COLLECTION MANAGEMENT POLICY AND PROCEDURES FOR THE SACRAMENTO VALLEY MUSEUM
Emily Marie Conrado B.A., San Francisco State University, 2008
PROJECT
Submitted in partial satisfaction of the requirements for the degree of
MASTER OF ARTS
in
HISTORY (Public History)
at
CALIFORNIA STATE UNIVERSITY, SACRAMENTO
SPRING 2011
COLLECTION MANAGEMENT POLICY AND PROCEDURES FOR THE SACRAMENTO VALLEY MUSEUM
A Project
by
Emily Marie Conrado
Approved by:
______, Committee Chair Lee Simpson, PhD
, Second Reader Jennifer Peterson, M.A.
______Date
ii
Student: Emily Marie Conrado
I certify that this student has met the requirements for format contained in the University
format manual, and that this project is suitable for shelving in the Library and credit is to
be awarded for the Project.
______, Department Chair Aaron Cohen, PhD Date
Department of History
iii
Abstract
of
COLLECTION MANAGEMENT POLICY AND PROCEDURES FOR THE SACRAMENTO VALLEY MUSEUM
by
Emily Marie Conrado
Statement of Problem The Sacramento Valley Museum is the only manuscript repository available to researchers in Colusa County. The collection is vast and informative; however, it lacks the structure necessary to be utilized to its full potential. Citizens of the county founded the museum in 1963 to operate a facility for the display of objects of historic interest for educational and entertainment purposes. Since that time, lack of resources, staff, and time has allowed the collection to grow indiscriminately and to the point that there is no discernable organization. Lack of organization has led to limited access to the exhibits and no access to the stored collections. Additionally, lack of structure has led to deterioration of the documents, photographs, objects, bound volumes, and textiles that the museum is responsible for caring for. Each year these problems go unaddressed they become worse, to the point that the museum is struggling to operate at the basic level. The Museum lacks professional policies and procedures that all staff and volunteers can use to regain control of the collection and make it available to the public.
Sources of Data This project utilizes Sacramento Valley Museum records, journal articles and publications on collections management best practices and local history, sample collections management policies and procedures to trace the history of the practices of the Sacramento Valley Museum and to streamline future processing and handling of the collections.
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Conclusions Reached With comprehensive collections management policies and procedures, researchers and community members alike can utilize the Sacramento Valley Museum’s collection as a rich, diverse resource to discover and document the region’s past and connect it to the present.
, Committee Chair Lee Simpson, PhD
______Date
v
PREFACE
This project is the result of three years’ worth of work with the Sacramento
Valley Museum (SVM) collection. When I first volunteered I did not know what kind of project I wanted to work on, however when I saw the archival holdings at the SVM it was apparent that some sort of structure was desperately needed. Then I began the Master’s program in Public History at CSU Sacramento and realized that what the SVM collection needed was a sound and thorough collection management policy. This project began as one manual covering not only the policy of the SVM collection but also professional procedures that staff and volunteers can use to organize, preserve, and store those vast holdings. The procedures eventually grew to a size that warranted its own manual.
Therefore, I decided that the two should be separated. The result is the Collection
Management Policy Manual, which is a guidebook for the contextual administration of the collection. The policies help govern what the Board Members, staff and volunteers can and cannot do when considering acquisition, accession, deaccession, and similar decisions that have a considerable impact on the collection. The procedures encompass a systematic approach to actually working with the collection once policy decisions have been made. The procedures are broken down into sections. Some of the sections include topics that stand alone, for example the Volunteer Program. Other procedures are grouped together; this is due to the fact that these procedures go hand in hand, for example acquisition, accession, and deaccession. The procedure manual also includes streamlined forms that have been created specifically for this collection. The forms that
vi correspond with each section immediately follow that section. I created these forms by comparing forms and procedures of many different museums that have similar scopes of collection and non-profit statuses.
Some omissions to these policies and procedures were necessary simply due to the SVM’s lack of resources. For example, security and disaster planning are two imperative sections that have been excluded. The inherent necessity of both of these topics would have made them each intricate in their development, and could certainly have provided the material for an entire separate thesis project. Though they do not appear on the pages that follow, the SVM is not ignoring security and disaster planning. I am currently researching the best way for the SVM to design a disaster plan; I intend to work with staff at the SVM to complete a comprehensive disaster plan. I will also suggest to the Board that these policies and procedures be reviewed yearly at best and biannually on the outside, so that these omissions can be incorporated.
The policies and procedures that follow are tailored to meet the needs of the
SVM’s collection. I sincerely hope that the policies and procedures in these pages will guide staff and volunteers to preserve and maintain structure in the SVM’s collection so that it can continue to be a wonderful resource for researchers and community members alike.
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DEDICATION
This project is dedicated to Henry Hardy, whose candid words on paper drew me in to the Sacramento Valley Museum collection.
viii
ACKNOWLEDGEMENTS
First, I would like to pay tribute to the generations of people who created the documents, correspondence, photographs, quilts, newspapers and more that now makes up the collection of the Sacramento Valley Museum. As I worked with the collection, I could feel their spirits around me. I hope this project assists the SVM staff and volunteers in ensuring that what is left of these people’s lives will be appreciated and studied by the public. I have enjoyed each and every second I spent with this collection and I hope to have many more in the years to come.
Many people dramatically enhanced this project, and my personal and educational development, over the last four years. First, Chandra Miller, thank you for being my partner in crime throughout this program. I knew when your e-mail had “Darcy” in it that we were meant to be not just colleagues but friends. Claire Tynan, Katie Vallaire, and Alex Schoenfelder-Lopez, thank you for being my sounding board at SMRC! Your ideas and professional perspectives definitely contributed to this project. We will always be a team in my heart! Jena Peterson and Ann Fry, I will always appreciate your willingness to listen to my ideas and stories about the SVM. Your input has been invaluable to this project and my professional development. Thank you for giving me the chance to follow your guidance and always asking for my input as well. Jena, thank you especially for being my second reader on this project. A special thank you to Wil Jorae at the State Museum Resource Center for helping me attempt to understand copyright issues. I think I will spend my entire professional career figuring that one out!
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To my family, especially Ed and Denise Conrado, thank you for your unending support and encouragement. Parents have an ability to believe in you even when you do not, and I could not have completed this project without that. To my sister Sara, thank you so much for getting involved in the SVM when you did. In my humble opinion, your presence on the Board brought a refreshingly open perspective that has been lacking in the last few years. I had the time of my life fighting dragons with you! Thank you also to
Derek for your patience, support and encouragement.
I would like to thank the Board of Trustees of the Sacramento Valley Museum for allowing my ideas freedom to grow and form what finally appears to be a foundation for organizing the SVM’s vast and wonderful collection. I sincerely appreciate my advisor,
Lee Simpson, for your encouraging words through the very complicated thesis process!
Last but certainly not least; this project would not have happened without Kathy
Manor, the current Museum Director at the SVM. Thank you for taking in a perfect stranger and giving her the keys to the castle, so to speak. If you did not have the vision and drive to make the SVM’s collection what it has the potential to be, I would never have gotten the experience I have now. You truly see the SVM for what it can be, and I hope you do not let the naysayers get you down. They do not understand the mountain you have to climb every day; you do the work of six people three days a week!
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TABLE OF CONTENTS Page
Preface ...... vi
Dedication ...... viii
Acknowledgements ...... ix
Chapter
1. INTRODUCTION ...... 1
Museum Review ...... 6
Origins...... 7
2. MEMORY AND MUSEUM MAKING ...... 16
3. COLLECTION CONTROL ...... 21
4. METHODOLOGY ...... 35
Mission and Collection Scope ...... 35
Acquisition and Accession ...... 37
Found in Collection (FIC) ...... 39
Unclaimed Loans ...... 42
Conclusion ...... 45
Appendix A. Collection Management Policy Manual ...... 46
Appendix B. Collection Management Procedure Manual ...... 76
Bibliography ...... 165
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1
Chapter 1
INTRODUCTION
Most people have heard of the Smithsonian’s Museum of National History or the
Holocaust Museum. Most people in California have heard of the California State
Railroad Museum. That many people are familiar with these history museums is not surprising. They are large, well cared for museums that have staff and volunteers in the hundreds. However, in many towns in California and the rest of the country there are regional history museums that are smaller in scope, yet their collections hold as much promise as larger museums. Many of these museums also hold deceptively large collections. Since they have dangerously limited resources, many regional museums do not have the funding or ability to create new exhibits, and many historically relevant collections sit in storage with little access to the public. In the American Association of
State and Local History’s periodical publication History News, Nancy Moses writes that,
“Most visitors don’t realize that collecting institutions are like giant icebergs with only the tiniest tip exposed – the items displayed in the galleries – the rest under the water line, frozen below.”1 The point Moses makes is that these untapped resources can become exhibits that tell the story of an institution and the region around it in ways that have never been told before.2 Moses also recognizes that in this time of financial uncertainty and loss of resources these hidden treasures can be helpful in revitalizing the public’s
1 Nancy Moses, “Lost in the Museum: Hidden Treasures and the Stories They Tell,” History News 64, no. 3 (Summer 2009): 8. 2 Moses, “Lost in the Museum,”8.
2
interest in museums by providing access to these long hidden collections. Moses’ words
certainly ring true for the subject of this project, the Sacramento Valley Museum.
On a sunny, hot August day in 2007, I walked into the Sacramento Valley
Museum in Williams, California. Although I had grown up in Colusa County, I had never entered the Museum that represented the county’s history. Having just graduated with my Bachelor’s degree in history, I was planning to apply to graduate school to major in public history and decided I needed experience working in a museum. I mentioned that I was interested in volunteering and the Museum Director said their archive needed organizing. She took me into the room that served as the Museum’s holding and work area and I was shocked at what I saw. There were papers, books, supplies, frames, and binders on every surface, including the floor. They were stacked and in piles covering every table and shelf in this small room. It became apparent to me that day that this archive needed more than a volunteer it needed a miracle. It did not take long to realize that there were six storage rooms holding more of the collection in the same state. What I found there that day was a treasure trove of collections from the region and beyond that could, if cared for appropriately, help residents and researchers add more contexts to the community’s shared past. I chose one corner and began digging.
From that day on, I became a volunteer and occasional employee, dedicated to the reorganization of this huge and exceptional collection. As I began researching ways to organize the collection, I realized there were two contextual issues that plagued the
Museum as a whole and which also affected the collection. Writing the policy and procedure sounds like an abstract project that could be done mostly autonomously;
3
however, to really understand the collection I had to immerse myself in it. To do that it
was necessary to become a full volunteer, and interacting with those involved in the
Museum gave me a completely separate education. The collection is very much affected
by the current generation of staff and volunteer’s practice of local history and its
applications, specifically the ways in which people prioritize and utilize the resources
held by the Museum.
Some members of the Board of Trustees and the community become involved in
the Museum simply because they love history in all its applications and want to learn
more about their region. These volunteers I would call amateur historians; however, with none of the negative connotations that term has adopted over the years. Local history expert Carol Kammen notes, “A local historian, I think, is something more than a buff.
He or she must be the master of many disciplines for local history, with its limited geographic focus, is possibly the broader field of inquiry within the discipline.”3 These
historians while not professionally trained are committed to utilizing the collection in all
its forms to broaden their understanding of the history of the region. Others are interested
in history as a context but are more interested in promoting the history they value highest
of all – family history. A personal conflict I had while working on this project was the
difficulty of trying to widen the scope of those who were only interested in preserving
and promoting their familial history, which, as they never miss an opportunity to point
out stretches back to the founding of the county. Professionally speaking that gives voice
to a select few and limits the collecting possibilities. Focusing on a few and not widening
3 Carol Kammen and Michael Kammen, “Uses and Abuses of the Past: A Bifocal Perspective,” Minnesota Historical Society 48, no. 1 (Spring 1982): 3.
4 the scope marginalizes many whose stories are just as significant. However, in a community where volunteers are so difficult to find, can the Museum afford to criticize their motivations? In any case, this Museum and its collection needed professionalization in all areas, which is how this project was born.
The second contextual issue facing the Museum’s collections is indiscriminate collecting practices over the past thirty years. In 1964, the founders of the Museum set out to follow proper collecting standards as closely as possible. They managed as well as they could under extremely tight resources. In the later years, however, collecting practices waned and later generations of museum staff and volunteers were not so discriminate. During the 1970s, 1980s, and into the 1990s the Museum had long periods with one curator. The Board of Trustees are volunteers, many of which are present only at monthly board meetings. Whoever is in the curatorial position has authority of the day-to-day running of the Museum and the collection. As a result, the curator has sole control of items accessioned into the collection, how items are accessioned, and how the collection is organized. In a town as small as Williams, it is difficult to find a curator with experience in museum work. Each curator the Museum hired had their own ideas on how to organize a collection, and each seemed to collect anything that they even remotely believed to be historic in nature. The collection grew to an enormous capacity, full of items that were duplicates or irrelevant to the Museum’s mission. As a result, the current generation of staff and volunteers have an enormous, unorganized, and poorly cared for collection to administer on very small resources.
5
The result of this project is two manuals. The Collection Management Policy
(Appendix A) provides the context within which the Museum will administer its collections. The Collection Management Procedures (Appendix B) provides systematic instruction and explanation of how the collection will be administered, including forms created specifically for this Museum’s collections. For each of these manuals I combed the policies of other institutions and researched the most current literature on registration methods and collection management. The biggest resource that assisted this project was the collection itself. As I mention in later chapters, no two collections are created equally. While I was working with this collection, attempting the most preventive conservation that the Museum’s resources would allow, I was assessing the unique aspects of this specific collection. As I became more familiar with the collection, I became more familiar with the issues plaguing it. Identifying those issues was the first step in fixing the problems facing the collection of the Sacramento Valley Museum. All of the problems the Museum’s collection has are reversible, and I argue that with a strong collecting policy and consistent processing procedures, the Sacramento Valley Museum’s varied collection can become a rich resource for researchers and local historians alike.
Additionally, broader access to the collections will assist in more flexibility in rotating items for exhibit, which will also increase access to the public. However, a review of how the Sacramento Valley Museum developed will be helpful before delving into the problems and solutions of its collections.
6
Museum Review
The Sacramento Valley Museum is a not for profit corporation that serves as a museum and manuscript repository, currently the only one in Colusa County. Presently the museum’s mission is to collect, preserve, and promote interest in the historical development of the Sacramento Valley during the mid 19th through the mid 20th
centuries.4 The building itself is owned by the City of Williams and is leased to the
Sacramento Valley Museum Association. The Sacramento Valley Museum Association
owns and is responsible for managing the collection itself. One part-time Museum
Director and a ten-member Board of Trustees run the Museum. The Museum Director
runs the day-to-day operation and makes most decisions that affect daily administration.
The Board of Directors meet monthly to decide on major issues that confront the
Museum, such as plumbing problems, electric problems, fundraising, and managing the
building. The Museum depends on volunteer labor to complete all other necessary tasks
such as changing out exhibits, working with collections, cleaning, and organizing storage
space. Currently the Museum occupies a 16,000 square foot building. Exhibit space
occupies approximately half the building, with storage occupying the other half. There is
a space in the Museum designated as an “archive” however, that space is not organized in any way that would benefit researchers.
To fully appreciate the position the Sacramento Valley Museum is currently in, an understanding of its history is imperative. An exploration of the history of the organization is difficult because the founding board members either have relocated or are
4 “Mission Statement,” Sacramento Valley Museum, accessed December 4, 2009, http://www.sacvalleymuseum.com/ .
7
no longer living. The Museum’s filing system of their administrative records is
disorganized due to high turnover of Museum Directors and Board members. Each
person who held any office within the Museum’s administration organized the files
differently, leaving the current Director and Board to deal with highly unsystematic
disorder. Additionally, when the office of Board Secretary changed hands, meeting
minutes went unrecorded. As much as possible, this project utilizes board meeting
minutes, original and revised articles of incorporation and bylaws, and newspaper
articles. In addition, interviews with the current Museum Director, Kathy Manor, helped
piece together the history of the institution.
It is also important to put the Museum’s history in the context of professional
museum practice in the 1960s. The American Association of State and Local History
published The Management of Small History Museums by Carl E. Guthe in 1964.5 To understand the current collection, the Museum’s history should be explored through the lens of museum best practices in the era in which it was created. This narrative will utilize amendments to the Museum’s by-laws, board meeting minutes, and contracts with the many curators and directors to relate the significant changes in the Museum’s history that created the collection that exists today.
Origins
The Museum is located in Williams, California. The building that houses the
Museum was built in 1911 as a high school. The last students graduated from Williams
5 Carl E. Guthe, The Management of Small History Museums (Nashville, TN: American Association for State and Local History, 1964).
