum Development is to build a good relationship with your local deliver developmental support to accredited Planning Archaeologist in order to fully museums, art galleries and historic houses advocate for the preservation of the through a network of Museum Development historic environment within the sector as a Officers, who use in-depth knowledge of whole. Establishing the museum’s position their regions to deliver training, develop­ as a key stakeholder in the development ment and mentoring support to increase control process will promote better resilience, skills and ambition in the sector. collaboration between the museum and Museum Development additionally deliver contracting units, material specialists and grant programmes.

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The programmes of support available through Museum Development regional teams will reflect national priorities in addition to regional response based on local need, challenges and opportunities.

Museum Development champions accreditation and provides support for museums in securing and retaining accreditation.

Museum Development teams hold a wide variety of expertise across governance, collections and audiences. Some regional teams will have additional expertise in the form of conservators or digital engagement specialists. In addition to training, projects and programmes of support, Museum Development also produces sector guidance (such as toolkits) and publishes a range of case studies to disseminate good practice and promote sector learning. They also network museums to ensure a connected and mutually supportive sector.

If you are from an accredited museum, you can access training and advice from your regional Museum Development team.

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Standards and Guidance in the Care of Archaeological Collections 37 Part 2: Manage

Managing Archaeological Collections

Collections management: archaeology However, archaeological collections have some very specific issues which require The Collections Trust defines collections distinct considerations and approaches. management as: As a result, the chapters in section two will not cover general collections management “…an integrated approach to developing in great detail beyond the broadest terms, and caring for collections, creating but instead will focus on specific issues and information about collections, and practical advice regarding archaeological enabling the public to access, use and objects and collections in particular. Each learn from them.” chapter will provide signposts to the wealth Hillhouse, S. (2009) Collections of advice available elsewhere for any reader Management: A Practical Guide, unfamiliar with the content. Collections Trust, London pp.2 Most museums have a backlog of one kind Approaches to developing and using or another in documentation or collections archae­ological collections are outlined in care activities, and are typically short in staff sections one and three of this document. time. It is important therefore to make plans, Section two focuses on collections prioritise activities, and assess progress on information and care. a continual basis so that you can make the best use of the time available. The core principles for managing archae­ ology collections are the same as any other The chapters that follow will cover health collection type. As with any object or group and safety, Spectrum (the UK collections of objects in all museums across the country, management standard), and deal with it is crucial to ensure that the object is not material and documentary types found adversely affected by its environment, and within archaeological archives. Each that its information is not dissociated from chapter will outline general advice in the it. Through this, collections can be used for broadest of terms, before focusing on research, learning and enjoyment by current archaeological collections. and future audiences.

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Primary Procedures

Spectrum is the UK collection management Sources of archaeological materials standard. The most recent version, Spectrum 5.0, was published in September 2017. Archaeology objects or collections are acquired by museums from a variety of Spectrum gives tried-and-tested advice sources. In terms of quantity, the main on the things most museums do when source is undoubtedly archaeological managing their collections. Some of these fieldwork, generally an excavation, which are daily activities, such as moving objects results in an archaeological archive. and updating location records. Others are occasional, like updating insurance Both single items and groups of items cover. Spectrum calls all these activities (hoards) may be acquired because they are ‘procedures’ and there are nine which are Treasure under the definition presented described as primary procedures. These in the 1996 Treasure Act. In Scotland a are the ones that most museums will use different law and guidelines operate known most of the time. UK museums wanting to as Treasure Trove. Other items may be meet the requirements of the Accreditation donated by, or purchased from, individual scheme will have to demonstrate that owners or, more rarely, purchased at auction they meet, or have a plan to achieve, or through bequests in an individual’s will. the Spectrum standard for all nine. In England and Wales chance archaeological The nine primary procedures are: finds made by members of the public, often using metal detectors, may be voluntarily ཌཌ Object Entry. reported to the Portable Antiquities Scheme ཌཌ Acquisitioning and Accessioning. (PAS). The PAS is coordinated by the ཌཌ Location and Movement Control. British Museum in England and in Wales ཌཌ Inventory. by Amgueddfa Cymru National Museum ཌཌ Cataloguing. Wales, and operates through a network of ཌཌ Object Exit. Finds Liaison Officers (FLOs). In Northern ཌཌ Loans In. Ireland legislation exists under the Historic ཌཌ Loans Out. Monuments and Archaeological Objects ཌཌ Documentation Planning. (Northern Ireland) Order 1995, placing an onus on members of the public who discover The information that follows is designed to archaeological objects to report them to help you identify specific considerations an appropriate authority irrespective of in relation to archaeology when using whether they classify as Treasure. Spectrum’s Primary Procedures. Actions and conversations Object entry: specific additional considerations in relation to archaeology In all circumstances the process of acqui­ sition must begin with the museum’s The Spectrum primary procedure relating Collections Development Policy, which must to object entry is described as: ‘Logging all specify the museum’s collection area and objects coming into your care for whatever its priorities by subject area, time period reason, including loans, enquiries and or type of object. Any acquisition which potential acquisitions’. falls outside the Collections Development

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Policy should be wholly exceptional and fully it clear that a site does not have to produce justified. It is good practice for decisions finds to make it archaeologically interesting. on acquisitions to be taken by more than You can read the definition of a negative one individual, particularly if the item is to site archive earlier in this document. In all be purchased, and for the justification for cases the onus is on the receiving museum an acquisition to be recorded in writing. or Publicly Accessible Repository to ensure that it has appropriate procedures in place Archaeological archives to ensure the long-term survival of an archaeological archive in a retrievable form. The entry of an archaeological archive into a museum collection is a unique process In England, staff responsible for the care as the item or group of items is unknown of museum archaeology collections are at the start of the procedure. As a result, encouraged to read the relevant sections in it is important to undertake a pre-entry current guidance especially pages 7, 8 and process once an archaeological contractor 42 of ‘Archaeological Archives: A Guide (i.e. the archaeology unit) notifies a museum to Best Practice in Creation, Compilation, of its intention to undertake a fieldwork Transfer and Curation’. In Wales, staff project. At its simplest this has three responsible for the care of museum steps: firstly, checking your Collections archaeology collections should follow the Development Policy to see if your museum guidance produced by the Welsh Museums is the appropriate repository for the archive Federation. and, in particular, that the fieldwork is being undertaken within your geographical Once the archaeological project is collecting area, secondly supplying the completed it is important to confirm an contractor with a copy of your Deposition expected date of deposition with the Policy and Procedure (also known as archaeological contractor to ensure that Deposition Guidelines) and thirdly assigning adequate space is available in your stores. an accession number. The first two steps should happen immediately after the initial In Scotland, less of this pre-entry process is contact by the archaeological contractor, but possible as no museum can formally acquire the timing of the third step – the assigning of archaeological objects from Scotland until the accession number – is more flexible. they have been assessed and allocated by the Scottish Archaeological Finds In the past, museums have provided an Allocation Panel through Scottish Treasure accession number to an archaeological Trove. Collecting policies are taken into contractor on demand. More recently account as part of this process. Whilst it is however some museums have begun to often difficult to achieve, it remains good delay issuing an accession number until the practice for the member of museum staff outcome of the project is known as, in some with responsibility for archaeology to be in cases, there may be no finds recovered. contact with fieldwork projects happening in In these circumstances, there is only a copy the museum’s collecting area. of the project report to be deposited and arguably this is not something that normally Archives in poor condition would be formally accessioned by the museum but instead placed in the museum’s Special considerations may apply in those . In this context it is important to note cases where archaeological archives the recent definitions of a negative site arrive at a museum in poor condition. Such and a negative archive produced by the archives may have been in ‘temporary’ Archaeological Archives Forum, which make storage in inadequate buildings for many

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years and, as a result, both the collection However, in such cases there is an expectation items themselves and their packing that archiving is part of the project process materials, may have deteriorated due and should be considered before excavation to damp and rodent damage. In other takes place, with agreements made with cases, the archive may not have been the museum in advance of a project taking originally, or are not currently, packed or place to ensure long term storage, public and labelled to modern museum standards or research access. In all cases the museum’s to those standards outlined in a museum’s Deposition Policy and Procedure must Deposition Policy and Procedure. make explicit reference to the packaging and labelling requirements of the museum The risks associated with the deposition of (see ‘Archaeological Archives’, sec. 3.3.6). these archives relate to the following: Transfer of title and copyright ཌཌ Cleanliness – the archive may bring dirt into the storage area. There are specific and complex issues ཌཌ Infestation – the archive may bring insect relating to the transfer of title and copyright or other pests into the storage area. in archaeological items. Considerations ཌཌ Manual handling – boxes may be too here relate to whether it is a collection or heavy or not strong enough to be individual item, where the item is found in the safely moved. United Kingdom and whether it is covered by ཌཌ Documentation – the archive may not be the Treasure Act 1996 or other legislation properly labelled. such as that relating to wreck material. It is ཌཌ Cost – the cost of reboxing and packing recognised that it is not possible to provide an archive to the appropriate standard. universal guidance in this area, but general recommendations based on current best There are additional risks that in taking in practice can be made (see below under a poorly presented archive, a museum/ Acquisitioning and Accessioning). Publicly Accessible Repository is taking on financial responsibility to bring the archive Museums and archive repositories ideally to the appropriate standard. should have copyright, sole or shared, over the documentary archive. This must be in In these cases the member of staff line with existing UK legislation, such as the responsible for archaeology collections Copyright, Designs and Patent Act 1988, at the receiving museum or Repository and the laws and regulations particular to is entitled to insist that the archive is different countries in the UK. It should be repacked in appropriate materials and based on an approach that respects the properly labelled before it is deposited, in rights of the originator of the archive whilst accordance with the museum’s Deposition acknowledging the right of the museum or Policy and Procedure. Additionally, a archive repository to ‘acquire the right to museum/Publicly Accessible Repository research, study, display, publish and provide may choose to recharge the depositor for access to all the information and finds the costs of repacking the archive (and any contained in the archive either immediately other costs linked to ensuring the archive or after an agreed period’ (MGC 1992). is to the required standard for deposition). Professional judgement may need to be In England and Wales the museum or exercised if the depositor is an independent Publicly Accessible Repository should (or non-professional) organisation without obtain a written assignment of copyright access to appropriate levels of funding from the copyright holders. This can be (i.e. a community archaeology project). complicated as various elements of an

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archive may have different copyright holders Ownership (for example OS maps) and the depositor (i.e. the archaeology unit) must assist in At its simplest level all archaeological objects this task by providing clear documentation recently recovered from the ground will have relating to the copyright holders of the an owner, but their identity will depend on individual elements of the archive. Ideally, where in the United Kingdom the find was there should be a mechanism to allow made. In England, Wales and Northern licensed use of all archived material Ireland landowners retain all rights of (see ‘Archaeological Archives’, sec. 5.1). ownership to archaeological materials found on their land, with the exception of In Northern Ireland there are currently items classified as Treasure (see below). very limited facilities for depositing In Scotland all archaeological artefacts, documentary and digital archives resulting including those from excavations, may be from licensed excavations, although it claimed as the property of the Crown and is now a requirement of the excavation then allocated to museums via the Scottish licence that all items are prepared to Archaeological Finds Allocation Panel. deposition-ready standards. Work is currently underway within the Historic The seabed in British waters is owned Environment Division, Department for by the Crown and all seabed finds must Communities to provide deposition be reported to the Receiver of Wreck. facilities, and to make material accessible In addition to material recovered from upon request to members of the public historic wreck sites, individual finds made (see ‘Archaeological Archives’, sec. 5.2). on a beach between the high and low water marks might also fall within the definition In Scotland, Historic Environment Scotland of wreck if it can be shown that they have (HES) is responsible for the principle come from a wreck site. On a case by case repository for all documentary and digital basis some of these finds, for example archives resulting from archaeological from tidal river systems may fall under the activity. This record contains material purview of Scottish Treasure Trove. relating to the entirety of the Scottish built environment, from the Mesolithic era to In England and Wales, but not Scotland, the present day. Deposition with HES of where archaeological objects were found documentary or digital projects funded in the ground some time ago it may not by developers is actively encouraged (see be possible to establish the precise find ‘Archaeological Archives’, sec. 5.3). A guide spot and therefore landowner. In these for depositors can be accessed here. circumstances due diligence will need to be exercised to establish if the person in Acquisitioning and accessioning: possession of the find is the legal owner. specific additional considerations This will apply whether the object is being in relation to archaeology donated or purchased by the museum including, in the latter, at auction. The Spectrum primary procedure relating to acquisitioning and accessioning is described Treasure as: ‘Taking legal ownership of objects, especially (but not always) to add to your In England, Wales and Northern Ireland, gold long-term collection through the process and silver objects, and groups of coins from of accessioning: the formal commitment the same finds, over 300 years old, fall within by your governing body to care for objects the definition of Treasure under the Treasure over the long term’. Act 1996. Prehistoric base-metal assemblages

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found after 1st January 2003 also qualify as the aims of the museum such as, for example, Treasure. In these cases the object is legally display in a publicly accessible location within owned by the Crown with the exception of an office or shop. Such a loan would always franchises granted to the Duchy of Lancaster, be subject to the museum’s standard loan the Duchy of Cornwall, the Corporation of conditions relating to security, insurance London and, it is believed, the City of Bristol. and environmental conditions (see below, Loans Out). Ultimately if agreement cannot Human remains be reached then the museum may have to consider its position with regard to accepting Human remains are also not covered by the excavation archive at all. transfer of title as the laws of England and Wales do not recognise the concept In Scotland archaeological artefacts are of property (i.e. a right of ownership) in acquired by museums as a result of decisions human bodies. It is usual to obtain copies taken by the Scottish Archaeological Finds of exhumation licenses and documentation Allocation Panel adjudicating between bids from the archaeology contractor (i.e. the from relevant museums. archaeology unit) which confirms that the remains have been exhumed legally and the In England it is understood that the British Ministry of Justice has not made conditions Museum has recently been instructed by the for their reburial. Further advice is contained Department for Culture, Media and Sport in the DCMS ‘Guidance for the Care of not to sign Transfer of Title forms issued by Human Remains in Museums’, section 2.3. museums acquiring Treasure cases. In the past museums had routinely used these Transfer of title forms to establish ownership of Treasure cases for both Accreditation purposes and In England, Wales and Northern Ireland, to satisfy auditors. In their place museums it is highly desirable that the landowner are recommended to use the Treasure transfers title to all archaeological objects, release email sent by the British Museum other than treasure, to the appropriate once they have received payment of the museum or archive repository. Specific Treasure reward as evidence of ownership. forms should exist for this purpose and In Wales similar Treasure release emails can be obtained from the Collections Trust. are sent out by Amgueddfa Cymru National In Northern Ireland, National Museums NI Museum Wales. have their own forms. In those cases where the object is being acquired from someone Bulk accessioning other than the landowner a transfer of title form should likewise by signed (but see As part of the normal accessioning below for Treasure finds in England). process each individual object is given a unique reference number and marked or Occasionally land owners decide that they labelled with that number. In the case of wish to retain certain objects found during archaeological archives, where one archive archaeological projects on their land and may contain hundreds or even thousands which would otherwise be part of the finds of objects, it is not practicable in terms archive. It is generally good practice to keep of staff time to individually identify items. all finds together under one ownership. This may be the case with pottery, ceramic However, a compromise position might be building material (brick and tile), animal that the museum acquires all the finds but bone or metallic slag. In these cases, bulk lends a selection back to the landowner for accessioning should be adopted. Bulk a specific purpose which is compatible with accessioning refers to one accession number

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covering multiple objects; the precise inventory. In the past, curators were often methodology to be used will depend on diligent in publishing information relating individual circumstances but could include, to recent acquisitions. Places of publication for example, one number per box of material included national and county archaeological with only a percentage of the material in journals and local society newsletters as that box, say 10%, individually marked. well as sources which are found in other disciplines such as newspaper articles, Location and Movement Control: ‘Friends’ newsletters and annual museum Specific Additional Considerations reports. Increasingly, these publications in relation to Archaeology are available on line with a search facility. In addition, curators produced miscellaneous The Spectrum primary procedure relating to handwritten notes and corresponded by location and movement control is described letter with fellow curators in other museums as: ‘Keeping a record of where all the objects thereby creating an archive which may be a in your care can be found, and updating the valuable resource in identifying artefacts for location each time an object is moved’. which information is limited.

Responsibility for the archaeological Archaeological contractors often use their archives in transit is normally the own conventions in recording information responsibility of the archaeological about archaeological archives that they contractor (i.e. the archaeology unit). have created. These may include abbre­ Once these have arrived at your museum viations, numerical codes and symbols. you should follow the Spectrum primary In cases of doubt always seek clarification procedures relating to object entry, and from the archaeological contractor. the Spectrum procedure for location and movement control. Cataloguing: specific additional considerations in relation to Human remains need to be treated with archaeology respect and should be located either in a dedicated human remains store, or in The Spectrum primary procedure relating a dedicated area of a store away from to cataloguing is described as: ‘Managing routeways and traffic. Further advice is the information that gives your collections contained in the DCMS ‘Guidance for the meaning, not as an end in itself but to Care of Human Remains in Museums’, record and retrieve what is known about section 2.6). your objects’.