8
Union High School in 1956, and the building lay dormant for many years, falling into a
state of disrepair. Seeing the state of the old high school, Williams resident and Colusi
County Historical Society member Lulu Salter brought up the idea of using it as a
museum. The Colusi County Historical Society declined to support this effort, and Lulu
Salter formed a group that would become the Sacramento Valley Museum Association.
At the time the SVMA was created American interest in historical subjects was on
the increase.6 The majority of the historical museums in the nation at that time were
dedicated to telling the story of a restricted area, a regional history. Since the people who
created these museums lived in these small areas, they had difficulty accessing the
“fundamentals of good museum operation.”7 This was indeed a time in Williams when
on February 18, 1963, a group of citizens from Colusa County met to form the
Sacramento Valley Museum Association.8 The organization was originally formed as a
non-profit whose primary goal was to “establish and maintain a permanent museum to be
housed in the Old High School Building.”9 Additionally, the eighteen member Board of
Trustees was to meet no less than twice per year with nominations held during the spring meeting. At the first meeting, the group elected officers of the Sacramento Valley
Museum Association. Offices consisted of President, three Vice Presidents, Recording and Correspondence Secretaries, and Treasurer.10 The original membership prices were
$1 for students, $5 for adults, $10 for families, $25 contributing membership, $50
6 Guthe, Small History Museums, 9. 7 Guthe, Small History Museums,11. 8 Sacramento Valley Museum Association, Meeting Minutes, February 18, 1963. Sacramento Valley Museum Archive. 9 Sacramento Valley Museum Association, “Constitution and By-Laws,” Date Unknown. Sacramento Valley Museum Archive. 10 Sacramento Valley Museum Association, “Constitution and By-Laws.”
9 sustaining membership, $100 commercial membership, $200 life membership, and $500 patron membership.11 Admission to the Museum was 50¢ for adults and 10¢ for children.
After their first meeting, the Board began developing the Museum. They had three main tasks: repair the abandoned high school building, develop a collection to exhibit, and recruit members. Early in the Museum’s development, the Board of Trustees clarified that exhibition decisions and collection related issues would be the responsibility of the Director, while the Board would concentrate on building the membership, financial matters and the repair of the building.12 To attract members, the Board tirelessly lobbied the community, including sending letters to organizations and starting a membership drive.13 Incorporation was also very important to the Board since the formation of the
Association. They discussed it at every meeting, wrote draft Articles of Incorporation, and enlisted their local senator, Virgil O’Sullivan, for support.
Repairing the building was the most difficult task the founding Board faced.
After seven years of inactivity, major repairs to many areas were required before parts of the building could be opened to the public. In spite of the considerable cost, the Board was determined to preserve the building so they could utilize all of it for the Museum.
Since the Board and volunteers could not repair the entire building at one time, they cleaned, painted and opened for exhibit rooms that did not need major work.
The majority of the original collection came from the Board of Trustees themselves. At the February 18 meeting, President Lulu Salter appointed a committee to
11 Sacramento Valley Museum Association, “Constitution and By-Laws.” 12 Sacramento Valley Museum Association, Board of Trustees Meeting Minutes, April 9, 1963. 13 Sacramento Valley Museum Association, Board of Trustees Meeting Minutes, March 3, 1963.
10 collect “artifacts” for display in the Museum. The Board also discussed loans. Although the Board agreed that loans were not desirable, they were necessary to fill the large amount of exhibit space in the old high school.14 The Board of Trustees appointed a
Museum Director, Frank Van Zant, to carry out the day-to-day operations. He was to coordinate the collection of artifacts and build exhibits. One of his primary responsibilities was to process accessions as well.15 Van Zant would accept accessions, fill out the paperwork, and have the donor or owner sign the paperwork. The Board of
Trustees also directed Van Zant to convey to the donor or owner not to expect their donation to immediately go on display. The Board of Trustees was very adamant that the donor not put restrictions or interfere with the way their donations were displayed. Even in the case of loans, the Board was wary of restrictions. Many of the original exhibits came from Van Zant’s own collection, which he hauled from his home in Yuba City.16
In theory and on paper Van Zant looked like a perfect fit. However, he was only curator at the SVM for one year. Later the SVM’s second curator, Jennifer Bennett, related that Van Zant had a difficult time relating to the public and the Board of
Directors.17 By 1964, Jennifer Bennett and her husband, Gerald, took over the position of curator. The Bennetts had a profound effect on the collection of the SVM, creating a museum with virtually no money. They were diligent in completing accession paperwork and inventories on all collections received. At this time, the SVM was still very much in its infancy and the Board was overwhelmed by tasks that existed outside the collection.
14 Sacramento Valley Museum Association, Board of Trustees Meeting Minutes, February 18, 1963. 15 Sacramento Valley Museum Association, Board of Trustees Meeting Minutes, April 9, 1963. 16 Frank Van Zant, Report to Board of Trustees, February 28, 1963. 17 Barry Eberling, “Museum’s Founder Had Help,” Colusa Sun Herald, 8 January 1987, p. 1, 4.
11
Starting a museum is quite a task, and the Board had their hands full with raising funds to repair a 16,000 square foot building and incorporating their association to gain non-profit status.18 As a result, the collection developed issues that may not have been apparent at the time but became clear as years progressed. For example, collecting was done quickly and accession paperwork was completed but went unsigned. Loans at that time were indefinite, perhaps verbally agreed upon and not properly documented. This small group of staff and volunteers were making the best of a difficult and overwhelming situation because they knew the outcome would be a museum that enriched their community.
The Board of Trustees and curators Jennifer and Gerald Bennett remained committed to the SVM through the 1970s. The Bennetts did their best in a difficult situation, creating exhibits as collections came in. Bennett remembers that when Frank
Van Zant left the SVM, he took his large American Indian collection with him. This left the SVM almost bare, and the Bennetts scrambling to locate donors. They had to be creative in the way they exhibited their fledgling collection. And Jennifer Bennett expressed her pride to journalist Barry Eberling in a 1987 Colusa Sun Herald article, saying “The whole secret to me is the preparation of displays . . . we don’t have priceless things, but I think I made them attractive.”19 One of the enduring marks Jennifer Bennett had on the SVM is the Alumni Room exhibit, which opened in 1977 and is dedicated to the generations of students who attended high schools in Colusa County.20 The Alumni
Room is still one of the most popular exhibits in the museum, which is a true testament to
18 Sacramento Valley Museum Association, Board Meeting Meeting Minutes, May 25, 1966. 19 Eberling, “Museum’s Founder Had Help,” 4. 20Author Unknown, “Museum Unveils An Alumni Room,” Colusa Sun Herald, 22 June 1977, p. 9.
12
the lasting impression of the SVM’s longest serving curator. Although the 1970s was a
time of positive transition, the generation of SVM pioneers was aging and not able to be
as active anymore. Lulu Salter died in 1973 and Jennifer Bennett retired in 1980, leaving
the SVM to a new group of community members.21
When Bennett moved into retirement, a new generation of Board members and
staff would carry on through the 1980s and into the 1990s. The 1980s were a tumultuous
time for the Board and staff of the SVM. By 1982, membership was at about 250 and the
Board was still diligently campaigning to make repairs to the building. For years, the
SVM had been receiving approximately $4000 annually from the Colusa County Board
of Supervisors, yet in 1986 that was challenged by a member of that Board. The member
challenged the legality of extending county tax funds to a private, non-profit agency
when many county entities were in need of such funds.22 After research and deliberation,
the Board of Supervisors deemed the funding not appropriate and halted support.23
In 1985, the SVM entered into an agreement with the County of Colusa and the
City of Williams to apply for state funding that had previously been denied. The state funding was $96,000 with a 10% matching fee of $9,600. Conflict arose when the three entities tried to decide who would cover the 10% match if the SVM could not.
Discussions lasted into 1986, and finally an agreement was made that the County would cover the $9,600 if the SVM would pay them back with in-kind service. The SVM were
21 Eberling, “Museum’s Founder Had Help,” 4. 22 Virginia Kizer, “Museum Funding Termed ‘Not Proper’ by Counsel,” Colusa Sun Herald, 13 March 1986, p.1. 23 Kizer, “Museum Funding,” 1.
13
able to pay the $9,600 through fundraising and membership support.24 The mid 1980s
were pivotal years for the SVM for reasons that were not limited to the Colusa County
Board of Supervisors. The SVM Board, staff, and volunteers raised $15,000 to replace
the roof of the building. All of that money came from private donations and a two-year no-interest contract negotiated by then curator Bette Bruggman, who replaced Jennifer
Bennett.25 Through all the difficulties of the negotiations with the County of Colusa and
the City of Williams, there is no mention of the SVM’s collection or what they planned to
do with the money. Indeed, the only mention of the SVM separate from the grant is two
sentences listing four of the exhibits and the founding date. By April 1991 the SVM had
spent $62,000 on the electrical in the building, with $16,000 more authorized for small
projects.26 The SVM had been open for thirty-four years and the Board and staff were still preoccupied with fixing a building that did not belong to them. It is not surprising that collection care fell into the margins at this time while the Board and staff were busy with concerns that only indirectly affected the collection.
The mid to late 1990s were equally as difficult, with the SVM barely making enough money to keep the doors open. Museum curator Becky White was diligent in her record keeping and attempted to process the collection in the best way she knew how.
White took her position at the SVM extremely seriously and attempted to process the collection although she was up against overwhelming odds. By the time she took over, the collection had grown to a massive size and was largely unprocessed. White was
24 Barry Eberling, “Museum Gets Money,” Colusa Sun Herald, 31 December 1986. 25 Author Unknown, “The Roof is ‘Paid’,” Colusa Sun Herald, 5 February 1986. 26 Sacramento Valley Museum Association, Board Meeting Minutes, April 3, 1991.
14 curator for three years and was succeeded by Barbara Burlingame, who endeavored to rearrange exhibits in an attempt to draw new visitors. The Board discussed pest control and security options, yet the Board members and staff still had their hands full making repairs to the near 90-year-old building. In the late 1990s the SVM went through a rotation of three curators in three years, one lasting only one month. Finally, in 2001, the
SVM hired former board member Kathy Manor as the Museum Director. Since 2001
Kathy has endeavored to adhere to professional museum standards to the best of her ability. She is constantly looking for new opportunities to grow professionally. Kathy has the drive and determination of the original founders of the SVM and the passion and dedication of the curators that had the biggest positive impact on the collection, including
Jennifer Bennett and Becky White. However, it is difficult to process and organize a collection this size with little to no help. It has taken years to get it to a point where streamlined procedures will help volunteers process the backlog and make it more accessible to researchers.
Throughout the history of the SVM, Board members and staff did their best to follow professional museum standards; however, due to time and resource restraints, they unfortunately fell short. These problems are not singular to this museum, but are common among small to medium sized regional non-profit museums. For the resources they had the past generations of SVM staff and volunteers have diligently worked to create and maintain a collection that grew out of their control. However, the SVM has been plagued with another issue that none of the staff members, volunteers or Board members realize exists. The SVM is, at its heart, a local history institution. It contains
15 history that is relevant to the immediate region and, we hope, relevant within the context of the state and national context. The effect of memory on the applications of local history by people who practice it can be seen clearly in the collection at the SVM. For all their indiscriminate collecting, the SVM has primarily been interested in “pioneer” history, and even the way it is set up is reminiscent of a pioneer town. It is only within the last twenty years that the SVM staff, Board members, and volunteers have broadened their scope to include other generations and cultures.
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Chapter 2
MEMORY AND MUSEUM MAKING
In the American Association for State and Local History’s publication History
News, Carol Kammen writes a regular article called “On Doing Local History.” Kammen discusses many topics affecting local history repositories and museums, and in summer
2009, she pointed out the abundance of history organizations in the United States.27
Kammen explains, “Today there are thousands of history organizations in the country, three-quarters of them created after 1960.”28 The relationship between history and memory could explain this spike in historical consciousness. Michael Kammen delves into this phenomenon of nostalgia in his book Mystic Chords of Memory: the
Transformation of Tradition in American Culture. Kammen notes that after World War
II ended nostalgia became a phenomenon; however, it was not rooted in true historical fact or objective interpretation. This nostalgia was more a superficial sense of the past as a response to an unsettling feeling of change. The 1960s ushered in radical changes in the form of young adults breaking with a past with which they could not identify.
Kammen explains, “Their doing so caused overcompensation manifested as nostalgia by some of their older contemporaries.”29 Older adults clung tightly to a past that they were familiar with to avoid the chaos of societal norms breaking down. In their haste to make use of a simpler time to promote patriotism many of this older generation utilized selective historic memory.
27 Carol Kammen, “An Abundance of History,” in History News 64, no. 3 (Summer 2009): 3 – 4. 28 Kammen, “An Abundance of History,” 3. 29 Michael Kammen, Mystic Chords, 534.
17
Historians in the 1960s as well as today discuss nostalgic, superficial memory.
The topic was ripe in 1964 when James C. Olson gave his presidential address at the
American Association for State and Local History’s annual meeting. Olson cautioned
that while utilizing local history to promote patriotism can be educational, gross misuse of the subject frequently results.30 Olson poignantly asserted, “When local studies produce a narrow chauvinism they have outlived their usefulness.”31 When used with the
proper amount of historical perspective, Olson also believed that state and local history
could provide a fuller understanding of national history. Although they never fully
placed the SVM in the context of national history, past generations of Board members
and staff have offered the enthusiasm necessary to make that leap. The founders of the
Sacramento Valley Museum set out to “maintain a permanent museum showplace for the
display of and preservation of antiques, relics, documents and old pieces to the public for
educational and entertainment purposes.”32 However, their aims were much higher than
just writing watered down histories of pioneers. The original Board wanted to promote
the cultural development of the people of the community and provide rooms where the
community could meet and grow. They wanted to become a community center of sorts,
which would have the added benefit of attracting people to view the museum exhibits.
Additionally, they encouraged the Director to seek out professional training in museum
practice so that the collection would endure.
30 James C. Olson, “The Role of Local History,” President’s Address delivered October 29, 1964 (Nashville: American Association of State and Local History, 1965): 5. 31 Olson, “The Role of Local History,” 6. 32 Sacramento Valley Museum Association, Articles of Incorportation, November 10, 1965.
18
Sometime during the 1970s and 1980s the ideas and goals of the founding Board were lost. As time went on the staff and volunteers began to turn inward. The community changed as well, beginning to diversify in ways with which older citizens were not comfortable. The staff and volunteers had always looked to history to find their sense of identity; however, from that time onward the Museum came to represent something that was lost. These volunteers yearned to get a community back that may never have existed, a sort of Mayberry from their developmental years during the 1950s.
Michael Kammen traces this feeling to the early 1970s, a “hankering after various imagined golden ages – for more innocent and carefree days . . .”33 Kammen calls this the heritage syndrome, a need to hold on to what is attractive about the past and reject or ignore the rest.34 Indeed the volunteers of the Museum are not unique in this approach to local history, nor were these ideas new in the 1970s. In 1964, James C. Olson cautioned against this attitude in local history repositories and societies, describing such organizations as “all too frequently a gathering of persons of narrow interests pre- occupied with their own antiquarian or genealogical pursuits, jealously guarding a collection of manuscripts.”35 Olson countered that bold statement with the assertion that many historical societies were advancing the cultural understanding of their communities.
However, those were stereotyped and grouped together with the less than professional societies he first mentioned.
33 Michael Kammen, Mystic Chords, 626. 34 Michael Kammen, Mystic Chords, 626. 35 Olson, “The Role of Local History,” 11.
19
The heritage syndrome can have devastating effects on a collection. Making
acquisition decisions based on an imagined past leads to poor collection development and
little to no access for the public. Carol and Michael Kammen addressed this issue in
1981 in their discussion “Uses and Abuses of the Past: A Bifocal Perspective,” presented
at the annual meeting of the Minnesota Historical Society. Kammen and Kammen
discuss the ways professional and amateur historians manipulate history. Carol Kammen
focuses on local history, since that is her field. She points out that that manipulating
history can lead to selective collecting of materials in local archives.36 Selective
collecting results in marginalized groups believing that repositories do not have any
relevance to their lives and do not reflect the identity that their culture has grown to
embrace. Certainly, that has happened at the SVM. Staff and volunteers of the SVM
have virtually ignored the Hispanic population in Colusa County due to prejudices that
seem immutable. As a result the Hispanic community has no interest in the SVM,
knowing that there is nothing there with which they can identify. On the other hand, staff and volunteers criticize the Hispanic community for not having any interest in the SVM, not realizing if there is no part of the collection that they can relate to, they will not be interested. To their credit, however, staff and volunteers are interested in developing
exhibits on the Chinese and Native American communities in the area; however, time and
resources are limited.