Inventory: specific additional It is essential to control terminology when considerations in relation to cataloguing archaeological objects to avoid archaeology the issue of searches yielding partial or even no results as a consequence of individual The Spectrum primary procedure relating artefact types being known by different to inventory is described as: ‘Making sure names. Unfortunately, currently (2020), whilst you have the basic information to be there is general agreement on their need, accountable for the objects in your care there are no published term lists. A number of and tackling the backlog if you do not’. organisations are known to be working on this issue. For example, Historic England reported There are specific sources of information at the 2019 conference of the Collections relating to archaeological collections which Trust on their work to create a platform to may assist in the process of preparing an publish and maintain controlled terminologies

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in UK museums. In the absence of a completed Museums lend objects to each other on project, the best source of information and a basis of mutual trust and expectation advice is to be found in the Finds Recording that each will follow nationally recognised Guides produced by the Portable Antiquities standards and procedures. In circumstances Scheme (PAS). These are accessible by image, where the curator is unfamiliar with use and function, and time period. archaeological objects it is important to be honest and open with the lending museum or It is also important to note the existence organisation. Advice may be sought from the and value of the Forum on Information lender themselves or from a nearby museum Standards in Heritage (FISH) which has with archaeological expertise or from your produced various thesauri, all available on county’s Museum Development Officer or in the Collections Trust website. Lastly the Scotland, from Museums Galleries Scotland. British Museum Object Names Thesaurus The Society for Museum Archaeology as the is a valuable resource which provides a Subject Specialist Network (SSN) for British comprehensive list of terms organised archaeology will also be able to signpost you alphabetically. to appropriate sources of help and support.

Care should be taken to link the whole Loans out (lending objects): specific archaeological archive together even if some additional considerations in relation parts are stored remotely. For example, to archaeology it may be the case that the finds archive is held by a museum but the documentary The Spectrum primary procedure relating archive is deposited in a record office. This to loans out is described as: ‘Assessing may become a more common occurrence requests for you to lend your objects and as increasingly documentary archives managing the lending process until loans are digital rather than paper-based. Your are returned to you’. documentation record should link all these sources together. Museums with archaeological collections will receive regular requests for loans for Object exit: specific additional exhibition from a range of bodies, including considerations in relation to national, regional and local museums. archaeology As with other types of museum collection, such loan requests should be considered The Spectrum primary procedure relating to in relation to the prospective lender’s loan object exit is described as: ‘Recording when conditions and will therefore be relatively objects leave the buildings you are responsible straightforward. for and pass out of your direct care’. It is not unusual, however, for museums with There are no specific archaeological archaeological collections to be approached considerations in relation to archaeology. to lend objects for research purposes and these requests may prove to be more Loans in (borrowing objects): problematic in terms of decision-making by specific additional considerations in the prospective lender. relation to archaeology Generally these requests will come The Spectrum primary procedure relating to from universities, national museums or loans in is described as: ‘Managing objects archaeological bodies such as contracting you borrow for a fixed period of time and for archaeology units or Historic England, a specific purpose’. and will be part of larger projects which

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are specifically funded. In some cases, wish to borrow archaeological objects requests include permission to undertake for temporary display at a public destructive sampling which will require event. Every effort should be made to careful consideration by the lender. In accommodate these requests providing certain circumstances it may be appropriate that there is no risk of loss or damage for a museum to write a research policy to the object. In particular, the borrower which specifies the approach to be taken will need to confirm that they are able to with regard to research enquiries. Good provide an acceptable level of care, security examples of how to approach writing and safekeeping of the object as well as a Research Policy can be found in the arranging for insurance or indemnity cover following examples: to be in place. Additional care should be taken in these cases to ensure that the ཌཌ Colchester and Ipswich Museums proposed use of the loaned material poses Research Policy no reputational risk to the lending museum/ ཌཌ The Novium Museum Research and Publicly Accessible Repository. Destructive Sampling Policy The Society for Museum Archaeology as the Loans for research purposes differ from Subject Specialist Network (SSN) for British those for exhibition in terms of security and archaeology will also be able to signpost you safekeeping. Objects on loan to exhibitions to appropriate sources of help and support. are generally placed on display at the beginning of the loan period and removed Documentation planning: specific at the end. The process of installation and additional considerations in relation de-installation will often by overseen by a to archaeology representative of the lender. Objects lent for research will be worked on in a lab or The Spectrum primary procedure relating office space and should be locked securely to documentation planning is described away overnight, at weekends or when not as: ‘Making your documentation systems being actively studied. The borrower will better and enhancing the information they need to explain clearly their procedures contain as an ongoing process of continual whilst the loan is in their care. improvement’.

In those cases where the request is for bulk It is important to stress that good docu- archaeology, such as pottery or animal mentation planning depends on all the other bone, or where box contents are not eight Spectrum primary procedures being individually catalogued or labelled special in place. care needs to be taken to ensure that the lender has sufficient information to With regard to archaeological archives, check the loan on its return. Photographic research may continue after deposition in records and information on quantities a museum or Publicly Accessible Repository are particularly helpful in this regard as it has taken place (see Loans Out). This may is not unknown for boxes to be repacked require objects to be loaned out to an by a borrower in a different order making individual or organisation undertaking the it hard to determine if any of loaned research. The results of this research should material might have gone missing. be made available, as a matter of course, to the lender who should ensure that the Other requests may come from non- main findings are added to the museum’s specialist bodies, such as local history documentation. societies, who, for example, might

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Health and Safety

Introduction Inherent hazards

Applying health & safety (H&S) within a Weight museum context can raise some unique issues and challenges that you would Some large architectural finds can be very not find in other work environments. heavy. Ensure that they are labelled as such The hazards can broadly be split into – with the actual weight if possible. Add this 3 areas: information to your collections management system (CMS). ཌཌ Inherent hazards within the object; ཌཌ Contamination from the ground, and ཌཌ Always store heavy items at ground level ཌཌ Contamination from the storage or on low shelves. environment. ཌཌ Investing in good quality pallets can not only help keep things off the floor but The level of risk will depend on the mitigation also make moving these larger materials measures in place when interacting with such as architectural fragments easier. these collections. ཌཌ If an artefact is particularly difficult to move it may be worth writing a specific When working with a collection or archive risk assessment for it rather than relying for the first time it is important to make an on generic manual handling ones. assessment of any hazards and record your ཌཌ If you have specialist moving equipment findings. This is absolutely essential if you (trolleys/pallet trucks etc.) it is important to are planning to allow volunteers to work have these serviced and checked regularly. with the finds. The results from this can then inform your risk assessment for any work Over filled boxes can also be a hazard. When on the archive and help decided if it is a dealing with historic collections ensure you suitable volunteer project. label any boxes that are particularly heavy. Look at moving them if they are stored at It is hoped that the information in this height or splitting the finds between two section can provide context for the boxes if this is practical. Remember, the Standards. There is also specific advice maximum recommended weight to lift with on the Fact Sheets that accompany this arms extended or above shoulder height is guidance document, which will be of use. between 3-5kgs. It can be a useful exercise to consult with staff on box weights and Relevant legislation create standard limits within your storage areas. Ensure maximum box weights are ཌཌ Health and Safety at Work etc clearly specified in your Deposition Policy Act 1974 and Procedure document. ཌཌ Control of Asbestos Regulations 2012 ཌཌ Control of Substances Hazardous to Toxicity Health 2002 (COSHH) ཌཌ European REACH (Registration, There are certain materials found in archae­ Evaluation, Authorisation and ology which are hazardous because of their Restriction of Chemicals) Regulations material composition. Metal compounds No 1907/2006 can contain lead, tin and arsenic. Corrosion