Although they have embodied narrow ideologies of historical memory, the
founders and current generation of the SVM have not been consciously aware of these
36 Kammen and Kammen, “Uses and Abuses of the Past,” 9.
20 shortfalls and how they affect the collection. The past generations of the SVM have no idea what the heritage syndrome is, nor would they want to. This could be troublesome; yet, as the current board deals with collection-related issues they prove more concerned with professional standards than this author ever thought they would. It is obvious that despite the observations and analysis above, the SVMA has begun to change their outlook on the way they maintain the collection. The SVM has slowly acquired a board in the last few years that, while busy with lives of their own, are committed to doing their best as stewards of a collection they do not quite understand. In the past, they have been cut off geographically and technologically from the information flow that exists in professional circles; the SVM is beginning to enter into those circles. They are taking advantage of the flow of information by exploring resources such as those discussed in
Chapter 3 and cultivating relationships with museum professionals in other regional history institutions in the area. By gathering all the necessary information, the SVMA will be fully prepared to care for the collection when dealing with the complicated issues that have developed over the years. The next chapter is an explanatory look at the development of three of the problems the collection faces and how professional museum practice can remedy those problems.
21
Chapter 3
COLLECTION CONTROL
To the group of Colusa County citizens that created the Sacramento Valley
Museum in 1964 documentation was important. To their credit, the SVM still has some
of the original accession and loan paperwork that includes inventories with descriptions
of what was in the collection. In the SVM’s early years, curator Frank Van Zant brought his own large collection of American Indian artifacts, which made up the bulk of the
SVM’s exhibits. When Van Zant left abruptly, he took his collection and left the SVM with empty exhibits. Van Zant’s successors, Gerald and Jennifer Bennett, quickly gathered collections to build exhibits. Accession paperwork was filled out; however, in
many cases the original donor did not sign the form. Although it was not desirable, the
SVM also accepted loans. The Director filled out loan paperwork; however, in many cases there was not a specific time the loan was to expire. In the 45-year history of the
SVM, staff and volunteers have not had the resources or time to complete periodic
inventories or properly accession incoming collections. They have not properly
organized the SVM’s records, and pulling together an institutional history means digging
through various storage areas to piece together years of unorganized paperwork. The
result is a collection that has objects that have no numbers, complete loss of provenance,
and no hope of restoring original order. Additionally, staff and volunteers have collected
freely over the years with no discretion or adherence to the mission statement, which led
to accessioned objects that are not useful to the museum and need to be deaccessioned.
22
The first stage of this project was learning collection management professional
practices. To build a comprehensive collections management policy and procedure, the
Sacramento Valley Museum staff would need a basic understanding of current museum
standards. Since the provenance and original order of the original accessions had been
lost, the Museum needed a sound structure made up of policy, procedure, forms and
education. This collections management program would allow staff a context within
which to facilitate the operation of the Museum without further harming the collection.
The policy and procedure would also provide a foundation for the organization of the
archive, allowing access to the public, and the frequent redesign of the exhibits, ensuring
visitors new experiences. Policies that help museum staff care for and facilitate a
collection have common components. These documents inform the reader on the
museum’s mission statement, collecting scope, and policies on collections-related
activities.37 However, collections management policies differ from museum to museum.
A small museum’s administration is different from a larger facility, and so the collections
management policy will differ as well. Since each museum collection is unique, the
policy and procedure must deal with core issues that confront the SVM’s collection. This
chapter will discuss the issues that confront the collection at the Sacramento Valley
Museum in the context of the publications that present the best methods of overcoming those obstacles.
The core issues that confront the SVM are the scope of collecting, acquisitions
and accessions, deaccessioning, loans and objects in custody, the ethics of collecting, and
37 John E. Simmons, Things Great and Small: Collections Management Policies. (Washington D.C.: American Association of Museums, 2006) 2.
23
objects found in the collection. The common denominator in all of these issues is lack of
documentation, which will be a central component of the collections management
procedure. The main text that provides the perfect context for the issues in the collection
at the SVM is Collection Conundrums: Solving Collections Management Mysteries.
Rebecca A. Buck and Jean Allman Gilmore explain in their book that problems arise,
“when human nature mixes with chronic lack of space, too few collections staff and
informal collecting histories.”38 This book addresses many of the main issues that happen when bad collecting happens to good museums.
Buck and Gilmore begin by introducing the history of collecting and the development of standards, including the formation of the American Association of
Museums and the publication of Museum Registration Methods in 1958.39 The book then
presents conundrums and possible resolutions. Buck and Gilmore pay special attention to
legal issues, and frequently reference Marie Malaro’s Legal Primer for Museums. This
book is particularly useful when dealing with old loans or objects found in the collection.
Unclaimed loans and objects found in the collection are two of the most complicated and
important issues for the SVM and are discussed in further detail in Chapter 4.
The main work registrars and collections managers turn to is Museum
Registration Methods, 5th Edition, edited by Rebecca A. Buck and Jean Allman Gilmore
and created to inform on the basic functions that make up collections management;
38 Rebecca A. Buck and Jean Allman Gilmore, Collection Conundrums: Solving Collections Management Mysteries (Washington, D.C.: American Association of Museums, 2007) 3. 39 Buck and Gilmore, Collection Conundrums, 6.
24
acquisitions, loans, deaccessions, exhibits, storage, and intellectual control.40 This book
serves as a guide for each of the professional responsibilities a museum registrar or
collections manager performs, including collections management policies, documentation
of collections, and any administrative duties that may be required. This is one of the core
texts referenced during the course of this project.
For this project, Buck and Gilmore’s Museum Registration Methods provided
priceless insight on documentation. One of the reasons the SVM lost control of its
collection was that it lost control of its documentation. Staff filled out accession forms
copiously in the SVM’s early history, but somehow lost control of tracking the collection
in the years following. What remain are chaotic piles in all corners of the building and no
way to track original documentation. Museum Registration Methods explains exactly
why documentation is so important to a museum, and why the registrar is crucial to managing a collection. Documentation is the only way a museum has to track collections in their possessions. The staff and volunteers at any museum are arguably the most knowledgeable about the collections, but collections remain long after staff members are gone. Documentation and clear filing systems are the only way to ensure that valuable information about collections actually is passed from one generation of museum staff to the next.
Museum Registration Methods explains that the registrar makes sure all documentation is filled out completely and organized in the way that most users will
40 Jeanne Benas, “Letter from the RC-AAM Chair,” Museum Registration Methods, 5th Edition, eds. Rebecca A. Buck and Jean Allman Gilmore (Washington, D.C.: American Association of Museums, 1998) x.
25
logically retrieve them.41 Museum Registration Methods asserts that the, “Creation and
maintenance of transaction and object documentation are the essential tasks of a museum
registrar.”42 Longstreth-Brown and Buck explain that this documentation must be
specific to the museum it applies to, but the function of the paperwork is the same for all
museums. The documents describe everything from the circumstances of the objects
acquisition to its condition to transactions regarding the object.43 Unfortunately, the
SVM has never had a registrar; currently the only employee is part time. Record keeping
and filing at the SVM will be up to not only staff but also volunteers who work with the
collection. The SVM needs a filing system that is clear to every person who works with
the collection. This project will correct this problem by creating documentation that will
properly track the collections movements and condition in a way that is usable to staff
and volunteers. Longstreth-Brown and Buck’s article spells out exactly what
documentation registrars deal with on a daily basis to track the life of an object while
under the care of the museum.
This project follows Longstreth-Brown and Buck’s advice on using forms for acquisition, deaccession, loans, and object tracking by creating documentation that is streamlined and cohesive. Following each section of the SVM’s Collection Management
Procedure Manual are forms that correspond to that procedure. For example, the
Acquisition, Accession, and Deaccession section (see Appendix B, Section 2) spells out the systematic process to follow when dealing with a collection under those three
41 Kittu Longstreth-Brown and Rebecca Buck, “Records Management,” in Museum Registration Methods, 5th Edition, eds. Rebecca A. Buck and Jean Allman Gilmore (Washington, D.C.: American Association of Museums, 2010) 150. 42 Longstreth-Brown and Buck, “Records Management,” 150. 43 Longstreth-Brown and Buck, “Records Management,” 151.
26 statuses. Following that section are forms that have been rewritten following professional museum practice but specified to fit the SVM’s needs. When documentation is organized and easy to understand, staff and volunteers can track and record the status of all collections owned by the SVM.
A cohesive filing system is also a goal of this project. Longstreth-Brown and
Buck emphasize that “filing systems should be simple, clear and consistent. Strive for systems that can be understood even if the registrar is not there to explain them.” 44
When this project begun the SVM’s accession paperwork was stored in a cardboard box not much bigger than a shoebox. The SVM’s prior accessions have the number affixed to them along with the donor’s last name. Additionally, many donors have multiple accession numbers attached to their name. When working with previously accessioned collections the quickest way to find the records is to search by the donor’s last name. The best way to organize the accession records was to create files that have all the paperwork pertaining to one donor in one file. When searching for the donor, the staff member or volunteer simply looks at the donor’s last name and finds the file. All collections that were gifted from that donor will be in one file. When new documentation pertaining to the collection is complete, they will be filed in the Donor Files under the donor’s last name.
In addition to documentation hurdles, the collection had to overcome not having a clear collection scope. Writing the collection scope for the SVM was the first step in this project. Buck and Gilmore point out in Collection Conundrums that there are three
44 Longstreth-Brown and Buck, “Records Management,” 150.
27 components to a sound collection system: collecting guidelines, collection management policy, and collection procedures.45 Collecting guidelines, also called a scope of collections, allows staff to tell the donor what can be accepted as an acquisition and why.
If a potential donor brings in fifteen items, and only two are relevant to the museum’s mission statement, a collection scope will help explain the parameters of what the museum must collect. Additionally, they describe what is currently in the collection and include the collection strengths and weaknesses.46 The parameters which the facility uses to collect could include geographic, subject, time, theme, or use. For the SVM’s
Collection Management Policy Manual (Appendix A), these parameters include material, encompassing photographs, manuscripts, textiles, and bound volumes. The SVM’s scope also includes a brief description of the type and theme of the collection. For example, the
SVM’s scope explains that the photograph collection includes ambrotypes, tintypes, stereoscopes, and glass plate negatives from the 1850s to the early 1930s. The collection scope may also include areas in which the museum would like to expand their collection.
For example, the SVM would like to acquire collections that pertain to the multi-cultural history of the region.
The next step in this project was completing the collection management policy.
Several texts address collection management policies and the registrar profession at length. John E. Simmons’ work Things Great and Small: Collections Management
Policies breaks down a collection management policy and explains every aspect of managing a collection. In writing the SVM Collection Management Policy Manual
45 Buck and Gilmore, Collection Conundrums, 78. 46 Simmons, Things Great and Small, 29.
28
(Appendix A), Simmons’ chapters on acquisitions and accessions, deaccession and
disposal, loans, and access and use were particularly useful. For example, Simmons
describes the terminology that applies to acquisition and accessions, which is helpful
when writing a collection management policy. He pays special attention to the difference
between acquisitions and accessions; that an acquisition is simply a collection in the
possession of a museum. A collection is legally transferred to a museum through the
accession process.
Simmons also explains that a collection management policy “governs what a
museum does to care for and grow its collections and make them available to the
public.”47 Collection management policies provide the context within which staff and
volunteers must administer the collection. Simmons designed this book to assist
museums in writing policies that meet professional and legal standards in collections
management.48 Each chapter in Simmons’ book addresses aspects of a policy. Simmons
describes best practices, points out problems that can arise, and gives references for further reading in each chapter. Simmons addresses loans in all forms, explaining the different types of loans. He covers incoming and outgoing loans, but his discussion of permanent loans is particularly helpful in understanding professional museum practice in these areas. He explains that permanent loans are loans of an indefinite period and do not meet the field’s expectations of best practices.49 A loan by definition is meant to be temporary, and loans come with certain restrictions. If ownership is never transferred,
47 Simmons, Things Great and Small, 2. 48 Simmons, Things Great and Small, 4. 49 Simmons, Things Great and Small, 73.
29
the museum in question must bear the burden of caring and storing an object or collection
that they do not own. Simmons recommends placing these items “on deposit” and
drawing up an agreement that works for both the museum and the owner. However,
since the SVM has many loans that are permanent taking on deposit items is not
advisable. The best course of action for the SVM is to accept collections with full
transfer of ownership. Restrictions on ownership are highly discouraged and will only be
considered in rare circumstances.
In addition to offering practical advice on complicated issues such as permanent
loans, Simmons offers sample policies from different types of museums. Following each
chapter are sections from museums whose collections include art, natural history, history,
and science.50 Although consulting texts that explain collections management best practices have been helpful to this project, looking at collection management policies of museums that are similar in size and scope to the SVM has also proved invaluable. The
Tehama County Museum is located in Tehama, California. Much like the SVM, a group of local citizens organized the Tehama County Museum to “preserve and exhibit artifacts that represent the cultural heritage of Tehama County.”51 This facility is volunteer run and operates on limited hours. Their collection policy includes all the areas that the SVM requires structure, including acquisition, accession and loans. First, the Tehama County
Museum outlines their mission statement and describes what the policies will
50 Simmons, Things Great and Small, 18, 31. 51 Tehama County Museum Website, “About the Museum,” Tehama County Museum, http://tehamamuseum.110mb.com/museum.html (accessed January 9, 2010).
30
accomplish.52 The rules in the document establish basic priorities for adding new objects
but also define conditions and procedures for accessions, loans, restrictions on gifts, and
deaccessions. All procedures require written recommendation from the curator in charge
in addition to approval of the museum’s acquisition committee and the Tehama County
Museum Board.53 This system of checks and balances is consistently required throughout
the collection policy.
Another consistently covered area in the collection policy of the Tehama County
Museum is the ethics of museum collecting. This document clearly states that the
museum will not acquire or accession objects that have been collected in a careless
manner as to impair their value, which includes objects with inadequate documentation.54
The SVM has not required adequate documentation on gifts in its 46-year history, and
that renders many objects useless with no hope of attaining informational value.
Throughout the SVM’s history, staff and volunteers have not documented provenance of
collections upon receipt from the original donor. Inventories were done only
occasionally and written documentation of the history of collections has rarely been
required of the original owner. The ethics in this collection policy also extend to illegally
obtained objects and the personal collecting of museum staff and volunteers.55 If a staff
member personally collects objects similar to those that he or she is charged with curating, that staff member might be tempted to acquire the object for himself rather than for the museum.
52 Tehama County Museum, “Collection Policy,” http://tehamamuseum.110mb.com/tcmnewpolicy.htm (accessed January 9, 2010). 53 Tehama County Museum, “Collection Policy.” http://tehamamuseum.110mb.com/tcmnewpolicy.htm. 54 Tehama County Museum, “Collection Policy.” http://tehamamuseum.110mb.com/tcmnewpolicy.htm. 55 Tehama County Museum, “Collection Policy.” http://tehamamuseum.110mb.com/tcmnewpolicy.htm.
31
While the Tehama County Museum collection policy is valuable for comparison
to a similar local history facility, the California Historical Society’s Collection
Management Policy is valuable for comparison to a large facility with a diverse
collection. Much like the SVM, the California Historical Society’s collection includes books, pamphlets, photographic images, artifacts, textiles, furniture, ephemera, and newspapers.56 In addition to collection similarities, the California Historical Society
appears to suffer from similar collecting calamities that the SVM has. In their collection
management policy, the California Historical Society acknowledges, “although not all
items currently considered part of the CHS collection were formally accessioned in the
past, henceforth, all additions to the collection will be accessioned into the collection.”57
The document again refers to sporadic accessioning when describing the removal policy at the California Historical Society. This policy explains that some items have been incorporated into the collection without any documentation.58 The SVM must face this problem as well. For the SVM, items with no documentation are considered found in collection, and are discussed further in Chapter 4.
As with the California Historical Society, the SVM has a mixture of accession forms, collections with accession numbers on them, and collections that staff never formally accessioned. The California Historical Society’s policy is extremely helpful in observing how a larger facility handles a problem of this magnitude in their formal policy. The policy also outlines the differences between deaccession and disposition.
56 California Historical Society, “Collection Management Policy,” California Historical Society website, http://www.californiahistoricalsociety.org/collections/index.html (accessed January 9, 2010). 57 California Historical Society, 5. 58 California Historical Society, 7.
32
Deaccession is the process of removing an object or collection when formal accession
records exist and are located; withdrawal is removal of non-accessioned objects or collections.59 The California Historical Society’s Collection Management Policy has
proved extremely helpful by laying out how their staff will control the extremely large
collection.
Another component of a sound collection system is collection procedures. The
SVM faces many obstacles in regards to collection procedures. All of the procedures that
apply to the collections at the SVM need structure and documentation. For example,
Buck and Gilmore’s Museum Registration Methods point to many practical and legal
questions museums must consider when processing collections.60 This section of
Museum Registration Methods is called “Photographic Services and Rights and
Reproductions.” Written by Mary F. Holahan and updated by Bethany Engel and
Jennifer Holl, this chapter extensively covers the complicated issues regarding
photographic services and rights and reproductions.61 The SVM desperately needed to
control access to its photograph collection to ensure safe handling and preservation of
photographs.
This section immensely helped sort out one of the SVM’s main issues regarding
its photograph collection. Before this project began, board members had free reign of the
computer and scanner located near the photograph collection, and they freely reproduced
and posted photographs belonging to the SVM on websites and in newspapers. Due to the
59 California Historical Society, 7. 60 Buck and Gilmore, Museum Registration Methods, 394. 61 Mary F. Holahan, Updated by Bethany Engel and Jennifer Holl, ”Photographic Services and Rights and Reproductions,” in Museum Registration Methods, 5th Edition eds. Rebecca A. Buck and Jean Allman Gilmore (Washington D.C.: American Association of Museums, 2010) 436.
33 unrestrained access by a few people, the photograph collection was so disorganized that anyone outside the Board could not access it to find what they needed. The main goal of this section of the Collection Management Procedure Manual is to provide structure to the photograph collection so that staff and volunteers can easily find and reproduce photographs for anyone.
For this issue, Holahan et al advise putting in place several conditions regarding permission to reproduce photographs in a museum’s collection. The request must be made in writing, and reproduction rights may only be used one time. Each subsequent use must again be obtained in writing. All reproductions must be made from the museum’s photographic materials and the required fee must be paid. The image must remain unaltered and the reproduction must be accompanied by a full caption and by credit lines given by the museum.62 In addition to following Holahan et al’s basic conditions, the key to solving this problem was stopping unrestricted access. Everyone, including Board members, must fill out the proper forms to reproduce or use images that belong to the SVM’s photograph collection. This project includes a systematic procedure and forms following each of Holahan et al’s suggestions (see Appendix B, Section 6.3).
Using the texts and policies mentioned above as guides, this project resulted in two manuals that staff and volunteers at the SVM can utilize to regain control of their collection. By examining each of the biggest obstacles in the context of the works that advise best practices, staff and volunteers will be able to reconstruct a collection that educates the public in the history of Colusa County. In order to regain control, museums
62 Holahan et al, “Photographic Services and Rights and Reproductions,” 436.
34 must follow clear policies that lead to acquisitions that fall within the context of the facility’s mission and collecting goals. Additionally, the facility must establish clear title to avoid legal entanglements in the future.
35
Chapter 4
METHODOLOGY
As discussed in Chapter One, the final product of this project is two manuals.
The first is the Collection Management Policy (Appendix A). This manual outlines the context within which the Museum’s collection will be administered. The second document is the Collection Management Procedures (Appendix B), which outlines a systematic process for organizing the collection. All original order has been lost; there are many holes in original paperwork, and much of the collection has never been accessioned at all. Before work can begin on processing, the collection needs solid procedures to assist the mostly volunteer workforce at the Museum. Both manuals include all aspects of collection management, yet some sections cover the most important and complicated issues faced by the SVM collection. Three of the most important issues include acquisition and accession, found in collection objects, and unclaimed loans. This chapter will cover each section separately, discussing how issues will be resolved by applying policies and procedures that combine professional museum practice with the specific needs of this collection.
Mission and Collection Scope
The first step in creating collection control through this policy was solidifying the
Museum’s mission statement. In 2007, the Museum’s mission statement was amended, stating the purpose of the Museum was to “preserve and promote our region’s history and culture through conservation, education and entertainment.”63 Since the collection was
63 Sacramento Valley Museum Association, Bylaws, Amended 2007.
36 large, unorganized, and not properly administrated, that mission statement allowed for too broad a collecting scope. In order to prevent further loss of control of the collection, the mission statement needed to provide flexible boundaries for future collecting. The mission statement needed to specify the date and provide more of a context for exactly what the Museum’s purpose is. John E. Simmons explains that “Collections management policies often begin with the mission statement as a way of emphasizing its central role in guiding collections activities.”64 Restricting the date to the mid 19th through mid 20th centuries allows for more guidance when considering acquisitions. This date is simply meant to be a guideline, and acquisition decisions are at the discretion of the Museum
Director. The added line “this collection strives to connect a rich multi-cultural history of the area with the community that has been built since and exists today,” is meant to give the Museum flexibility in planning exhibits and allow staff and volunteers to continue finding ways to connect the present to the past.65
The second important component of the Collection Management Policy is the scope of collections. This section serves two purposes. First, it describes the many aspects of the collection, breaking them down by media to let the public know what the collection consists of. The second purpose this section serves is to advise potential donors on the nature of the collection and to help them decide if this repository is the appropriate place for their gift. This has the added benefit of assisting staff in explaining why this collection may not be the most appropriate choice for a potential gift.
64 Simmons, Things Great and Small, 15. 65 Sacramento Valley Association, Bylaws, Amended February 2011.
37
Acquisition and Accession
The most important aspect of both acquisition and accessions for the Museum is discriminate collecting. Prior to the start of this project staff and volunteers accepted items that were inappropriate for the Museum. Reasons for accepting varied from not wanting to say no to a family member to possible auction material. Problems arose when storage space disappeared and there was no one to take anything to auction. Right away the Museum Director and the author agreed that nothing should be accepted if there was no place for it. Storage space for collections is scarce, so Museum staff and volunteers politely decline items meant for auction.
The Acquisition and Accession section of the policy manual (Appendix A,
Section 3) explains that the Museum will only accept collections that are relevant to its mission statement. The Museum Director will consider specific criteria when deciding whether to accept a potential donation. Simmons’ Things Great and Small helps by presenting criteria in the form of questions staff can ask when presented with a potential donation. Those questions pertain to condition, cost of care, documentation, provenance, relevance, and legal title.66 When the SVM acquires a collection and legal title is transferred, it will be accessioned into the collection.
For this project, creating the accession section of the Collection Management
Procedure Manual included creating forms that helped streamline the process of acquiring and accessioning objects. The most important aspect of acquisition is obtaining clear title for each collection or object. In Collection Conundrums Rebecca Buck and
66 Simmons, Things Great and Small, 44.
38
Jean Allman Gilmore point out that there are three conditions that must be met to legally transfer title; donor intent, museum acceptance, and physical receipt of object.67
Traditionally, a potential donor brings the object or collection to the SVM and leaves it.
The new process, as detailed in Section 2.1 of the Collection Management Procedure
(Appendix B), is that when the donor brings the materials to the SVM, they must fill out and sign a Receipt of Potential Gift. This form has the dual purpose of giving SVM staff information on the objects and getting information from the donor that will help staff decide whether the collection is appropriate to acquire. The Receipt of Potential gift is both donor intent and the SVM’s receipt of physical object. Once SVM staff decide to accept the acquisition, they then enter the information into PastPerfect and create a Deed of Gift, which legally transfers title. Staff will mail a cover letter accepting the gift and ask the donor to sign the form and mail it back, completing the museum’s acceptance of the gift.
Accessioning at the SVM includes not only new collections but also items that have been given accession numbers and paperwork is either incomplete or missing. Buck and Gilmore refer to these as partially accessioned objects, and recommend simply completing the recording process.68 For the SVM’s collection that entails creating a new accession form and donor file. If the original paperwork is found, it will be added to the file. Additionally, many collections that came to the SVM together have since been separated, and the task of putting them all back together again is overwhelming. Buck and Gilmore recommend doing a complete inventory but acknowledge that inventories
67 Buck and Gilmore, Collection Conundrums, 53. 68 Buck and Gilmore, Collection Conundrums, 58.
39
consume a lot of time that staff may not have. Therefore, they say, “Since it is rare that a
museum can do a complete inventory, it is important to keep running location records and
to update them with spot, room, and complete inventories when possible.”69 The
Collection Management Procedure Manual (Appendix B) includes directions on inputting
all accessions, including new or previous acquisitions, into PastPerfect Museum Software
as they are processed so that a running inventory can be created.
Found in Collection (FIC)
The found in collection (FIC) section pertains to the three quarters of the
collection that is not numbered and without documentation. This section explains that the
Museum will make every effort to reconcile undocumented objects with their existing
records; however, if those records cannot be found those objects will be tracked using an
FIC number. Additonally, the SVM considers FIC objects property of the museum and will document and care for them just as an accessioned object. However, they need to be tracked and documented as FIC, so that if their documentation is found they can be reconciled. In other words, FIC objects will not be given an accession number, but will be given an FIC number to differentiate it from the rest of the collection that has its original documentation. Buck and Gilmore’s Collection Conundrums was particularly helpful in creating this section. They point out that almost all museum collections contain objects that have no documentation, and that these objects could have entered those museums at any time in their history.70
69 Buck and Gilmore, Collection Conundrums, 60. 70 Buck and Gilmore, Collection Conundrums, 37.
40
Buck and Gilmore also point out the difference between undocumented objects
and found in collection (FIC) objects. Undocumented objects have no number and no
characteristics that link them to documentation. An undocumented object becomes FIC
when its status remains a mystery even after all attempts to find its documentation are
exhausted.71 The SVM collection contains both types of objects. Many objects are currently considered undocumented due to lack of staff or volunteers that can attempt to find their documentation. Still other objects have been given unknown donor tracking numbers after searches for documentation have failed. These unknown donor tracking numbers served as FIC numbers in the years before the Found In Collection procedure of
the Collection Management Procedure Manual was created (Appendix B). For the SVM
undocumented and FIC objects make up roughly three quarters of the collection. These
undocumented and FIC objects need to be tracked just like accessioned objects, and Buck
and Gilmore lay out the procedure for consistent numbering and possible decisions
regarding FIC objects.
For the SVM collection, Buck and Gilmore’s numbering system proved most
valuable. They recommend that since the FIC number is to serve as both an accession
number and notate that the object is found in collection, the FIC number should be
similar to the Accession number but with a special FIC tracking number attached.72 The
current Museum Director began numbering undocumented objects in the 900’s, to
differentiate them from the rest of the collection. The Collection Management Procedure
Manual (Appendix B) explains that FIC objects should be numbered with 900, the current
71 Buck and Gilmore, Collection Conundrums, 41. 72 Buck and Gilmore, Collection Conundrums, 45.
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year, and a numerical object number. For example, the first FIC object numbered in 2011
will be given the number 900.2011.001. To avoid duplication, the processor must look at
the FIC Tracking Number Log and assign the next number.
The SVM will make every possible attempt to reconcile an FIC object with its
original collection and documentation. Section 3 in the Collection Management
Procedure Manual (Appendix B) explains the procedure for handling FIC objects. The
first step is to search the object and any housing material for markings that may indicate where it came from. The second step is to assign and apply a tracking number, so that the object is not undocumented. For the third step, the processor will use the Found in
Collection/Undocumented Object Documentation Form to describe the object or
collection and explain the steps taken to reconcile the object or collection with its
documentation. The fourth step is to complete an institutional search of records, which
includes searching donor files and recording comments from staff who may remember
the object or collection the object was acquired with. If documentation is found, the FIC
number will be retired and the original accession number may be re-applied. All FIC
documentation must be included in the original donor’s file, and the FIC number must
not be reissued. If the original documentation still cannot be found, the Museum Director
must make the decision to accession or deaccession the object or collection, according to
the SVM’s approved policies. If the decision is to accession, the FIC number given to the
object will serve as the object’s tracking number. The object must then be processed
according to Section 4 of the Collection Management Procedure Manual, Processing and
Cataloging Collections.
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Unclaimed Loans
When the founders of the SVM were pulling together the initial collection, they had little time and resources. Some donors were willing to part with their collections; however, some were more hesitant. SVM staff and Board Trustees accepted loans in a few cases throughout the museum’s history, and some of those have been claimed and some have not. What results are many collections of questionable ownership that the
SVM must care for and provide storage space. To complicate matters further, many of the original donors have passed away, throwing original ownership into question.
Occasionally, a donor’s family will contact the SVM staff and demand that their family member’s donation be returned. In cases such as these, it is important to have a policy on unclaimed loans to protect the SVM from potentially costly litigation.
Although unclaimed loans are covered in almost every work on collection management, Marie Malaro’s A Legal Primer on Managing Museum Collections contains the most comprehensive chapter. Malaro explains, “The distinguishing feature of an unclaimed loan is the inability of the museum to identify and/or locate a lender with relative ease.”73 Malaro explains that a loan creates a relationship called bailment. The bailor, or owner, places property in the care of the bailee for a specific purpose. The bailee is responsible for holding and caring for the property until the bailor comes forward to claim it.74 Complications arise when the bailor fails to terminate the bailment by either removing the property or legally transferring the property to the museum in question. This leaves the museum with the responsibility of caring for the property and
73 Malaro, Legal Primer, 284. 74 Malaro, Legal Primer, 285.
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no rights to use the property. Surprisingly, not all states have legal measures that
museums can take when attempting to resolve these complicated situations. California
has very specific statutes that pertain to unclaimed loans. California Civil Code 1899 –
1899.11, also known as the Unclaimed Property Law, specifies that it “Is technically
applicable to property on loan to a museum which has been left unclaimed by its owner
for at least seven years.”75 The California Legislature found that as lenders die or move
and lose contact with museums, it becomes almost impossible for museums to locate
lenders to terminate an indefinite or expired loan. Since museums rarely relocate it is
easier for lenders, or those who claim ownership through the lender, to notify museums
of any change of address.76
In this case, terminating a loan means the lender either choosing to repossess the property or legally transferring ownership of the property to the museum. Civil Code
Section 1899.10 explains that, “Effective January 1, 1985 no action shall be brought against a museum to recover property on loan when more than 25 years have passed from the date of the last written contact between the lender and the museum.”77 That is the case with the majority of the unclaimed loans at the SVM; the original lenders have either
moved away or passed away. There are a handful, however, of loans that have been
made within the last twenty-five years. The Civil Codes explicitly describes the steps
museums are required to take to locate lenders and terminate indefinite loans. If the
lender’s address is known, the museum must notify the lender by certified mail that they
75 California Legislature, Civil Code Section 1899 (b), http://leginfo.ca.gov/cgi- bin/waisgate?WAISdocID=83063620224+0+0+0&WAISaction=retrieve. (accessed 12 March 2011). 76 California Legislature, Civil Code Section 1899 (f), http://leginfo.ca.gov/cgi- bin/waisgate?WAISdocID=83063620224+0+0+0&WAISaction=retrieve (accessed 12 March 2011). 77 California Legistlature, Civil Code Section 1899.10 (b) (accessed 12 March 2011).
44 intend to terminate the loan. If there is no response from the lender, send two more certified letters. If the lender’s address is not known, the museum must publish a notice in the newspaper in the county where the museum is located and the county in which the lender’s last known address is located. This notice must be published for three consecutive weeks.78 There is a three year limitation on actions to recover personal property, and if the lender does not contact the museum after sufficient notification of the museum’s intent to terminate the loan, the “lender shall be deemed to have donated the loaned property to a museum.”79 If the lender fails to file a claim within the three year statute of limitations after the museum has fulfilled the requirements of notification as specified by the California Civil Code, the lender forfeits all rights to reclaim the loan.
In many cases, heirs claiming rights to the property through the original lender request property returned to them. This has been a problem for the SVM in the past. The
Civil Code provides that the interested party must prove through documentation that they are the rightful owner of the property. The Civil Code provides a form that the claimant must fill out, which includes documentation of proof of claimant’s ownership rights and a description of all property in the claim. The SVM uses this form pursuant to Section
1899.5 (c) when considering a claim made for return of property. The law also states that the museum must keep a copy of these records for twenty-five years and that a receipt of notice of the claimant’s intent to preserve an interest be given to the claimant. This section of the law allows the SVM to know its rights in resolving the very complicated issue of unclaimed loans.
78 California Legislature, Civil Code Section 1899.2 (a)(b) (accessed 12 March 2011). 79 California Legislature, Civil Code Section 1899.10 (c) (accessed 12 March 2011).