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products which, if inhaled or absorbed This might mean a survey of the site as a through the skin, can be toxic. If an object whole by a specialist asbestos contactor and/ has powdery corrosion products on the or sampling of individual finds. The key thing is surface always take particular precautions for them to provide you with documentation if you are unsure of their composition that proves they have completed these tests (for example, wear gloves and a suitable and that there is no risk present. If there is face mask). In addition bear in mind lead contamination, it is up to the archaeology has been used more widely in ceramic unit and the museum/Publicly Accessible glazes and stained glass production, as Repository to decide the best course of well in solders and metal artefacts. action to minimise risk of exposure (see links to relevant regulations below). Sharps In addition, asbestos was a popular Any sharp or broken objects should be material in museums for the construction contained within a labelled box to ensure of dioramas, textured paint surfaces and anyone coming to handle it is aware of any mounts. Always check with a specialist if handling precautions which need to be taken. you have any suspicions particularly if you Ensure the object is clearly visible (not hidden have displays dating from the 50s-80s by tissue or other packing materials) and (although not restricted to this range). that if there are particular instructions for removing the object, these are clearly Heavy metals explained and kept with the item and is recorded as part of documentation record. Industrial sites may also be contaminated with metals such as lead and arsenic. The Contamination from the ground same questions should be asked of the commercial archaeology unit as above. When accepting archaeological archives from commercial archaeology units, we Biological often rely on them to let us know if there might be a risk from the dig site itself. Due to conditions in the UK, preserved Always ask the questions: microbiological pathogens are extremely unlikely to survive in a viable form for as ཌཌ Could there be an unseen risk? long as a century. However, there are ཌཌ Did the unit check an environmental concerns about anthrax and smallpox, survey of the site had been completed? especially from sealed contexts such as coffins. Again, the onus is on the commercial It is also worth ensuring that disclosure of archaeology unit to ensure all risks are this information (and provision of evidence) disclosed and appropriate risk assessments is included in your terms for deposition. and checks completed during excavation.

Asbestos If your collection has archives known to have come from potentially contaminated Has the archive come from an industrial sites, additional precautions should be site where asbestos waste could have taken when handling them and specific been disposed of, or been within the fabric risk assessments created. Advice should of demolished buildings? If the answer is be sought if there are specific concerns yes, the onus should be on the commercial around the hazards listed above. Label any archaeology unit to ensure that the material boxes identified as containing hazards and they are depositing does not pose a health risk. update documentation records accordingly.

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Contamination in storage Reducing risk when working with collections Silica gel Risk assessments Blue cobalt (blue to pink) self-indicating silica gel is prevalent within archaeological metal It is important that you have a good range collections, used as a means of controlling of generic risk assessments within the environmental conditions. The dust from this department which cover staff, volunteers is carcinogenic. When replacing silica gel, and researchers allowing safe handling of ensure suitable PPE is used (nitrile gloves collections. Where specific measures are and a mask). This is also chemical waste needed to ensure risk is minimised, individual and must be disposed of responsibly using a risk assessments should be created. Copies licensed waste contractor. Note: the current of these assessments should be held in store orange/clear indicating silica gel is non-toxic. and reference made to specific ones on your Collections Management System (CMS) if this Previous treatments is appropriate. It may be prudent to keep an assessment stored with the object if there are Historic treatments and preservation concerns. Always provide a signing sheet as methods should be thought about when part of the assessment and get those working handling collections. There may or may with the collection to read all relevant risk not be records of these, and so a working assessments, and sign to say that they have knowledge of what has been used in your read and agree to follow them. institution over time can be really helpful when deciding on the level of risk. Materials Your organisation may already have a to think about include arsenic oxides standard risk assessment template. If not and mercuric chloride, used to protect there are templates available from the against insect attack and mould; corrosion Health & Safety Executive (HSE) website inhibitors such as potassium dichromate or and the Collections Trust have a useful benzotriazole; potassium cyanide used to ‘How to…’ guide. clean gold and silver objects, and alcohol, formaldehyde and glutaradehyde used in Control of Substances hazardous the preservation of wet specimens. Always to Health (COSHH) wear nitrile gloves when handling collections. When working with chemicals it is important Mould to comply with COSHH regulations. This means ensuring you have safety data A significant risk to organic archaeological sheets for the materials you use, and finds when stored in an inappropriate include any recommendations within environment is mould. This can be damaging your risk assessments. Any chemicals you to the object but also poses a health and purchase should come with a safety data safety risk. If a mould outbreak is discovered, sheet. If it doesn’t then you can request it is important to contain it to prevent the one from the supplier or manufacturer. spread of spores. Always wear nitrile gloves Common materials you will need to ensure and a suitable mask when there is a risk of you have data sheets and RAs for are: mould. Dispose of contaminated packing materials to prevent cross contamination. ཌཌ Silica gel. Contact a conservator who can advise ཌཌ Paraloid B72. or carry out treatment to remove the ཌཌ Solvents such as acetone. mould safely. ཌཌ White spirit and IMS.

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Don’t forget other less obvious materials such as cleaning products using in store cleans or for washing out containers should be included.

Lone working

Remember working on your own in stores has a risk and should be covered by your health and safety paperwork. Ensure colleagues are aware of your location and make sure you have phone or radio reception where you are working. Think about the types of activity you undertake: for example, avoid use of solvents and sharps when lone working to reduce risk.

Resources

General legislation: ཌཌ Health and Safety at Work Act (1974) ཌཌ European Agency for Safety and Health at Work Risk assessment ཌཌ Health and Safety Executive: Risk Management ཌཌ Health and Safety Executive: Risk Management (Case Studies) ཌཌ Health and Safety Executive: Risk Assessment Templates COSHH ཌཌ Control of Hazardous Substances to Health (COSHH) Asbestos ཌཌ Control of Asbestos Regulations 2012 Contaminated sites ཌཌ Historic England: Land Contamination and Archaeology General H&S guides ཌཌ AXA general Health and Safety Guidelines for Museums, Galleries, Libraries and Archives ཌཌ SHARE Museums East: Hazards in Museum Collections

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Using Archaeology Collections

Museum archaeologists and others who ཌཌ Actively seeking out, and learning from, are charged with the care of archaeological innovation and best practice. collections have a duty to ensure that not ཌཌ Professional networking and only are collections preserved for the benefit knowledge-sharing. of future generations, but also that they are ཌཌ Collaboration with others, both within used to their fullest potential. This chapter and outside the sector, who are leading deals with direct use of the collections rather priority areas for the sector across than use for schools programmes, teaching a range of priorities (decolonisation, and learning which will be the subject of a inclusion, disability representation etc.). separately published SMA guidance note. ཌཌ Ensuring collections you manage are both physically and intellectually Over the last 20 years there has been an accessible. increased requirement placed on organis­ ations that care for and manage collections The Society for Museum Archaeology to meet the needs of many societal provides information, advice, and best- and museum priorities, and to achieve practice guidance in many forms that will developmental targets set by funders to enable practitioners to do this, in addition demonstrate public impact and benefit. to other Subject Specialists Networks. There have also been enormous changes in There are also a number of sector groups museum participatory practice supported that can help you engage with specialists in by the identification of priorities relevant collections interpretation and engagement to creativity, inclusion, representation and to ensure significant narratives and diversity amongst others. Publicly funded priorities are embedded within your use institutions also have to justify expenditure of collections: and to realise maximum public benefit from public funding (Boyle 2021, forthcoming). ཌཌ Museum Detox ཌཌ Museum Disability Collaborative It is incumbent on those responsible for Network (Museum DCN) archaeological collections to not only ཌཌ Museum as Muck advocate for the public benefit of their continued care, but also to demonstrate The following resources are also of value in their relevance by ensuring collections are considering the use of collections: accessible and relevant to a wide variety of people. It is equally important to recognise ཌཌ Collections 2030 Discussion Paper, and accept that for some, the outcomes of Museums Association their use will be archaeological or academic, ཌཌ Empowering Collections, Museums but for others they may be creative or social. Association ཌཌ Effective Collections Achievements Practicalities and Legacy, Museums Association ཌཌ DCMS Action Plan In practice this means: ཌཌ Let’s Create: Our strategy 2020-2030 Arts Council England ཌཌ Keeping abreast of changes in national ཌཌ Going Further Museums Galleries and museological policies, practice, Scotland agendas and funding programmes.

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Positive outcomes study. The contribution this makes towards developing a better understanding of how The active use of archaeology collections can people and places have developed over have many positive outcomes both for the time, and dissemination of the results of public, and for organisations that care for innovative research, enables more people and manage them. to share and benefit from new knowledge.

Museum archaeological collections are It is impossible to know what potential a used to: collection has to deliver these outcomes unless those that manage them have a ཌཌ provide a wide range of exhibitions. detailed knowledge of what they contain. ཌཌ provide public engagement activities. In order to facilitate this, those managing ཌཌ provide learning opportunities. archaeology collections are advised to ཌཌ provide socially inclusive community undertake a basic collections scoping projects. exercise. This will lead to: ཌཌ promote the contemporary relevance of archaeology, and explore issues of ཌཌ Increased knowledge of the collection. contemporary relevance (i.e. migration, ཌཌ Improved documentation of the climate adaptation etc.). collection. ཌཌ help foster meaningful connections ཌཌ Confidence to advocate the strengths between communities, landscapes of the collection. and places. ཌཌ Better understanding of strategic ཌཌ support the wider archaeology sector in collection needs. maintaining strong research objectives. ཌཌ Increased ability to respond to ཌཌ promote high levels of volunteer and enquiries/researchers. community inclusion. ཌཌ Increased access to the collection. ཌཌ deliver health and wellbeing benefits. ཌཌ inspire creativity. Five case studies from organisations that undertook scoping exercises as part of an Archaeology offers unique and positive archaeological rationalisation study can be engagement opportunities - it brings found here. communities together and provides innovative ways to understand our place It is also important for each organisation to in time. In addition to championing undertake audience evaluation to understand: public participation and understanding, museum archaeology collections continue ཌཌ Who the current users are? to support academic, commercial and ཌཌ What impacts the current uses have? community research, as well as school ཌཌ Which users are underrepresented? learning prog­rammes and university ཌཌ Where to prioritise resources?

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Research

Collections research ཌཌ Communication and collaboration with local planning control archaeologists, Archaeological collections contain a English Heritage and Historic Environ­ wide variety of materials and associated ment Record Managers to identify information that make them of interest collection research and backlog to a huge number of people for different publication priorities. research purposes, not all of which will be ཌཌ Participating in the AHRC Collaborative for archaeological purposes. In particular, Doctoral Partnership scheme. archaeological archives are primary records of sites and are created to enable their future One way for museums to instigate collections re-examination, which means they will be the research is by creating a list of possible subject of research and especially with the research projects that are suitable for introduction of new analytical and scientific students as part of their studies. The techniques. Those who manage archaeo­ museum’s Documentation Plan is a good logical collections (and particularly those held place to start to identify new projects that will by museums) will often be the first point of provide answers to previously unanswered contact for those wishing to access, consume questions, or to deal with uncatalogued and synthesise the information contained or unpublished archives. Data can also be within them. This means they must find ways gleaned from Research Request Forms to enable this to happen in the most efficient (see below) to track trends across research and equitable way without compromising access to your collections – what areas of the collections care, integrity and security. collection have benefitted from a high level Nevertheless, those that curate collections of research focus, and therefore what areas should not be seen solely as the facilitators of have had relatively little focus and would research but should also seek ways to play an benefit from reassessment or review? active role in initiating and supporting research projects themselves. This requires for example: Enabling research

ཌཌ communication and collaboration with Most importantly you should ensure that local universities and other higher your organisation meets the definition of a education institutions. Publicly Accessible Repository. ཌཌ keeping abreast of research funding opportunities advertised by, for example, Irrespective of who is responsible for pursuing funds such as the Jonathan Ruffer research initiatives within your organisation, curatorial grant or Headley Fellowships there are some basic requirements for amongst others. promoting and enabling research, not least ཌཌ Working in conjunction with local county of which is that information about the basic archaeology and history societies, contents and scope of the archaeological to enable publication. collections must be made publicly available. ཌཌ Keeping abreast of, and participating in, Although some organisations supply infor­ the development of Regional Research mation online via sophisticated Collections Frameworks. Management Systems, the provision ཌཌ Working in collaboration with local of access to basic collections data does community and volunteer groups to not have to be more complicated than support archaeological research projects. providing information in spreadsheet

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format, downloadable from a website, or in ཌཌ Expected minimum notice periods for collaboration with the Archaeology Data visit requests and details of how this Service (ADS). ADS will, for example, provide might vary should the request require museums (and other organisations) with access to human remains, be for dedicated webpages that link to the archives scientific analysis or involve the loan they hold, and/or digital archives which have of material to another institution. been deposited with ADS by commercial units. ཌཌ Details of policies relevant to destructive or scientific analysis and where to obtain Research charter specific dedicated request forms for such activities. Apart from information about collection ཌཌ Ensure details of the research institution, holdings it is good practice to produce a programme or focus of study and super- Research Charter and make this publicly visor names if applicable are captured. available, ideally online. A Research ཌཌ Under what circumstances your Charter should be transparent about your organisation will be able to accommodate organisational capacity to process and (or not) research requests for a funded facilitate research requests and highlight project such as a PHD or post-doctoral any policies that are pertinent to it. It may study that involves a large number of include consideration of the following: objects/associated material. ཌཌ Who to consult prior to planning a ཌཌ A brief overview of the archaeological funding bid that will have an impact on collections, the kind of researchers that capacity, resources and workload to use them and how the organisation ensure the project is mutually beneficial. actively supports and promotes research. ཌཌ Health and safety considerations relative ཌཌ Details of how you manage requests to to hazardous materials, for example, access the collections, to take account because they may contain poisons, of curatorial workload and which pesticides or other unsafe materials or safeguards the collection. because they have come into contact ཌཌ How to make a research request, for with ground contamination. example by email, by phone, by letter, ཌཌ The decision-making pathway – who in by template with appropriate download the organisation has delegated authority links and contact details. You may to grant access? want to consider creating a Research ཌཌ How requests to access sensitive material Request Form. are dealt with and what references might ཌཌ Suggestions of what information needs to be required. be supplied by the researcher, for example ཌཌ What standard collections care will be evidence that an online catalogue has required, for example, wearing gloves been consulted, supplying unique object or when handling objects, eating and archive identifying numbers or site codes, drinking arrangements, supervision HER numbers, OASIS numbers, publication by staff. references, illustration numbers or context ཌཌ What equipment and study facilities numbers where applicable. you can supply and what equipment the ཌཌ An explanation as to why it is usually not researcher will be expected to supply, for possible to answer enquiries that are example, laptops, cameras, photo scales, too general such as ‘Can I see everything weighing scales, writing equipment, from one specific geographical area/ reference etc. period/object type’. ཌཌ Approaches to photography, permissions ཌཌ Expected timeframes for response and fees for copying as well as copyright. to enquiries. ཌཌ Data protection and privacy policies.

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ཌཌ What is expected after a visit: for (Frearson, 2018). Amongst other findings example, arrangements for the sharing it reported evidence to suggest that 70% of research data and results, digital of community archaeology groups curated images, object measurements etc. project archives and did not produce reports. ཌཌ Specific credit lines required in publications. They also failed to lodge the archives with ཌཌ The provision of copies of published works, a Publicly Accessible Repository and had electronic or otherwise. a lack of awareness of how to produce an archive or where to get guidance (Frearson, Researchers must be transparent about 2018, 22; Boyle, 2021 forthcoming). This what they would like from the organisation, would imply that a significant amount of but you must always ask for more detail archaeological evidence is being lost to if you are unfamiliar with the techniques the permanent record due to a lack of they will be using, especially if these involve consultation between museums/Publicly destructive sampling of your collections. Accessible Repositories and community If necessary, seek specialist advice or get a archaeology groups. Whilst it is now unusual second opinion. Subject Specialist Networks for most museums to play an active role such as ICON Archaeology Group may be in any form of fieldwork research project able to answer your questions or know who (mainly due to resources and capacity) will be best to ask. this is perhaps one area where museums could play a significant part in ensuring Remember, it is the responsibility of the that those carrying out research share their researcher to help your organisation to findings and follow best practice guidance understand the scope, scale and anticipated for deposition. Furthermore, engaging impact of their research, and to be specific community groups in research projects about what they’re planning to do, so don’t relative to stored collections would be be afraid to ask for more information and beneficial in unlocking their potential. clarifications. Collections staff may want to consider: ཌཌ You can see an example of how the Museum of London deals with research ཌཌ The production of specific guidance for requests, including a visit request community archaeology groups relevant form here. to museum deposition, to ensure the ཌཌ You can see Wiltshire Museum’s quality and usability of the archives Research Charter here. being produced. ཌཌ Providing training sessions on Research & community researching collections to community archaeology projects archaeology groups. ཌཌ Creating opportunities for community Historic England produced a report in 2016 archaeology groups to access and research to assess the value of community-generated previously excavated local materials in research. Among other findings it showed store, so as to improve records. that access to professional support during ཌཌ Collaborating with community groups to each project affected the destination of showcase their research via temporary the results of the research: where support exhibitions. had been provided it was more likely to ཌཌ Work in conjunction with community be sent to an HER (See Hedge & Nash, groups to widen participation for 2016). In 2018 the Council for British schools and students in a project Archaeology also published a report on the that incorporates research on stored state of community archaeology in the UK collections.