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Conclusion
The policies and procedures discussed at length above join others that have not previously been addressed by the SVM. The aim of these policies and procedures is to create a system that will easily allow staff and volunteers of the SVM to administer the collection in a way that ensures its safety and allows ease of access for visitors and researchers. At this time, the intention of this project is to create streamlined forms and procedures that will assist volunteers in applying the basic level of care that the SVM collection so desperately needs. The policies that follow will give the Board of Trustees and Museum Director the context needed to administer the collection based on professional practice. Although they have been created based on current professional standards, the policies and procedures in these manuals should be reviewed annually and revised as needed. Future additions to these manuals should include comprehensive security procedures and a disaster plan. As the SVM develops a basic level of care and documentation they can open access to the collection that had been restricted by disorganization.
Since 1964, SVM board members, staff, and volunteers have always known that theirs is a collection worth saving yet how to do that has always been elusive. In a small town time progresses but actions are slow to change, and the same is true of the SVM. It is this author’s hope that by creating policies and procedures that help fix the main problems the Board, staff, and volunteers will be able to create a system of maintaining the collection that will stand the test of time and greatly enhance the experience of visitors and researchers alike.
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APPENDIX A
Collection Management Policy Manual
Emily Conrado April 2011
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Table of Contents 1. Introduction ...... 49 1.1 Purpose of Policies ...... 49 1.2 Mission Statement ...... 49 1.3 Statement of Authority ...... 49 1.4 Ethical Responsibility of the Sacramento Valley Museum Association .. 49
2. Collections ...... 50 2.1 Collection Definition ...... 50 2.2 Scope of Collections ...... 50 2.3 Collection Intention ...... 51
3. Acquisition and Accessions...... 51 3.1 Priorities for Acquisition ...... 51 3.2 Acquisition Criteria ...... 51 3.3 Conditions of Accession ...... 52 3.4 Found in Collection (FIC) Policy ...... 52
4. Deaccession and Disposition ...... 53 4.1 Deaccessioning ...... 53 4.2 Deaccession Criteria ...... 53 4.3 Disposition of Deaccessioned Objects ...... 53 4.4 Ethics of Deaccession ...... 54 4.5 Proceeds...... 54
5. Loans ...... 54 5.1 Incoming Loans ...... 54 5.2 Outgoing Loans...... 55 5.3 Unclaimed Loans ...... 55
6. Care of Collections ...... 56 6.1 Preventive Conservation ...... 56 6.2 Security ...... 56 6.3 Storage ...... 56
7. Access and Use ...... 57 7.1 Food, Drink, and Smoking ...... 57 7.2 Objects on Exhibit ...... 57 7.3 Research ...... 57 7.6 Appraisal ...... 57 7.5 Sacred or Religious Collections Restrictions ...... 57 7.6 Photograph Usage and Reproduction Policy ...... 58
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8. Facility Use Policy ...... 58
9. Volunteer Program ...... 58
ADDENDUM A ...... 59 AAM Code of Ethics for Museums
ADDENDUM B ...... 66 State of California’s Unclaimed Loan Law (Civil Code 1899 – 1899.11)
ADDENDUM C ...... 74 California Penal Code Section 490.5
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1. Introduction 1.1 Purpose of Policies The purpose of the following policies is to structure the management of the Sacramento Valley Museum Association’s collection to ensure safe acquisition, storage, and exhibition of objects in its care. The Museum strictly follows the American Association of Museum’s (AAM) Code of Ethics for Museums (see Addendum A) in order to maintain integrity and properly serve as stewards of the collection in its possession.80
1.2 Mission Statement The Sacramento Valley Museum Association is dedicated to collecting, preserving, and promoting interest in the historical development of the Sacramento Valley during the mid 19th and mid 20th centuries. This collection strives to connect a rich multi-cultural history of the area with the community that has been built since and exists today.
1.3 Statement of Authority The Sacramento Valley Museum Association is a private, non-profit organization run by a ten member Board of Trustees. The Director is assisted in the administration by volunteers and manages the day-to-day operations of the Museum. The Director has sole authority in acquisition decisions and is guided by the policies and procedures in this document. If the Director has concerns about acquiring specific selections, the Board of Trustees will be consulted and a decision made.
1.4 Ethical Responsibility of the Sacramento Valley Museum Association In keeping with their responsibility to care for the collection in their charge, the Museum Board of Trustees, Director, staff and volunteers: • Will not remove any part of the collection from the building for any purposes other than traveling exhibit or outgoing institutional loan. • Will not accept any object or collection for which they cannot properly store, preserve, or protect. • Will act ethically and legally in acquiring, accepting, and disposing of articles within the collection. • Will act according to the professional standards of conduct put forth in the American Association of Museum’s Code of Ethics for Museums. • Will not accept any object or collection with conditions that could lead to potential litigation. • Will not accept any object or collection on the basis of personal interest and/or private collecting habits.
80 American Association of Museums, Code of Ethics for Museums, http://www.aam- us.org/museumresources/ethics/ accessed 7 April 2011.
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• Will not use proceeds from deaccessioning for general operating procedures.
2. Collections 2.1 Collection Definition The collection contains all aspects of life in Colusa County from approximately 1850 through the mid 20th century. This includes family, community, religious life, recreation, leisure, agriculture, and education. The collection primarily consists of family and personal histories as opposed to government or business histories.
2.2 Scope of Collections The Museum’s permanent collection includes exhibited items, materials from the Archive, and stored items. These items are rotated through the Museum as exhibits as time and resources permit. Below are some examples of the many aspects of the Museum Collection.
Photographs: Many photographs of varying technology, including daguerreotype, ambrotype, tintype, jewel tintype, stereoscope, glass plate negative, carte-de-visite, cabinet card, mounted photographs, and paper photographs. Our extensive photograph collection spans from the 1850’s to the early 1930’s, with a few from 1940 – 1970.
Manuscripts (paper collections): Comprised of personal papers that includes deeds, legal documents, correspondence (letters, postcards, and greeting cards), maps, schoolwork, and other personal items.
Newspapers: Newspapers from each town in Colusa County, including some Sacramento newspapers.
Bound volumes: Registers, ledgers, and minutes from various organizations and businesses.
Textiles: Includes clothing and quilts.
Williams Union High School Alumni Room: This permanent exhibit commemorates the students who attended high school in the building from 1911 to 1959.
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2.3 Collection Intention The collection is meant to be used as a museum and research facility by the general public. Potential user groups include museum visitors, scholars, genealogists, undergraduate students and local school children.
3. Acquisition and Accessions An Acquisition is an object obtained by the Museum, without transfer of ownership completed. Once an item or items are donated to the Museum and the Deed of Gift form is signed, the item becomes property of the Museum. The Museum cannot guarantee that the item or items will be immediately displayed; however, they will be properly stored in the Archive and will be available for research purposes.
An Accession is an acquisition that a museum formally adds to its collections, by deed of gift and transfer of ownership. For the Museum to comply with its ethical and legal obligation to its collections, it must not accept accessions that it cannot process and properly store in an efficient amount of time. The Museum must provide proper storage, care, management, and documentation for each accession in its collection for the benefit of the public.
3.1 Priorities for Acquisition Due to time and resource restraints, the Museum is limited to accepting acquisitions that fall under the scope of our collection. More specifically, the time period the Museum represents is approximately 1850 through the 1950s. Collections the Museum seeks must pertain to life in Colusa County (and the Sacramento Valley) specifically and will contribute to the collection at large.
Top priority for acquisition is objects created by the multi-cultural community in Colusa County. The Museum is looking specifically for information, photographs, and objects relating to the Native American and Chinese communities who lived in Colusa County during the Museum’s collecting period.
3.2 Acquisition Criteria When a donor arrives with a possible acquisition, the Director will make a decision to acquire based on these criteria:
• Relevance: Is the acquisition relevant to the mission of the Museum as stated in section 1.2? • Scope: Does the acquisition fit the scope of the collection, as explained in section 2? • Duplication: Does the acquisition duplicate something that is already in the collection?
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• Care: Are there resources, including staff, space, and facilities for providing proper storage and care without compromising the rest of the collection? • Condition: What is the condition of the acquisition? The Director will consider the amount of resources it will take to stabilize and restore it. • Cost of Upkeep: Is the cost of keeping the acquisition equal to the benefits of having it in the collection? • Documentation: Is the documentation adequate to establish the significance of the acquisition to the Museum?
3.3 Conditions of Accession With very few exceptions, all acquisitions are unconditional. The Museum cannot accept objects on which the owner has placed restrictions that would prevent effective research examination, normal exhibition use, loan, or disposition in accordance with this policy.
Additionally, the Museum cannot accept objects with restrictions requiring that they be placed on exhibition, or that the collection of which they form a part should be kept together permanently and/or displayed only as a discrete collection.
Exceptions to this policy will only be made upon the request of the Museum Director and the approval of the Board of Trustees.
3.4 Found in Collection (FIC) Policy Found in collections (FIC) objects are objects with no identifying information that remain without status after all attempts to connect them to existing records of permanent collection or loan objects fail.
The Museum will make every attempt to reconcile undocumented objects to existing documentation. Objects that are not reconciled will be considered FIC.
• Ownership: The Museum considers FIC objects to be the property of the Museum. FIC objects will be tracked and documented from the time they are found and may be used as any collection object is used. FIC objects accessioned into the permanent collection will be given numbers in the year of the accession (year found). • Deaccession: FIC objects may be deaccessioned according to approved deaccession policy. The Museum Director is responsible for deaccession decisions, with Board approval as necessary. • Disposition: Since FIC objects are considered part of the permanent collection, they must be disposed of according to the Museum’s approved deaccession process. • Original Documentation: If the original documentation is found for the FIC object, it will be returned to its original status and number and the FIC
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number will be retired. DO NOT reissue the same FIC number for more than one object/collection. • Claims made on FIC Objects: If a claim is made on an FIC object, whether accessioned, deaccessioned or disposed of, the Museum will make decisions on a case by case basis on accepting or fighting the claim.
4. Deaccession and Disposition 4.1 Deaccessioning Deaccession is the formal change in recorded status of an object. Disposition is the resulting action taken after a deaccession decision. The Code of Ethics for Museums states that the “disposal of collections through sale, trade, or research activities is solely for the advancement of the museum’s mission.”81 The Museum uses discretion in deaccession and disposition, ensuring that decisions are made to ensure benefit to the Museum and its collection.
4.2 Deaccession Criteria The Museum will only deaccession an object for these reasons, without exception:
• Condition: The object has deteriorated so much that its historical value has been lost, it is no longer suitable for exhibit, or it is beyond the possibility of repair or restoration. • Cost of Care: The cost of care is such that the Museum can no longer store, protect, or preserve the object. • Inaccurate Documentation: The documentation of the object has been determined to be inaccurate or fraudulent. • Mission: The object is not appropriate to the Museum’s mission. • Loss of Documentation: Loss of documentation that affects the object’s authenticity, provenance, or association. • Not Within Scope of Collection: Objects were accepted as part of an accession but are not within the scope of the collection. • Health Risk: Objects that present an immediate health risk to staff, volunteers, or visitors will be immediately separated from the collection and disposed of. These objects may contain mold, poisons, or other harmful contaminants.
4.3 Disposition of Deaccessioned Objects The Museum will only dispose of deaccessioned objects in these ways, without exception:
81 American Association of Museums, Code of Ethics for Museums, http://www.aam- us.org/museumresources/ethics/ accessed 7 April 2011.
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• Exchange: Objects might be exchanged with a dealer or a nonprofit institution. • Sale at Public Auction: Sale will be handled by a disinterested third party to avoid conflict-of-interest or appearance of conflict-of-interest. • Sale through a Reputable Dealer: Sale will be handled by a disinterested third party to avoid conflict-of-interest or appearance of conflict-of-interest. • Return to Donor: In some cases an object will be returned to the donor or the donor’s heirs. • Transfer: An object will be donated to another non-profit institution whose mission statement or collection scope is more appropriate.
4.4 Ethics of Deaccession The Museum will not dispose of deaccessioned objects in these ways, each of which raise issues of conflict-of-interest and could result in negative legal action: • Sale in the Museum gift shop • Sale to a staff member or member of the Board of Trustees • Transfer to a staff member or a member of the Board of Trustees
4.5 Proceeds Proceeds from the sale of deaccessioned objects will be used only for direct care of the Museum’s collection. The Sacramento Valley Museum Association’s definition of direct care includes: • Preventive conservation • Conservation and preservation supplies (e.g. acid-free housing materials, storage furniture) • Monitoring and regulating climatic conditions in storage and exhibit areas • Computer hardware and software for documentation and collection management • Reference materials relating to the care and documentation of collections • Staff training and development
5. Loans 5.1 Incoming Loans The Museum does not accept loans except in the following circumstances:
• Loans from institutions or organizations, which will be used for specified and documented purpose, such as research, exhibit or special events • For exhibition for a specified period of time, in which a credit line will be given to the owner
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Permanent or long-term loans will not be accepted, under any condition.
5.2 Outgoing Loans The Museum does not loan any object or collection except in the following circumstances:
• Loans to institutions or organizations, for specified and documented purpose such as research or special events • For exhibition for a specified period of time, subject to proper amount of exposure time of objects. • Loan to a qualified individual for conservation work
All outgoing loans are subject to the approval of the Museum Director. In special circumstances, outgoing loans will be subject to the approval of the Board of Trustees.
5.3 Unclaimed Loans *Note: The Museum strictly adheres to California Civil Code Section 1899 – 1899.11 (See Addendum B) when determining ownership and legality of loaned property.
Although the Museum no longer accepts loans, there are objects/collections that were originally accepted as loans prior to 2004. The Museum will hold and care for objects/collections of this status as long as reasonably possible. Before terminating the loan, the Museum will make a good-faith effort to notify the owner of said objects.
• California Civil Code Section 1899 – 1899.11 explains that it is the lender’s responsibility to apprise the museum of any change of address that might occur during the life of the loan. The Museum will take every action possible as described in California Civil Code 1899 – 1899.11 to locate the original lender and attempt to terminate the loan. Please see Collection Management Procedure Manual Sections 5.3 for the Museum’s procedures on resolving indefinite or unclaimed loans.
• Termination of the loan means that the lender may choose to repossess the property or legally transfer ownership to the Museum.
• If 25 years has passed since the last written contact between the lender and the Museum, the law states that no action can be brought against the Museum to recover the property according to Civil Code 1899.10 (b).
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• If 25 years has not passed since the original loan date or last written contact with the lender, the Museum must locate the lender in order to terminate the loan.
• If an heir claims legal ownership of the property through the original lender, Civil Code Section 1899.5 (a) requires that the heir file notice of intent to preserve an interest in the loaned property in writing. The claimant must provide documentary proof that they are the owner of the property. Please see Collection Management Procedure Section 5.4 for the Museum’s Loan Repossession Procedure.
6. Care of Collections Care of the collection is a continuing responsibility accepted by the Museum on behalf of the public. When taking care of the collection, the following concerns must be met:
6.1 Preventive Conservation Preventative conservation refers to actions taken to ensure that agents of deterioration are detected, avoided, and blocked. Agents of deterioration in collections include:
• Light and radiation • Fire • Water • Pests • Pollutants and contaminants • Incorrect temperature • Incorrect relative humidity • Thieves, vandals, displacers • Curatorial neglect
The Museum will do everything within its resources to prevent further deterioration of its collections.
6.2 Security Every effort will be made to monitor and protect all items in the collection from careless handling, vandalism, theft, fire, water, infestation, exposure to environmental hazards, and natural disasters.
6.3 Storage The Museum’s collections will be stored in appropriate conditions and archival containers to ensure objects will be available in perpetuity. Temperature and relative
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humidity will be controlled and monitored as resources are available. Collections will be protected against theft, light, dust, fire, water, vermin, and other detrimental elements.
7. Access and Use In striving to achieve its mission, the Museum is committed to allowing access to the varied collections under its purview. The Museum encourages the use of the collections it displays and stores. However, resources are such that restrictions on access must be in place until funding and staffing allow for more flexible research conditions.
Note: The Museum reserves the right to inspect any briefcase, computer, handbag, parcel, notebook, book, or other personal property before they are removed from the premises, per Penal Code Section 490.5 (Addendum C).
7.1 Food, Drink, and Smoking Smoking is not permitted anywhere within the Museum building. Food and drink are restricted to the auditorium area and are not permitted in the collection storage area or exhibition areas.
7.2 Objects on Exhibit Objects are exhibited as carefully as possible. Photography is not permitted, unless previously arranged with the Museum Director.
7.3 Research Research of the Museum is by appointment only. Requests for access may be made through the Museum Director by telephone or e-mail. The Museum Director will have pertinent collections ready by the research appointment.