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Public impact and research with requests for research results to be translated into exhibition or display. Increasingly, researchers are expected to justify their research in terms of a The Research Excellence Framework for UK public benefit or outcome. Museums can Higher Education Institutes defines impact benefit from this in a number of ways, as “an effect on, change or benefit to the since researchers are often actively economy, society, culture, public policy looking for venues or collaborators or services, health, the environment or for open days, lectures and informal quality of life, beyond academia.” In total, communication (social media, blogs etc.) 102 impact case studies were offered as well as partners who possess expertise for the Research Excellence Framework in engagement and dissemination of 2014 related to archaeology, but without research in widely ‘consumable’ forms detailed analysis it is impossible to know (i.e. exhibitions). Museums can be a more how much of this research focussed active partner, supporting universities and on museum archaeology collections. higher education institutions in framing Museums and others responsible for the ‘impact and public benefit’ outcomes care of these collections should endeavour at the project design stage of funding to communicate the need to enter into bids, which in turn can supply tangible collaborative discussions before bids are beneficial outcomes in terms of workforce framed, and not to be pressured into and targeted collections research. All too agreeing to provide letters of support for often, however, experience and anecdotal projects at short notice without being able evidence suggests that museums are to appreciate the consequences for their approached after bids have been framed work programme, and what the impacts on and/or research has been completed other work on the collection might be.

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Engagement

Collections engagement: have already been published in the archaeology latest volumes of ‘The Archaeologist’, in particular Volume 31 and Volume 35. The process of engagement with archaeo­ Video presentations from SMA’s annual logical collections involves reaching out to as conference 2018 ‘Assertive Archaeology: many audiences as possible in order to: The Power of Positive Action’ and 2019 ‘Behind the Themes’ contain a wealth ཌཌ Make new use of the collections. of examples of good practice and are ཌཌ Widen participation. also available to watch online here. ཌཌ Offer new experiences. ཌཌ Improve accessibility. Projects that provide excellent examples ཌཌ Develop new interpretations. of good practice that are of particular ཌཌ Provide learning opportunities. note include: ཌཌ Contribute to place-making and sense of identity. Museum of London ‘VIP’ (Volunteers, ཌཌ Foster local pride. Diversity & Inclusion) (Davis 2014). ཌཌ Share knowledge and understanding. ཌཌ For enjoyment. ཌཌ Museum of London #ArchiveLottery ཌཌ Stimulate creativity. (Social Media) ཌཌ Create interest in the work of museums. ཌཌ YourDig ཌཌ Offer new career paths. (Participatory Community Engagement) ཌཌ Generate income. ཌཌ Bristol’s Brilliant Archaeology ཌཌ Demonstrate public benefit. (Event Planning) ཌཌ Take risks and try out new ideas. ཌཌ Collaborative Retention and Selection ཌཌ Empower alternative voices. (Volunteers) ཌཌ Evaluate and improve practice. ཌཌ Displaying the Dead ཌཌ Learn from others. (Visitor engagement affecting policy)

The list is endless – restrained perhaps See also: only by the imagination, resources and time. Practitioners looking after collections ཌཌ Empowering collections, Museums are advised to make themselves aware Association of a variety of strategies and to seek out ཌཌ Our Museum, The Paul Hamlyn examples of good practice on which to Foundation model their own activity. ཌཌ An Introduction to Museum Archaeology by Hedley Swain (2007), Chapter 14 Over the course of 2020 and beyond, the ‘School, Public and Community’. SMA will be publishing a series of cases ཌཌ Public Archaeology: Arts of Engagement studies on its website highlighting examples ཌཌ Communicating the Past in the Digital Age of innovative good practice: many examples

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Audiences ཌཌ Offering a programme of gallery talks, including described talks for the visually Engagement requires collaboration. impaired or in sign-language. True engagement involves collectively ཌཌ Offering regular behind the scenes tours researching audiences and their needs, of archaeological stores. being open to hearing negative feedback, ཌཌ Including members of the public in stores and making changes in partnership or archival activity e.g. the volunteering with representatives of audiences. work undertaken at the Museum of London Archaeological Archive Centre (LAARC). Visitor research shows that museums have ཌཌ Displaying objects in ways that enable consistently under-engaged with certain visitors to make connections with members of society and funders and policy ethnicity and diversity as well lived makers are asking them to take steps to experiences (past and present). address this gap. This will involve reaching ཌཌ Admitting that archaeologists don’t out to communities who might not readily always know all the facts and deliberately engage or audiences who may question your inviting new interpretations. right to curate certain materials. Audience ཌཌ Presenting multiple perspectives. development may also involve working with ཌཌ Using new technologies, such as hand- representatives of other key services such held devices, tablets and podcasts. as education, public health, social work, ཌཌ Creating quiet opening times and and housing. sensory experiences.

Arts Council England’s Accreditation The Accreditation Standard (section 8) requires Standard requires collections to be museums to understand and develop their accessible to the public: the SMA definition audiences. This necessitates user research to of a Publicly Accessible Repository create an understanding of who engages with encapsulates what this means for archaeological collections already, who doesn’t archaeological collections and particularly and why. Groups of individuals who are not those organisations that hold archives. engaging with archaeological collections may also be marginalised by mainstream practices Museums will also have an approved Access and policies around education, health, and Policy and Plan (a requirement of the 2018 other forms of civic activity. For some groups Accreditation Standard, see sections 7.1 and barriers may be practical (for example, 7.2). There are a number of relatively simple transport, physical access, and economic ways that engagement with archaeological factors such as entrance charges etc.) exhibitions and displays can be enhanced – Understanding audiences can be achieved for example by: using a variety of evaluation tools. Here are links that provide multiple approaches ཌཌ Making sure galleries, text, displays that can be adapted or learned from: and interactives are physically and intellectually accessible to the public. ཌཌ The Visitor Studies Group Toolbox For example, archaeological terms may ཌཌ British Museum Visitor Research: be hard to read or understand. Exhibition Evaluations ཌཌ Offering a range of interpretive methods, ཌཌ Museums Galleries Scotland for example in-gallery handling Understanding your Audiences opportunities or 3D printed replicas. through Evaluation ཌཌ Enhancing the public experience by offering ཌཌ Collections Trust: Making audiences handling sessions of real objects that are the focus of online collections robust and/or duplications in the collection. ཌཌ Audience Finder, The Audience Agency

Standards and Guidance in the Care of Archaeological Collections 59 Part 3: Use

For new or innovative projects, it may be ཌཌ Using archaeology to support socially appropriate to create consultation groups engaged activities such as people with in order to delve deeper. Working to develop health and wellbeing needs, or people new audiences will often necessitate working facing social isolation or exclusion. with new and different networks in new ཌཌ Community archaeology projects - which ways or working with pre-existing networks already attract interested amateurs - such as the Portable Antiquities Scheme. may be looking for further engagement Engaging in consultation ensures your opportunities, post-excavation. programmes are co-designed, capturing ཌཌ Using archaeological collections to the needs and expectations of people engage the public in contemporary issues before developing and delivering an idea. such as climate change, using the lens of archaeology to create ‘safe spaces’ in Accredited museums will have an Audience which to explore change and adaption. Development Plan that sets targets ཌཌ Increasing digital engagement to grow for engaging with under-represented interest in collections, which can include demographic groups: it is important for capitalising on gaming, 3D printing museum archaeologists and others to make and imaging, Augmented Reality and themselves aware of the target groups Virtual Reality, and which presents and to develop ways of engaging with additional opportunities for new museum them – in consultation with the target groups. collaborative partnerships with digital Creating engagement opportunities with agencies and universities. archaeological collections can contribute to achieving and meeting these targets There are also a wide range of projects that in a number of ways, for example: have delivered socially engaged impacts using archaeological collections and ཌཌ Archaeological material from particular landscapes as a facilitation tool to support localities can be used to building positive health and wellbeing. Examples include: relationships with the communities that live there. This might mean taking ཌཌ The Human Henge Project was a material out to other venues or going to collaboration between the Restoration community centres to run events away Trust, the Richmond Fellowship, from the museum. Bournemouth University and English ཌཌ Providing opportunities for co-curation Heritage (and funded by the National of archaeological exhibitions to bring Lottery Heritage Fund and Wiltshire stakeholders from beyond the museum County Council). It sought to utilise the staff into the curatorial process. prehistoric landscape of Stonehenge ཌཌ Engaging local communities with archae- and Avebury as a therapeutic and ological collections at their original sites of creative space alongside engagement discovery can lead to greater value being with collections, arts activities and placed on those resources and can also walking. The Richmond Fellowship, a enhance a sense of community identity. national mental health charity, referred ཌཌ Attracting new audiences who may be 36 people for a 10 week structured interested in archaeology and want programme. Evaluation occurred before, another outlet or who value and benefit during and one year after the project from hands on experiences such as to measure its impact and participants younger people and families. For example reported having experienced with closure of Archaeology A Level in the increased confidence, less social UK there may be young people looking for isolation and more social connections engagement opportunities. (Heaslip, V. & Darvill, T., 2018).

Standards and Guidance in the Care of Archaeological Collections 60 Part 3: Use

ཌཌ Evidence from projects delivering heritage activities in hospital and healthcare related settings (such as museum object handling in care homes for example) outlined specific benefits linked to activities with dementia patients, with reports of increased levels of overall wellbeing (more so in participants with early- stage dementia over those with later/ moderate stage, but with positive impacts across all participants); similar object-based activities in healthcare settings with physical, mental health and rehabilitation inpatients and outpatients reported improvement in positive feelings, communication, sense of identity, energy levels, social skills and enjoyment, and decreased anxiety levels (Pennington, A., et al., 2018).

Standards and Guidance in the Care of Archaeological Collections 61 Acknowledgements

The Society for Museum Archaeology is grateful for the funding received from Arts Council England, which enabled the production of these guidelines as part of a wider project to support the museum sector with archaeological collections management.

We are grateful to all the specialists who provided expertise in the production of these guidelines, including Dr. Rebecca Redfern, Pieta Greaves, Jenni Butterworth, Deborah Fox, Frances Coles and Samantha Paul, in addition to Society for Museum Archaeology Committee Members, Duncan Brown, Gail Boyle, Anooshka Rawden, Claire Tsang, Dr. Rhi Smith, Catriona Wilson and Philip Wise.

In addition, Lucy Astill provided invaluable support in leading on evidence mapping and sector consultation in reviewing the 1992 Standards and devising a new structure to reflect focus group priorities.

We are additionally grateful for advice from Dr Elizabeth Walker (Amguedffa Cymru National Museum Wales), Dr Mark Hall (Perth Museum), Dr Greer Ramsey (National Museums NI) and Ken Neill (Heritage Advice and Regulation Branch, Historic Environment Division, Department for Communities, Northern Ireland).

Standards and Guidance in the Care of Archaeological Collections 62 Bibliography

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Baxter K., Boyle G., and Creighton. L. (2018) Guidance on the Rationalisation of Museum Archaeology Collections. Society for Museum Archaeology

Booth, N., Boyle G., and Rawden, A. (2018) Museums Collecting Archaeology (England) Report Year 3: November 2018. Society for Museum Archaeology

Boyle G. (2019) Always on the Receiving End? Reflections on Archaeology, Museums and Policy, The Historic Environment: Policy & Practice, 10:3-4, 380-394

Boyle G. (2021 forthcoming) Unlocking the potential of Archaeological Archives Handbook of Museum Archaeology. A. Stevenson (Ed.) Oxford University Press.

British Association of Biological Anthropology (2019). BABAO Codes of Ethics, Practice and Digital Imaging.

Darvill, T., et al (2019) Archaeology in the PPG16 Era: Investigations in England 1990-2010. Oxbow Books.

Davis, G. (2014). Opening up to Archaeology – the VIP way in The Museum Archaeologist Volume 35: pp. 47-61. Society of Museum Archaeologists.

Department for Culture, Media and Sport (2005). Guidance for the Care of Human Remains in Museums. London: DCMS.

Donnelly-Symes, B. (2019) Planning for Archives: Opportunities & Omissions. Historic England.

Edwards, R. (2013) Archaeological Archives & Museums 2012. Society of Museum Archaeologists.

Fletcher, A., Antoine, D. and Hill, J.D. (eds.), (2014). Regarding the Dead: Human Remains in the British Museum. London: British Museum Press.

Frearson, D., (2018) Supporting Community Archaeology in the UK 2018 Survey. CBA Research Bulletin 6 (2018).

Giesen, M. (ed.), (2013) Curating Human Remains. Caring for the Dead in the United Kingdom. Woodbridge: The Boydell Press.

Harries, J., Fibiger, L., Adler, T., Smith, J., and Szöke, A. (2017). EXPOSURE: the Ethics of Making, Sharing and Displaying Photographs of Human Remains, Human Remains and Violence 4.1, 3-24.

Standards and Guidance in the Care of Archaeological Collections 63 Heaslip, V. & Darvill, T. (2018) Human Henge Wellbeing Research: Final Report. Bournemouth University.

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Kreissl Lonfat, B.M., Kaufman, I.M. and Rühli, F. (2015) A Code of Ethics for Evidence-based Research with Ancient Human Remains, The Anatomical Record 298.6, 1175-1181.

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Nixon, T. (2017) What about Southport? Chartered Institute for Archaeologists.

Paul, S., ed. (2017) Gloucestershire Archaeological Archive Standards. South West Museum Development Programme.

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Standards and Guidance in the Care of Archaeological Collections 64 Contributor Biographies

Lucy Astill BA MA Freelance Heritage Consultant

Lucy Astill studied for a BA in Archaeology and an MA in International Studies at Durham University, specialising in Iron Age Britain and has worked in the museum and heritage sector ever since. Over the last 10 years she has worked at a range of sites from small independent museums to internationally-famous heritage attractions (including a summer at Stonehenge straight out of University). More recently, she was Collections & Exhibitions Officer for the archaeological and natural history collections at Creswell Crags, before becoming an independent heritage consultant. Lucy specialises in collections management alongside wider museum policy and procedures, although her heart will always be with archaeology. In 2019 she was appointed as a consultant by SMA to deliver the mapping exercise and consultation process that led to the production of SMA’s new Standards & Guidance in the care of Archaeological Collections.

Gail Boyle BA PG Cert Mus Stud FMA FSA Senior Curator of Archaeology and World Cultures Bristol Museums Society for Museum Archaeology: Digital Officer

Gail Boyle has had a successful career as a museum archaeologist for over 30 years and is Senior Curator of Archaeology and World Cultures for Bristol Museums. She studied Archaeology & Ancient History (BA Joint Hons.) at the University of Nottingham and then Museum Studies as a postgraduate at the University of Leicester.

Gail has played a leading role in the delivery of a wide variety of innovative and complex museum exhibition, engagement and research projects, including major touring exhibitions in collaboration with the British Museum, and the development of M Shed in Bristol. She was awarded the Fellowship of the Museums Association in recognition of the significant contribution that she has made to the museum sector.

Gail is a member of the Treasure Valuation Committee and sits on several national heritage-related advisory boards, including the Portable Antiquities Advisory Group and Historic England’s Archaeological Archives Advisory Panel. As Chair of the Society for Museum Archaeology (2012–2018) she enabled the Society to provide professional advice and support on best practice and now helps to shape its future strategy at a national level: she has co-authored 3 SMA national surveys of ‘Museums Collecting Archaeology’ (2016-2018) as well as national guidance on the rationalisation of archaeological collections and is the architect and project manager of the Society’s ‘SMART’ project.

Gail is also Vice-Chair of Bristol & Gloucestershire Archaeological Society Council and Fellow of the Society of Antiquaries of London. She has long-standing collaborative and teaching relationships with both the University of Bristol and the University of the West of England and has recently been commissioned as a contributor to a new Handbook of Museum Archaeology by Oxford University Press. Gail was also previously a Trustee at Dr Jenner’s House, Museum & Garden in Gloucestershire.

Standards and Guidance in the Care of Archaeological Collections 65 Duncan H. Brown Head of Archaeological Archives Historic England Society for Museum Archaeology: Chair

Duncan Brown joined English Heritage, now Historic England, in 2010, as Head of Archaeological Archives. Since then he has served as the founding Chair of the CIfA Special Interest Group and as a member of the European Archaeological Consilium Working Group for Archaeological Archives. He represents Historic England on the Archaeological Archives Forum and is currently Chair of the Society for Museum Archaeology. Duncan has also held the positions of President of the Medieval Pottery Research Group and Chair of the CIfA Finds Group and was founding co-editor of the Society for Medieval Archaeology newsletter. He is currently a Council member for the Society of Antiquaries of London.