7.4 Appraisal The Museum does not conduct appraisals, nor does it release values to the public.
7.5 Sacred or Religious Collections Restrictions Some collections and their related documentation may be subject to cultural sensitivity concerns and designated as sacred, religious or ceremonial. These materials will be subject to specific display and access conditions which will be monitored by the Museum Director. The Museum Director will be responsible for complying with any special conditions required by laws such as the Native American Graves Protection and Repatriation Act.
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7.6 Photograph Usage and Reproduction Policy The Museum holds over 200 photographic images in its collection. The Museum guarantees researchers access to its photograph collection; however, there are some conditions to reproduction and image use.
Reproduction: Reproductions of the photograph collection for educational purposes and/or non-commercial use will be allowed if there are no donor or legal restrictions on the collection and/or if the reproduction will not harm the photograph. A current fee schedule for commercial reproduction can be provided upon request. The Museum Director will have authority for approvals. Detailed information on the Museum’s reproduction procedure and fees can be found on the Photograph Reproduction Order Form.
Image Use: Use of images under copyright of the Museum will be made on a case by case basis only. Any approved images may be used once only. Any additional use requires written permission and/or additional fees. Detailed information on the Museum’s image use procedures and fees can be found on the Image Use Information Form.
8. Facility Use Policy The Museum is available for use by the public for parties, meetings, or events on a fee basis. In order to offer a clean, attractive environment for special occasions or meetings, there are terms and conditions that must be followed before, during and after the day of the event. For details on facility use procedure and fees, see Section 10 of the Museum’s Collection Management Procedure Manual.
*Note: The Gift Shop may be open during the event; however, due to resource constraints arrangements must be made in advance.
9. Volunteer Program The Museum would not run without the dedication of volunteers. New volunteers are always welcome, and available projects range from preventative conservation to building maintenance. New volunteers must fill out the Personal Profile so that Museum staff can provide a project that will suit the volunteer’s interests. Additionally, all volunteers must read and sign the Museum’s Volunteer Contract and the American Association of Museum’s Code of Ethics for Museums.
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ADDENDUM A
AAM Code of Ethics for Museums82 Introduction
Ethical codes evolve in response to changing conditions, values, and ideas. A professional code of ethics must, therefore, be periodically updated. It must also rest upon widely shared values. Although the operating environment of museums grows more complex each year, the root value for museums, the tie that connects all of us together despite our diversity, is the commitment to serving people, both present and future generations. This value guided the creation of and remains the most fundamental principle in the following Code of Ethics for Museums.
Code of Ethics for Museums
Museums make their unique contribution to the public by collecting, preserving, and interpreting the things of this world. Historically, they have owned and used natural objects, living and nonliving, and all manner of human artifacts to advance knowledge and nourish the human spirit. Today, the range of their special interests reflects the scope of human vision. Their missions include collecting and preserving, as well as exhibiting and educating with materials not only owned but also borrowed and fabricated for these ends. Their numbers include both governmental and private museums of anthropology, art history and natural history, aquariums, arboreta, art centers, botanical gardens, children's museums, historic sites, nature centers, planetariums, science and technology centers, and zoos. The museum universe in the United States includes both collecting and noncollecting institutions. Although diverse in their missions, they have in common their nonprofit form of organization and a commitment of service to the public. Their collections and/or the objects they borrow or fabricate are the basis for research, exhibits, and programs that invite public participation.
Taken as a whole, museum collections and exhibition materials represent the world's natural and cultural common wealth. As stewards of that wealth, museums are compelled to advance an understanding of all natural forms and of the human experience. It is incumbent on museums to be resources for humankind and in all their activities to foster an informed appreciation of the rich and diverse world we have inherited. It is also incumbent upon them to preserve that inheritance for posterity.
82American Association of Museums, Code of Ethics for Museums, http://www.aam- us.org/museumresources/ethics/ accessed 7 April 2011.
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Museums in the United States are grounded in the tradition of public service. They are organized as public trusts, holding their collections and information as a benefit for those they were established to serve. Members of their governing authority, employees, and volunteers are committed to the interests of these beneficiaries. The law provides the basic framework for museum operations. As nonprofit institutions, museums comply with applicable local, state, and federal laws and international conventions, as well as with the specific legal standards governing trust responsibilities. This Code of Ethics for Museums takes that compliance as given. But legal standards are a minimum. Museums and those responsible for them must do more than avoid legal liability, they must take affirmative steps to maintain their integrity so as to warrant public confidence. They must act not only legally but also ethically. This Code of Ethics for Museums, therefore, outlines ethical standards that frequently exceed legal minimums.
Loyalty to the mission of the museum and to the public it serves is the essence of museum work, whether volunteer or paid. Where conflicts of interest arise — actual, potential, or perceived — the duty of loyalty must never be compromised. No individual may use his or her position in a museum for personal gain or to benefit another at the expense of the museum, its mission, its reputation, and the society it serves.
For museums, public service is paramount. To affirm that ethic and to elaborate its application to their governance, collections, and programs, the American Association of Museums promulgates this Code of Ethics for Museums. In subscribing to this code, museums assume responsibility for the actions of members of their governing authority, employees, and volunteers in the performance of museum- related duties. Museums, thereby, affirm their chartered purpose, ensure the prudent application of their resources, enhance their effectiveness, and maintain public confidence. This collective endeavor strengthens museum work and the contributions of museums to society — present and future.
Governance
Museum governance in its various forms is a public trust responsible for the institution's service to society. The governing authority protects and enhances the museum's collections and programs and its physical, human, and financial resources. It ensures that all these resources support the museum's mission, respond to the pluralism of society, and respect the diversity of the natural and cultural common wealth. Thus, the governing authority ensures that: • all those who work for or on behalf of a museum understand and support its mission and public trust responsibilities • its members understand and fulfill their trusteeship and act corporately, not as individuals
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• the museum's collections and programs and its physical, human, and financial resources are protected, maintained, and developed in support of the museum's mission • it is responsive to and represents the interests of society • it maintains the relationship with staff in which shared roles are recognized and separate responsibilities respected • working relationships among trustees, employees, and volunteers are based on equity and mutual respect • professional standards and practices inform and guide museum operations • policies are articulated and prudent oversight is practiced • governance promotes the public good rather than individual financial gain.
Collections
The distinctive character of museum ethics derives from the ownership, care, and use of objects, specimens, and living collections representing the world's natural and cultural common wealth. This stewardship of collections entails the highest public trust and carries with it the presumption of rightful ownership, permanence, care, documentation, accessibility, and responsible disposal. Thus, the museum ensures that: • collections in its custody support its mission and public trust responsibilities • collections in its custody are lawfully held, protected, secure, unencumbered, cared for, and preserved • collections in its custody are accounted for and documented • access to the collections and related information is permitted and regulated • acquisition, disposal, and loan activities are conducted in a manner that respects the protection and preservation of natural and cultural resources and discourages illicit trade in such materials • acquisition, disposal, and loan activities conform to its mission and public trust responsibilities • disposal of collections through sale, trade, or research activities is solely for the advancement of the museum's mission. Proceeds from the sale of nonliving collections are to be used consistent with the established standards of the museum's discipline, but in no event shall they be used for anything other than acquisition or direct care of collections. • the unique and special nature of human remains and funerary and sacred objects is recognized as the basis of all decisions concerning such collections • collections-related activities promote the public good rather than individual financial gain • competing claims of ownership that may be asserted in connection with objects in its custody should be handled openly, seriously, responsively and with respect for the dignity of all parties involved.
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Programs
Museums serve society by advancing an understanding and appreciation of the natural and cultural common wealth through exhibitions, research, scholarship, publications, and educational activities. These programs further the museum's mission and are responsive to the concerns, interests, and needs of society. Thus, the museum ensures that: • programs support its mission and public trust responsibilities • programs are founded on scholarship and marked by intellectual integrity • programs are accessible and encourage participation of the widest possible audience consistent with its mission and resources • programs respect pluralistic values, traditions, and concerns • revenue-producing activities and activities that involve relationships with external entities are compatible with the museum's mission and support its public trust responsibilities • programs promote the public good rather than individual financial gain.
Promulgation
This Code of Ethics for Museums was adopted by the Board of Directors of the American Association of Museums on November 12, 1993. The AAM Board of Directors recommends that each nonprofit museum member of the American Association of Museums adopt and promulgate its separate code of ethics, applying the Code of Ethics for Museums to its own institutional setting. A Committee on Ethics, nominated by the president of the AAM and confirmed by the Board of Directors, will be charged with two responsibilities: • establishing programs of information, education, and assistance to guide museums in developing their own codes of ethics • reviewing the Code of Ethics for Museums and periodically recommending refinements and revisions to the Board of Directors.
Afterword
In 1987 the Council of the American Association of Museums determined to revise the association's 1978 statement on ethics. The impetus for revision was recognition throughout the American museum community that the statement needed to be refined and strengthened in light of the expanded role of museums in society and a heightened awareness that the collection, preservation, and interpretation of natural and cultural heritages involve issues of significant concern to the American people. Following a series of group discussions and commentary by members of the AAM Council, the Accreditation Commission, and museum leaders throughout the country, the president of AAM appointed an Ethics Task Force to prepare a code of ethics. In its work, the Ethics Task Force was committed to codifying the common understanding of ethics in the museum profession and to establishing a framework
63 within which each institution could develop its own code. For guidance, the task force looked to the tradition of museum ethics and drew inspiration from AAM's first code of ethics, published in 1925 as Code of Ethics for Museum Workers, which states in its preface:
Museums, in the broadest sense, are institutions which hold their possessions in trust for mankind and for the future welfare of the [human] race. Their value is in direct proportion to the service they render the emotional and intellectual life of the people. The life of a museum worker is essentially one of service.
This commitment to service derived from nineteenth-century notions of the advancement and dissemination of knowledge that informed the founding documents of America's museums. George Brown Goode, a noted zoologist and first head of the United States National Museum, declared in 1889: The museums of the future in this democratic land should be adapted to the needs of the mechanic, the factory operator, the day laborer, the salesman, and the clerk, as much as to those of the professional man and the man of leisure. . . . In short, the public museum is, first of all, for the benefit of the public. John Cotton Dana, an early twentieth-century museum leader and director of the Newark Museum, promoted the concept of museum work as public service in essays with titles such as "Increasing the Usefulness of Museums" and "A Museum of Service." Dana believed that museums did not exist solely to gather and preserve collections. For him, they were important centers of enlightenment.
By the 1940s, Theodore Low, a strong proponent of museum education, detected a new concentration in the museum profession on scholarship and methodology. These concerns are reflected in Museum Ethics, published by AAM in 1978, which elaborated on relationships among staff, management, and governing authority. During the 1980s, Americans grew increasingly sensitive to the nation's cultural pluralism, concerned about the global environment, and vigilant regarding the public institutions. Rapid technological change, new public policies relating to nonprofit corporations, a troubled educational system, shifting patterns of private and public wealth, and increased financial pressures all called for a sharper delineation of museums' ethical responsibilities. In 1984 AAM's Commission on Museums for a New Century placed renewed emphasis on public service and education, and in 1986 the code of ethics adopted by the International Council of Museums (ICOM) put service to society at the center of museum responsibilities. ICOM defines museums as institutions "in the service of society and of its development" and holds that "employment by a museum, whether publicly or privately supported, is a public trust involving great responsibility."
Building upon this history, the Ethics Task Force produced several drafts of a Code of Ethics for Museums. These drafts were shared with the AAM Executive Committee and Board of Directors, and twice referred to the field for comment.
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Hundreds of individuals and representatives of professional organizations and museums of all types and sizes submitted thoughtful critiques. These critiques were instrumental in shaping the document submitted to the AAM Board of Directors, which adopted the code on May 18, 1991. However, despite the review process, when the adopted code was circulated, it soon became clear that the diversity of the museum field prevented immediate consensus on every point.
Therefore, at its November 1991 meeting, the AAM Board of Directors voted to postpone implementation of the Code of Ethics for at least one year. At the same meeting an Ethics Commission nominated by the AAM president was confirmed. The newly appointed commission — in addition to its other charges of establishing educational programs to guide museums in developing their own code of ethics and establishing procedures for addressing alleged violations of the code — was asked to review the code and recommend to the Board changes in either the code or its implementation.
The new Ethics Commission spent its first year reviewing the code and the hundreds of communications it had generated, and initiating additional dialogue. AAM institutional members were invited to comment further on the issues that were most divisive — the mode of implementation and the restrictions placed on funds from deaccessioned objects. Ethics Commission members also met in person with their colleagues at the annual and regional meetings, and an ad hoc meeting of museum directors was convened by the board president to examine the code's language regarding deaccessioning.
This process of review produced two alternatives for the board to consider at its May meeting: (1) to accept a new code developed by the Ethics Commission, or (2) to rewrite the sections of the 1991 code relating to use of funds from deaccessioning and mode of implementation. Following a very lively and involved discussion, the motion to reinstate the 1991 code with modified language was passed and a small committee met separately to make the necessary changes.
In addition, it was voted that the Ethics Commission be renamed the Committee on Ethics with responsibilities for establishing information and educational programs and reviewing the Code of Ethics for Museums and making periodic recommendations for revisions to the board. These final changes were approved by the board in November 1993 and are incorporated into this document, which is the AAM Code of Ethics for Museums.
Each nonprofit museum member of the American Association of Museums should subscribe to the AAM Code of Ethics for Museums. Subsequently, these museums should set about framing their own institutional codes of ethics, which should be in conformance with the AAM code and should expand on it through the elaboration of specific practices. This recommendation is made to these member institutions in
65 the belief that engaging the governing authority, staff, and volunteers in applying the AAM code to institutional settings will stimulate the development and maintenance of sound policies and procedures necessary to understanding and ensuring ethical behavior by institutions and by all who work for them or on their behalf.
With these steps, the American museum community expands its continuing effort to advance museum work through self-regulation. The Code of Ethics for Museums serves the interests of museums, their constituencies, and society. The primary goal of AAM is to encourage institutions to regulate the ethical behavior of members of their governing authority, employees, and volunteers. Formal adoption of an institutional code promotes higher and more consistent ethical standards. To this end, the Committee on Ethics will develop workshops, model codes, and publications. These and other forms of technical assistance will stimulate a dialogue about ethics throughout the museum community and provide guidance to museums in developing their institutional codes.
2000
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ADDENDUM B
State of California’s Unclaimed Loan Law (Civil Code 1899 – 1899.11)83
1899. The Legislature finds and declares as follows: (a) Many museums have benefited greatly from having property loaned to them for study or display. Problems have arisen, however, in connection with loans for indefinite or long terms, when museums and lenders have failed to maintain contact. Many of these problems could be avoided by a clarification and regularization of the rights and obligations of the parties to loans for indefinite or long terms. (b) An existing law, the Unclaimed Property Law (commencing with Section 1500 of the Code of Civil Procedure), is technically applicable to property on loan to a museum which has been left unclaimed by its owner for at least seven years. (c) While the Unclaimed Property Law addresses problems similar to those which arise in the museum context when the parties to loans fail to maintain contact, there is need for an alternative method of dealing with unclaimed property in the hands of museums, one tailored to the unique circumstances of unclaimed loans to museums. These circumstances include the likelihood that the unclaimed property has significant scientific, historical, aesthetic, or cultural value but does not have great monetary value; that the public's interest in the intangible values of unclaimed property loaned to museums can best be realized if title is transferred to the museums holding the property; that often lenders intend eventually to donate property but place it on indefinite or long term loan initially for tax and other reasons; and that many museums have incurred unreimbursed expenses in caring for and storing unclaimed loaned property. (d) There is an inherent tendency for the condition of tangible property to change over time. Loaned property often requires conservation work and conservation measures may be expensive or potentially detrimental to the property. Organic materials and specimens may serve as breeding grounds for insects, fungi, or diseases which threaten other more valuable property. (e) Museums cannot reasonably be expected to make decisions regarding conservation or disposition of loaned property at their own risk and expense. Over time, however, lenders die or move, and museums and lenders lose contact. If a lender has failed to maintain contact with a museum, it is often impossible to locate the lender so that the lender can make decisions regarding conservation or disposition of loaned property. (f) Since museums rarely relocate, it is easier for lenders, and those who claim through them, to notify museums of address or ownership changes so that museums can readily contact lenders when decisions must be made regarding conservation or
83 Loans to Museums for Indefinite or Long Terms, California Civil Code 1899 – 1899.11, http://www.leginfo.ca.gov/cgi-bin/displaycode?section=civ&group=01001-02000&file=1899-1899.11 accessed 7 April 2011.