Duncan wrote ‘Archaeological Archives. A guide to best practice in creation, compilation, transfer and curation’ (AAF 2007, updated in 2011) and is a co-author of ‘A Standard and Guide to Best Practice for Archaeological Archiving in Europe’ (EAC Guidelines 1). He also helped produce the CIfA Archaeological Archives Selection Toolkit.

Between 1982 and 2009 Duncan worked for Southampton City Museums, initially as a medieval pottery researcher, then Curator of Archaeology. In 2002 he published the monograph ‘Pottery in Medieval Southampton’ and has also produced many articles and papers on medieval pottery, museum archaeology and archaeological archives. He continues to study post-Roman ceramics and is a co-author of the recently published ‘Standards for Pottery Studies in Archaeology’.

Deborah Fox Senior Curator Museums Worcestershire Society for Museum Archaeology: Committee Member

Deborah leads the curatorial and exhibitions team who work across the collections belonging to Worcester City and Worcestershire County Council and deliver exhibitions and interpretation at Worcester City and Museum, the Commandery and Worcestershire County Museum at Hartlebury Castle. She is a committee member of CIfA Archaeological Archives Group, Society for Museum Archaeology and Honorary Curator of Worcestershire Archaeological Society.

Pieta Greaves ACR Conservator & Jenni Butterworth PhD Drakon Heritage & Conservation Heritage Consultants

Pieta and Jenni are two thirds of Drakon Heritage and Conservation, a partnership which provides a range of conservation, archaeology and project management services to museums, heritage organisations, private individuals and development-funded projects across the UK. www.drakonheritage.co.uk

Pieta is an accredited member of the Institute of Conservation (Icon) and vice-chair of the Icon PACR accreditation committee. She trained at the University of Edinburgh (MSc Architectural Conservation) and Cardiff University (BSc Archaeological/Museum objects). Her specialism is the conservation of 3D objects and she has considerable experience of on-site working, collections

Standards and Guidance in the Care of Archaeological Collections 66 within historic buildings, churches, museums, outdoor monuments and , working in the UK and abroad. Previous roles include the Staffordshire Hoard conservation coordinator and senior conservator at AOC Archaeology. The Staffordshire Hoard conservation team won two awards under Pieta’s leadership: The Pilgrim Trust Award for Conservation (2015 Icon Awards) and the American Institute of Archaeology Conservation Management Award (2014).

Jenni gained her doctorate in Landscape Archaeology from the University of Bristol, and went on to work in television production, including series such as Channel 4’s Time Team. Since 2013, she has worked as a consultant in the heritage sector and is currently working on projects for a variety of UK heritage organisations, delivering project management, quality assurance and research and editing services.

Sam Paul Freelance Consultant Sam Paul Heritage

Sam Paul is a freelance heritage and museums consultant specialising in the sustainable development of archaeological archives and museum collections. Her career as a commercial field archaeologist transferred to academia in 2013 where she worked as a Research Fellow at the University of Birmingham, publishing books and journal articles on the projects undertaken by the commercial archaeology unit Birmingham Archaeology. As an Honorary Research Associate undertaking a PhD at the University of Birmingham, she is able to continue her research into the value and sustainability of archaeological archives and collections within museums, while continuing to support and work within the professional heritage sector.

Projects of note include managing the development of the CIfA Selection Toolkit for Archaeological Archives, and establishing county wide standards for the deposition of archaeological archives for the museums in Gloucestershire and Hertfordshire. Sam was chair of the CIfA Archaeological Archives Group 2017-2019 and currently sits on the CIfA Advisory Council.

Anooshka Rawden Cultural Heritage Strategy Lead South Downs National Park Authority Society for Museum Archaeology: Vice Chair

Anooshka Rawden studied Roman visual culture at the Courtauld Institute in London and holds additional qualifications in Law and Collections Management and Project Management. Anooshka started her career with Reading Museum and Berkshire Archaeology, before managing archaeological collections for Chichester District Museum, The Novium Museum and the Society of Antiquaries of London. She then moved into programme management, first for the Collections Services Department of the Science Museum Group, and then with South East Museum Development. She now works with a variety of archaeology, museum and arts organisations in and around the South Downs National Park to promote access, research and engagement with cultural heritage.

Anooshka has supported the British Museum/National Lottery Heritage Fund Museum Futures programme as a mentor and has also been an ACE accreditation mentor. She has recently joined the ACE UK Accreditation Committee.

Standards and Guidance in the Care of Archaeological Collections 67 Dr. Rebecca Redfern Curator of Human Osteology Museum of London

Dr Redfern trained in archaeology and palaeopathology and worked in commercial archaeology until becoming a museum curator in 2007. Her professional activities have focused on the ethics of curating human remains, particularly with BABAO, and she has worked on several exhibitions involving human remains. Rebecca has over 70 publications, ranging from ethics to palaeopathology.

Claire Tsang, MA Archaeological Archives Curator Historic England Society for Museum Archaeology: Committee Member

Claire Tsang is Archaeological Archives Curator for Historic England and has been working with archaeological Archives for 20 years, increasingly focusing on data management and digital archiving in response to how documentary archives are produced. Claire is secretary for the Archaeological Archives Forum and a committee member for the European Archaeological Council Working Group for Archaeological Archives, Society for Museum Archaeology and Chartered Institute for Archaeology Information Management Special Interest Group.

Catriona Wilson Head of the Petrie Collection of Egyptian and Sudanese Archaeology Collection UCL Culture Society for Museum Archaeology: Committee Member

Catriona Wilson has worked in the UK heritage sector for nearly 20 years in independent, local authority and university museums. She studied Archaeology then Museum and Artefact Studies at Durham University, and is an Associate Member of the Museums Association.

Catriona is Head of the Petrie Museum at UCL, responsible for its Designated, internationally renowned collection of over 80,000 ancient Egyptian and Sudanese archaeological objects. Prior to this, Catriona was Collections Manager and joint Heritage Manager at Guildford Heritage Service where she primarily focused on the care and use of Guildford Borough Council and the Surrey Archaeological Society collections including archaeology, social history, needlework and art. Before that, Catriona established a new, permanent museum of medical history at the University of Worcester - The Infirmary.

Catriona advocates for fairer and more ethical heritage employment as a founder member of the grassroots campaign Fair Museum Jobs. She is a committee member for the Society for Museum Archaeology and trustee to the British Games Institute, which owns the National Videogame Museum. Catriona has been Honorary Secretary of the Midlands Federation of Museums and Art Galleries, curatorial advisor to Tudor House in Worcester, and council member of Rescue: British Archaeological Trust. She has been mentor to numerous members of staff and volunteers, taking part as a mentor in the SMA pilot archaeology collections mentoring scheme, is a UCL Wellbeing Champion, and a Clore leader.

Standards and Guidance in the Care of Archaeological Collections 68 Philip J. Wise MA PG Cert Mus Stud FSA MCIfA AMA Heritage Manager Colchester and Ipswich Museums Society for Museum Archaeology: Newsletter Editor

Philip Wise read archaeology and anthropology at Downing College, Cambridge and subsequently studied curatorship at the Department of Museum Studies, University of Leicester and heritage management at the Institute of Archaeology, University College London. He has worked in a variety of local authority museums since 1983, initially as an archaeological curator and more recently as a manager. He is currently employed by Colchester and Ipswich Museums (CIMS) and in 2012-14 led on the heritage aspects of the HLF project to redevelop Colchester Castle and increase access to the town’s wider heritage. Philip has a wide-ranging brief for CIMS covering professional standards and has project-managed several major exhibitions, including, ‘Kiss and Tell: Rodin and Suffolk ’ and is currently managing a project which will see J M W Turner’s ‘Walton Bridges’ exhibited at Colchester Castle and Christchurch Mansion, Ipswich in the coming years. He has recently taken on responsibility for museum development in Essex and manages the Museum Development Officer for the county.

Philip is an Associate Member of The Museums Association, a Member of the Chartered Institute of Archaeologists and from 2013 to 2018 was a member of the Accreditation Committee of Arts Council England. He is a past Chair of the UK Archaeological Archives Forum. In 2018 he became a Fellow of the Society of Antiquaries of London.

From 2014 to 2020 Philip was an Arts Council England Artistic and Quality Assessor for museums. He is currently the Chairman of Trustees of Museums Essex and is the Museum Mentor for Orford Museum Trust and Little Hall, Lavenham, both in Suffolk, as well as advising the Lepra Museum, Colchester. Philip has been active in the Society for Museum Archaeology for over twenty years, is a past Chairman and is currently the Newsletter Editor.

Standards and Guidance in the Care of Archaeological Collections 69 Standards and Guidance in the Care of Archaeological Collections 70