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disposition of loaned property. (g) The best evidence of ownership of property on loan to a museum is generally the original loan receipt. The longer property remains on loan, the less likely it is that the original lender will claim it, and the more likely it is that any claim which is made will be made by someone who does not have the original loan receipt or other clear evidence of ownership. The state has a substantial interest in cutting off stale and uncertain claims to tangible personal property loaned to nonprofit and public museums. (h) Most of the tangible personal property which escheats to the state under the Unclaimed Property Law is found in safe deposit boxes. Although 40-50 percent of the intangible property which escheats to the state is subsequently claimed, less than 1 percent of escheated tangible personal property is claimed. Of the few claims which are presented to the Controller for tangible personal property, most are presented within two years of the date the Controller gives notice of the escheat. (i) The public interest is served by requiring lenders to notify museums of changes in address or ownership of loaned property, by establishing a uniform procedure for lenders to preserve their interests in property loaned to museums for indefinite or long terms, and by vesting title to unclaimed property on loan to museums in the museums which have custody of the property.
1899.1. For the purposes of this chapter: (a) A "museum" is an institution located in California and operated by a nonprofit corporation or public agency, primarily educational, scientific, or aesthetic in purpose, which owns, borrows, or cares for, and studies, archives, or exhibits property. (b) A "lender's address" is the most recent address as shown on the museum's records pertaining to the property on loan from the lender. (c) The terms "loan," "loaned," and "on loan" include all deposits of property with a museum which are not accompanied by a transfer of title to the property. (d) "Property" includes all tangible objects, animate and inanimate, under a museum's care which have intrinsic value to science, history, art, or culture, except that it does not include botanical or zoological specimens loaned to a museum for scientific research purposes.
1899.2. (a) When a museum is required to give a lender notice pursuant to the provisions of this chapter, the museum shall be deemed to have given a lender notice if the museum mails the notice to the lender at the lender's address and proof of receipt is received by the museum within 30 days from the date the notice was mailed. If the museum does not have an address for the lender, or if proof of receipt is not received by the museum, notice shall be deemed given if the museum publishes notice at least once a week for three successive weeks in a newspaper of general circulation in both the county in which the museum is located and the county of the lender's address, if any. (b) In addition to any other information prescribed in this chapter, notices given
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pursuant to it shall contain the lender's name, the lender's address, if known, the date of the loan and, if the notice is being given by the museum, the name, address, and telephone number of the appropriate office or official to be contacted at the museum for information regarding the loan. (c) For the purposes of this section, a museum is "located" in the county of a branch of the museum to which a loan is made. In all other instances, a museum is located in the county in which it has its principal place of business.
1899.3. (a) If, on or after January 1, 1984, a museum accepts a loan of property for an indefinite term, or for a term in excess of seven years, the museum shall inform the lender in writing at the time of the loan of the provisions of this chapter. A copy of the form notice prescribed in Section 1899.5, or a citation to this chapter, is adequate for this purpose. (b) Unless the loaned property is returned to the claimant, the museum shall retain for a period of not less than 25 years the original or an accurate copy of each notice filed by a claimant pursuant to Section 1899.4. (c) The museum shall furnish anyone who files a notice of intent to preserve an interest in property on loan proof of receipt of the notice by mailing an original receipt or a copy of the receipt portion of the form notice prescribed in Section 1899.5 to the lender or other claimant at the address given on the notice within 30 days of receiving the notice. (d) A museum shall give a lender prompt notice of any known injury to or loss of property on loan.
1899.4. (a) It is the responsibility of the owner of property on loan to a museum to notify the museum promptly in writing of any change of address or change in ownership of the property. Failure to notify the museum of these changes may result in the owner's loss of rights in the property. (b) The owner of property on loan to a museum may file with the museum a notice of intent to preserve an interest in the property as provided for in Section 1899.5. The filing of a notice of intent to preserve an interest in property on loan to a museum does not validate or make enforceable any claim which would be extinguished under the terms of a written loan agreement, or which would otherwise be invalid or unenforceable.
1899.5. (a) A notice of intent to preserve an interest in property on loan to a museum filed pursuant to this chapter shall be in writing, shall contain a description of the property adequate to enable the museum to identify the property, shall be accompanied by documentation sufficient to establish the claimant as owner of the property, and shall be signed under penalty of perjury by the claimant or by a person authorized to act on behalf of the claimant. (b) The museum need not retain a notice which does not meet the requirements set forth in subdivision (a). If, however, the museum does not intend to retain a notice for this reason, the museum shall promptly notify the claimant at the address given
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on the notice that it believes the notice is ineffective to preserve an interest, and the reasons therefor. The fact that the museum retains a notice shall not be construed to mean that the museum accepts the sufficiency or accuracy of the notice or that the notice is effective to preserve an interest in property on loan to the museum. (c) A notice of intent to preserve an interest in property on loan to a museum which is in substantially the following form, and contains the information and attachments described, satisfies the requirements of subdivision (a): NOTICE OF INTENT TO PRESERVE AN INTEREST IN PROPERTY ON LOAN TO A MUSEUM
TO THE LENDER: Section 1899.4 of the California Civil Code requires that you notify the museum promptly in writing of any change of address or ownership of the property. If the museum is unable to contact you regarding your loan, you may lose rights in the loaned property. If you choose to file this form with the museum to preserve your interest in the property, the museum is required to maintain it, or a copy of it, for 25 years. For full details, see Section 1899, et seq. of the California Civil Code. TO THE MUSEUM: You are hereby notified that the undersigned claims an interest in the property described herein.
Claimant Name: ______Address: ______Telephone: ______Social Security Number (optional): ______Museum Name: ______Date Property Loaned: ______Interest in Property:
If you are not the original lender, describe the origin of your interest in the property and attach a copy of any document creating your interest: ______
Description of Property: Unless an accurate, legible copy of the original loan receipt is attached, give a detailed description of the claimed property, including its nature and general characteristics and the museum registration number assigned to the property, if known, and attach any documentary evidence you have establishing the loan: Registration # ______
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Description: ______(Attach additional sheets if necessary.) I understand that I must promptly notify the museum in writing of any change of address or change in ownership of the loaned property.
I declare under penalty of perjury that to the best of my knowledge the information contained in this notice is true. Signed: ______(claimant) Date: ______
OR
I declare under penalty of perjury that I am authorized to act on behalf of the claimant and am informed and believe that the information contained in this notice is true. Signed: ______(claimant's representative) Date: ______
RECEIPT FOR NOTICE OF INTENT TO PRESERVE AN INTEREST IN PROPERTY
(For use by the museum.)
Notice received by: ______Date of receipt: ______Copy of receipt returned to claimant: By ______Date: ______
(d) Notices of intent to preserve an interest in property on loan to a museum filed pursuant to this chapter are exempt from the disclosure requirements of the California Public Records Act (commencing with Section 6250 of the Government Code).
1899.6. (a) Unless there is a written loan agreement to the contrary, a museum may apply conservation measures to or dispose of property on loan to the museum without a lender's permission if: (1) Immediate action is required to protect the property on loan or to protect other
71 property in the custody of the museum, or because the property on loan has become a hazard to the health and safety of the public or of the museum's staff, and: (A) The museum is unable to reach the lender at the lender's last address of record so that the museum and the lender can promptly agree upon a solution; or (B) The lender will not agree to the protective measures the museum recommends, yet is unwilling or unable to terminate the loan and retrieve the property. (2) In the case of a lender who cannot be contacted in person, the museum publishes a notice containing the information described in subdivision (a) of Section 1899.7 and there is no response for 120 days. (b) If a museum applies conservation measures to or disposes of property pursuant to subdivision (a):(1) The museum shall have a lien on the property and on the proceeds from any disposition thereof for the costs incurred by the museum; and (2) The museum shall not be liable for injury to or loss of the property: (A) If the museum had a reasonable belief at the time the action was taken that the action was necessary to protect the property on loan or other property in the custody of the museum, or that the property on loan constituted a hazard to the health and safety of the public or the museum's staff; and (B) If the museum applied conservation measures, the museum exercised reasonable care in the choice and application of the conservation measures.
1899.7. (a) Except as provided in subdivision (b), if a museum is unable to give the lender the notice required by subdivision (d) of Section 1899.3 of injury to or loss of property on loan by mail, the museum shall be deemed to have given the lender notice of any injury or loss if in addition to the information required by subdivision (b) of Section 1899.2 the published notice includes a statement containing substantially the following information:
"The records of ______(name of museum) indicate that you have property on loan to it. Your failure to notify it in writing of a change of address or ownership of property on loan or to contact it in writing regarding the loan may result in the loss of rights in the loaned property. See California Civil Code Sections 1899, et seq." (b) If, within three years of giving notice of injury to or loss of loaned property by publishing the notice set forth in subdivision (a), the museum receives a notice from a claimant pursuant to Section 1899.4, the museum shall promptly advise the claimant in writing of the nature of the injury to or the fact of the loss of property on loan and the approximate date thereof. For the purposes of the limitation period in Section 1899.8, if the museum mails the information to the claimant within 30 days of the date the museum receives the notice from the claimant, the museum shall be deemed to have given the claimant notice of the injury to or loss of property on loan on the date notice by publication pursuant to subdivision (a) was completed.
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1899.8. Effective January 1, 1985, no action shall be brought against a museum for damages because of injury to or loss of property loaned to the museum more than (1) three years from the date the museum gives the lender notice of the injury or loss, or (2) ten years from the date of the injury or loss, whichever occurs earlier.
1899.9. (a) A museum may give the lender notice of the museum's intent to terminate a loan which was made for an indefinite term, or which was made on or after January 1, 1984, for a term in excess of seven years. A notice of intent to terminate a loan given pursuant to this section shall include a statement containing substantially the following information: "The records of ______(name of museum) indicate that you have property on loan to it. The institution wishes to terminate the loan. You must contact the institution, establish your ownership of the property, and make arrangements to collect the property. If you fail to do so promptly, you will be deemed to have donated the property to the institution. See California Civil Code Sections 1899, et seq."
(b) For the purposes of this chapter, a loan for a specified term becomes a loan for an indefinite term if the property remains in the custody of the museum when the specified term expires.
1899.10. (a) The three-year limitation on actions to recover personal property prescribed in Code of Civil Procedure Section 338.3 shall run from the date the museum gives the lender notice of its intent to terminate the loan pursuant to Section 1899.9. (b) Except as provided in subdivision (e), effective January 1, 1985, no action shall be brought against a museum to recover property on loan when more than 25 years have passed from the date of the last written contact between the lender and the museum, as evidenced in the museum's records. (c) A lender shall be deemed to have donated loaned property to a museum if the lender fails to file an action to recover the property on loan to the museum within the periods specified in subdivisions (a) and (b). (d) One who purchases property from a museum acquires good title to the property if the museum represents that it has acquired title to the property pursuant to subdivision (c). (e) Notwithstanding subdivisions (b) and (c), a lender who was not given notice that the museum intended to terminate a loan and who proves that the museum received a notice of intent to preserve an interest in loaned property within the 25 years immediately preceding the date on which the lender's right to recover the property otherwise expired under subdivision (b) may recover the property or, if the property has been disposed of, the reasonable value of the property at the time the property was disposed of with interest at the rate on judgments set by the Legislature pursuant to Section 1 of Article XV of the California Constitution.
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1899.11. (a) The provisions of this chapter supersede the provisions of the Unclaimed Property Law (commencing with Section 1500 of the Code of Civil Procedure) except that at its option, a museum may report property which has been on loan unclaimed by its owner for more than seven years to the Controller pursuant to Section 1530 of the Code of Civil Procedure for disposition in accordance with the provisions of the Unclaimed Property Law. (b) Not less than six months or more than 12 months before reporting any loaned property to the Controller, a museum shall mail to the lender at the lender's address, if known, a notice of intent to report the property to the Controller. The notice shall include a statement containing substantially the following information:
"The records of ______(name of museum) indicate that you have property on loan to the institution. The institution wishes to terminate the loan. You must contact the institution, establish your ownership of the property and make arrangements to collect the property before ____ (fill in date) or the property will be disposed of in accordance with the provisions of the Unclaimed Property Law (commencing with Section 1500 of the Code of Civil Procedure)."
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ADDENDUM C
California Penal Code Section 490.584 1(f)(1) A merchant may detain a person for a reasonable time for the purpose of conducting an investigation in a reasonable manner whenever the merchant has probable cause to believe the person to be detained is attempting to unlawfully take or has unlawfully taken merchandise from the merchant's premises. A theater owner may detain a person for a reasonable time for the purpose of conducting an investigation in a reasonable manner whenever the theater owner has probable cause to believe the person to be detained is attempting to operate a video recording device within the premises of a motion picture theater without the authority of the owner of the theater. A person employed by a library facility may detain a person for a reasonable time for the purpose of conducting an investigation in a reasonable manner whenever the person employed by a library facility has probable cause to believe the person to be detained is attempting to unlawfully remove or has unlawfully removed books or library materials from the premises of the library facility. (2) In making the detention a merchant, theater owner, or a person employed by a library facility may use a reasonable amount of nondeadly force necessary to protect himself or herself and to prevent escape of the person detained or the loss of tangible or intangible property. (3) During the period of detention any items which a merchant or theater owner, or any items which a person employed by a library facility has probable cause to believe are unlawfully taken from the premises of the merchant or library facility, or recorded on theater premises, and which are in plain view may be examined by the merchant, theater owner, or person employed by a library facility for the purposes of ascertaining the ownership thereof. (4) A merchant, theater owner, a person employed by a library facility, or an agent thereof, having probable cause to believe the person detained was attempting to unlawfully take or has taken any item from the premises, or was attempting to operate a video recording device within the premises of a motion picture theater without the authority of the owner of the theater, may request the person detained to voluntarily surrender the item or recording. Should the person detained refuse to surrender the recording or item of which there is probable cause to believe has been recorded on or unlawfully taken from the premises, or attempted to be recorded or unlawfully taken from the premises, a limited and reasonable search may be conducted by those authorized to make the detention in order to recover the item. Only packages, shopping bags, handbags or other property in the immediate possession of the person detained, but not including any clothing worn by the person, may be searched pursuant to this subdivision.
84 Penal Code Section 490.5, http://www.leginfo.ca.gov/cgi-bin/displaycode?section=pen&group=00001- 01000&file=484-502.9 accessed 7 August 2010.
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Upon surrender or discovery of the item, the person detained may also be requested, but may not be required, to provide adequate proof of his or her true identity. Section 602.1. (6) A peace officer who accepts custody of a person arrested for an offense contained in this section may, subsequent to the arrest, search the person arrested and his or her immediate possessions for any item or items alleged to have been taken. (7) In any civil action brought by any person resulting from a detention or arrest by a merchant, it shall be a defense to such action that the merchant detaining or arresting such person had probable cause to believe that the person had stolen or attempted to steal merchandise and that the merchant acted reasonably under all the circumstances. In any civil action brought by any person resulting from a detention or arrest by a theater owner or person employed by a library facility, it shall be a defense to that action that the theater owner or person employed by a library facility detaining or arresting that person had probable cause to believe that the person was attempting to operate a video recording device within the premises of a motion picture theater without the authority of the owner of the theater or had stolen or attempted to steal books or library materials and that the person employed by a library facility acted reasonably under all the circumstances. (g) As used in this section: (1) "Merchandise" means any personal property, capable of manual delivery, displayed, held or offered for retail sale by a merchant. (2) "Merchant" means an owner or operator, and the agent, consignee, employee, lessee, or officer of an owner or operator, of any premises used for the retail purchase or sale of any personal property capable of manual delivery. (3) "Theater owner" means an owner or operator, and the agent, employee, consignee, lessee, or officer of an owner or operator, of any premises used for the exhibition or performance of motion pictures to the general public. (4) The terms "book or other library materials" include any book, plate, picture, photograph, engraving, painting, drawing, map, newspaper, magazine, pamphlet, broadside, manuscript, document, letter, public record, microform, sound recording, audiovisual material in any format, magnetic or other tape, electronic data- processing record, artifact, or other documentary, written or printed material regardless of physical form or characteristics, or any part thereof, belonging to, on loan to, or otherwise in the custody of a library facility. (5) The term "library facility" includes any public library; any library of an educational, historical or eleemosynary institution, organization or society; any museum; any repository of public records. (h) Any library facility shall post at its entrance and exit a conspicuous sign to read as follows: "IN ORDER TO PREVENT THE THEFT OF BOOKS AND LIBRARY MATERIALS, STATE LAW AUTHORIZES THE DETENTION FOR A REASONABLE PERIOD OF ANY PERSON USING THESE FACILITIES SUSPECTED OF COMMITTING "LIBRARY THEFT"(PENAL CODE SECTION 490.5).
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APPENDIX B
Collection Management
Procedure Manual
Emily Conrado April 2011
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Table Of Contents 1. Introduction ...... 78 1.1 Purpose of Procedures ...... 78 1.2 Forms ...... 78 1.3 Mission Statement ...... 78 1.4 Scope of Collections ...... 79
2. Acquisition, Accession and Deaccession Procedures ...... 80 2.1 Acquisitions ...... 80 2.2 Processing Accessions ...... 81 2.3 ‘Lost in Inventory’ Accessions ...... 81 2.4 Deaccession and Disposition Procedure ...... 82 2.5 Creating Accession Records in PastPerfect ...... 84
3. Found in Collection (FIC) Procedure ...... 94
4. Processing and Cataloging Collections ...... 98 4.1 Box Labels ...... 98 4.2 Processing Miscellaneous/Multiple Collections ...... 98 4.3 Processing New Collections ...... 99 4.4 Processing ‘Lost in Inventory’ Collections ...... 100
5. Loans ...... 103 5.1 Outgoing Loan Procedure ...... 103 5.2 Incoming Loan Procedure ...... 103 5.3 Resolving Unclaimed Loans ...... 105 5.4 Loan Repossession Procedure ...... 106
6. Access and Use ...... 135 6.1 Conditions of Use ...... 135 6.2 Researcher Registration ...... 136 6.3 Photograph Reproduction Procedure ...... 136
7. Exhibits ...... 144 7.1 Item Tracking ...... 144 7.2 Labels ...... 144 7.3 Travelling Exhibits ...... 145
8. Volunteer Program ...... 152
9. Facility Use Procedure ...... 159
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1. Introduction 1.1 Purpose of Procedures The purpose of these procedures is to guide staff and volunteers in carrying out the policies described in the Collection Management Policy Manual.
The collections held by the Museum are stored in the archive. They are rotated through the Museum on exhibit for a specified amount of time. Upon completion of the exhibit, the objects will be returned to their designated storage space.
The Museum Procedure is in place to ensure cohesiveness and continuity throughout the exhibits and other programs that extend beyond the collection.
Note: Each section in these procedures corresponds to sections in the Collection Management Policy Manual.
1.2 Forms Sample forms that correspond with these procedures follow each section. These will guide staff and volunteers in filling out the forms or assisting visitors in filling out the forms. All forms are located on the Archive Computer:
Desktop Museum Forms Folder will correspond with section title
Most forms are in interactive Adobe Acrobat PDF. Staff and visitors may fill them out on the computer and print them; however, signatures may not be printed and must be original. In certain circumstances these forms may be posted on the Museum’s webpage; however, all signatures must be original so interested parties must print and sign the forms where necessary.
All forms will have originals in Microsoft Word. These forms can be changed as circumstances necessitate but must only be changed by the Museum Director or Archive Manager. These forms can be found on the Archive Computer:
Desktop Museum Forms Microsoft Word Final Forms
1.3 Mission Statement The Sacramento Valley Museum Association is dedicated to collecting, preserving, and promoting interest in the historical development of the Sacramento Valley during the mid 19th and mid 20th centuries. This collection strives to connect a rich multi-cultural history of the area with the community that has been built since and exists today.
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1.4 Scope of Collections The Museum’s permanent collection includes exhibited items, materials from the Archive, and stored items. These items are rotated through the Museum as exhibits as time and resources permit. Below are some examples of the many aspects of the Museum and Archive Collection.
• Photographs: Many photographs of varying technology, including daguerreotype, ambrotype, tintype, jewel tintype, stereoscope, glass plate negative, carte-de-visite, cabinet card, mounted photographs, and paper photographs. Our extensive photograph collection spans from the 1850’s to the early 1930’s, with a few from 1940 – 1970.
• Manuscripts (paper collections): Comprised of personal papers that include deeds, legal documents, correspondence (letters, postcards, and greeting cards), maps, schoolwork, and other personal items.
• Newspapers: Newspapers from each town in Colusa County, including some Sacramento newspapers.
• Bound volumes: Registers, ledgers, and minutes from various organizations and businesses.
• Textiles: Includes clothing and quilts.
• Williams Union High School Alumni Room: This permanent exhibit commemorates the students who attended high school in the building from 1911 to 1959.
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2. Acquisition, Accession and Deaccession Procedures Note: Corresponds to Sections 3 and 4 of the Museum’s Collection Management Policy Manual.
2.1 Acquisitions Note: With very few exceptions, all acquisitions are unconditional. The Museum cannot accept objects on which the owner has placed restrictions that would prevent effective research examination, normal exhibition use, loan, or disposition in accordance with the Collection Management Policy Manual of the Sacramento Valley Museum.
Step 1: Contact Museum Director or Archive Manager: Individuals or institutions desiring to donate objects to the Museum must first contact the Museum Director or the Archive Manager.
Step 2: Review of Potential Gift: The Museum Director or Archive Manager will make arrangements for the individual or representative of the institution to bring the potential gift to the Museum. In specific cases a Museum representative will go to the potential donor.
Step 3: Provide Potential Donor with Museum’s Mission Statement: The Museum representative will provide the potential donor with a copy of the Museum’s mission statement (Section 1.2) and scope of collections(Section 2.2).
Step 4: Appraise Donation: The Museum representative will appraise the donation for its historical and informational value. This evaluation includes making sure the acquisition adheres to the Museum’s mission statement (Section 1.2) and scope of collections (Section 2.2). In this case, the appraisal is for historic and informational value ONLY.
Step 5: Complete Inventory and Paperwork: The Museum representative will then fill out a Receipt of Potential Gift. This form includes a detailed description of the object or objects, including a complete inventory. A complete inventory by the Museum Representative will be completed based on the information on this form.
Step 6: Decide to Accession or Return to Potential Donor: This decision must be made by the Museum Director or Archive Manager; in certain cases, the Board of Trustees will be consulted.
Step 7: Contact Potential Donor: Once Museum staff complete an inventory of the potential donation, the donor will be contacted to discuss transfer of part or all of the collection to the Museum.
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2.2 Processing Accessions Upon acceptance of the collection, the donor must sign a Deed of Gift transferring all ownership of property to the Sacramento Valley Museum. Once the Deed of Gift is signed and transfer of ownership is complete, the collection must be processed within a reasonable amount of time. The procedure for processing accessions is as follows:
Step 1: Create donor file: This file is where all paperwork on the donor and the collection will be kept. These files are arranged by donor’s last name and are to be labeled as follows: Doe, John Acc # YYYY/NNN
Step 2: Assign accession number: This unique accession number must be in the format YYYY-NNN, e.g. 2010.005. The first four digits indicate the year in which the collection was transferred to the Museum. The next three digits are assigned sequentially throughout the year and start at 001 again the next year. For instance, 2010.005 represents the fifth acquisition in the year 2010. • See Accession Disbursement Log to avoid duplication.
Step 3: Fill out Accession Worksheet: This worksheet MUST contain the following information: • Accession number • Name of collection being acquired • Summary of contacts with owner or administrator; names and dates • Number of containers, e.g. boxes, binders, books • Circumstances of acquisition, including dates and names of people involved • Date and signature of Museum Director or Archive Manager • Provenance of collection, or a brief summary of the history of the collection
Step 4: Create Accession record in PastPerfect. For instructions on cataloguing in PastPerfect, please see the end of this section.
Step 5: Complete File: Ensure copies of the Accession Worksheet, Deed of Gift, Receipt of Potential Gift and any inventories are in the Donor File (located in Archive filing cabinet).
2.3 ‘Lost in Inventory’ Accessions Some accessions were previously acquired and accessioned but have since been split apart and now are interfiled with the rest of the collection. Putting these collections
82 back together is a goal of the Museum but there are higher priority issues to deal with first. For example, safe housing and storage of the collections and inventorying the entire collection are currently two of the highest priorities.
Currently the process is: • If you are processing a box or pile of items, separate them based on accessions status (Accession #, No Accession #, 900 Unknown Donor). • The items with Accession #’s will be ‘Lost in Inventory’. • Take each object one at a time and process them according to Section 4 of this manual. • Check PastPerfect Museum Software to make sure a record for that Accession exists (See Section 2.5 of this section). • Complete Section 4.
2.4 Deaccession and Disposition Procedure Deaccession is the formal change in recorded status of an object. Disposition is the resulting action taken after a deaccession decision. The Code of Ethics for Museums states that the “disposal of collections through sale, trade, or research activities is solely for the advancement of the museum’s mission.”85 The Museum uses discretion in deaccession and disposition, ensuring that decisions are made to ensure the benefit to the Museum and its collection.
The Museum utilizes the Deaccession Form when making decisions on deaccession and disposition. Be sure to fill out this form completely and attach copies of all documentation, such as original accession or loan paperwork. ∗ Filing the Form: This form must be located two places: the original donor’s file and the Museum’s Deaccession File. Below are instructions: • Please make one copy of the form. • File the original in the Deaccession File. File alphabetically under donor’s last name. • File the copy in the donor’s file. These files can be found in the Donor files and are arranged alphabetically by donor’s last name.
This form is crafted after and closely adheres to the Museum’s approved Deaccession and Disposition Policy, as seen below:
85 American Association of Museums, Code of Ethics for Museums, http://www.aam- us.org/museumresources/ethics/.
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• Deaccession Criteria The Museum will only deaccession an object for these reasons, without exception:
∗ Condition: The object has deteriorated so much that its historical value has been lost, it is no longer suitable for exhibit, or it is beyond the possibility of repair or restoration. Cost of Care: The cost of care is such that the Museum can no longer store, protect, or preserve the object. ∗ Inaccurate Documentation: The documentation of the object has been determined to be inaccurate or fraudulent. ∗ Mission: The object is not appropriate to the Museum’s mission. ∗ Loss of Documentation: Loss of documentation that affects the object’s authenticity, provenance, or association. ∗ Not Within Scope of Collection: Objects were accepted as part of an accession but are not within the scope of the collection. ∗ Health Risk: Objects that present an immediate health risk to staff, volunteers, or visitors will be immediately separated from the collection and disposed of. These objects may contain mold, poisons, or other harmful fungus.
• Disposition of Deaccessioned Objects The Museum will only dispose of deaccessioned objects in these ways, without exception: ∗ Exchange: Objects might be exchanged with a dealer or a nonprofit institution. ∗ Sale at Public Auction: Sale will be handled by a disinterested third party to avoid conflict-of-interest or appearance of conflict-of-interest. ∗ Sale through a Reputable Dealer: Sale will be handled by a disinterested third party to avoid conflict-of-interest or appearance of conflict-of-interest. ∗ Return to Donor: In some cases an object will be returned to the donor or the donor’s heirs. ∗ Transfer: An object will be donated to another non-profit institution whose mission statement or collection scope is more appropriate.
Deaccession and disposition approvals can ONLY be made by the Museum Director and at least one member of the Board of Trustees. Terms and conditions of disposition are as follows:
• The Museum will not dispose of deaccessioned objects in the following ways: *Sale in the Museum Gift Shop.
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*Sale to a staff member or member of the Board of Trustees. *Transfer to a staff member or member of the Board of Trustees.
• Proceeds from the sale of deaccessioned objects will be used only for direct care of the Museum’s collection. The Sacramento Valley Museum Association’s definition of direct care includes: *Preventive conservation *Conservation and preservation supplies (e.g. acid-free housing materials, storage furniture) *Monitoring and regulating climatic conditions in storage and exhibit *Computer hardware and software for documentation and collection management *Reference materials relating to the care and documentation of collections *Staff training and development
2.5 Creating Accession Records in PastPerfect Note: Deaccession records will only be entered by the Museum Director, Board of Trustees, or Archive Manager.
• Items or collections can only be entered into PastPerfect if they have an accession number. Please use the directions that immediately follow this section to enter Accession records into PastPerfect. • Please use these directions to enter both new accessions and accessions previously acquired but that have not been entered yet.
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3. Found in Collection (FIC) Procedure Note: Corresponds to Section 3.4 of the Museum’s Collection Management Policy Manual.
As stated in Section 3.4 (Found in Collection Policy), undocumented objects that have no identifying numbers and no information or characteristics that may connect them to the records of the permanent collection are known as Found in Collection and are considered to be the property of the Museum. Some FIC objects have been given numbers in previous years (see note below); however, many undocumented objects remain in the collection. The Museum will make every attempt to reconcile undocumented objects to existing records; however, objects that cannot be reconciled will be considered FIC.
Note: Objects found in the collection in previous years have accession forms and have been given accession numbers in the 900’s. These numbers should not be changed, but should be considered FIC. They can be found in the Donor Files under FIC.
Below are procedures to follow when handling FIC objects/collections:
Note: Please fill out Found In Collection/Undocumented Object Documentation Form when completing the steps below.
Step 1: Search object thoroughly for any identifying information: Be sure to search every part of the object and any housing material for identifying numbers. If none are found, begin FIC procedure.
Step 2: Assign and apply a tracking number: Objects without documentation should be assigned a tracking number immediately. Since the Museum considers these objects property of the Museum this tracking number will also serve as the object’s accession number. -Previously Recorded FIC: DO NOT change FIC objects already given accession numbers, mainly in the 900’s and known as “Unknown Donor”. -Current FIC: Numbers should include 900 (FIC tracking number), current year, and object number. Example: 900.2010.001 -To avoid duplicating numbers, please see the FIC Tracking Number Log to assign the tracking number. Be sure to log the tracking number you assign at the end of the list.
Step 3: Gather basic registration information: -Description: Record as much information about the object as possible. Include characteristics that can differentiate it from other objects.
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-Measurement -Condition Report
Step 4: Complete an institutional search for records: Search donor files and record comments from staff who may recall details about the object for the FIC file. Record any information found and sign and date the FIC documentation form (form immediately follows this section).
Step 5: If original documentation is found: • Affirm and apply original accession number • Retire FIC number – DO NOT RE-USE FIC NUMBER • File in FIC Files, notate on file’s label that FIC number is retired and original accession paperwork has been found. • Make a copy of FIC paperwork and file in the Donor File of the original accession. Be sure to include a copy of ALL paperwork from the object’s FIC file. • If possible, place object back in original collection, utilizing original inventory. • Place accession records back in Donor File under donor’s last name.
Step 6: If original documentation cannot be found: • The Museum Director will decide whether to accession or deaccession and dispose of the object. • If the decision is to accession, the object must be added to the permanent collection using the FIC number as tracking and accession number. Accession the object according to the Museum’s approved policy. • If the decision is to deaccession and dispose, follow the Museum’s official deaccession policy. Since the Museum considers FIC objects property of the Museum, they MUST go through the complete deaccession and disposal process. • Whether accessioned or deaccessioned, place completed paperwork in FIC object file and file by FIC number.
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4. Processing and Cataloging Collections This procedure explains how to inventory and process collections. In this case “process” means housing the collections in the safest way possible with the resources the Museum has available.
The procedures below explain how to: • Catalogue new accessions • Process collections that have been accessioned but not housed correctly • Process objects that have no accession numbers • Process objects that are classified as Found in Collection (see note below).
Note: Please see Section 3 of this manual for the Museum’s Found in Collection (FIC) procedure. This procedure pertains to objects that have no numbering and no accompanying documentation can be found. Once the directions in Section 3 have been completed, the following procedure can be followed to create inventories and records in PastPerfect.
4.1 Box Labels Box labels are kept in the New Box Disbursement Binder. When assigning a new box number, do not forget to fill out the log also kept in the New Box Disbursement Binder. Multiple collections may be housed in one box, however all collections in one box must have the same accession status. For example, all collections in one box must have an accession number, all must have no accession number, or all must be FIC (see note above). • The accession status of the objects/collections will be highlighted at the bottom of the box label, as follows: ∗ Accession # - Yellow Highlighter ∗ No Accession # - Blue Highlighter ∗ FIC/Unknown Donor – Green Highlighter • Objects with different accession numbers can go together, but please try to keep objects/collections with the same accession status together.
4.2 Processing Miscellaneous/Multiple Collections In many cases, processing will involve selecting a group of random objects to process. These groups could include a mixture of many different accession numbers and many may not have accession numbers at all. The procedure for processing miscellaneous items is very similar to the procedure above, with a few exceptions. Follow the procedures below:
Step 1: If items are in a box, remove them carefully. Separate items by category: accession number, no accession number, and FIC/Unknown Donor. Please keep any documentation that may be with the collections. Attach any original
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documentation to the Collection Inventory Form that will correspond with the new box the collection will go into.
Step 2: Process each group according to Section 4.3 below, making sure to keep the categories separate.
4.3 Processing New Collections Please follow the procedures below to catalogue objects/collections:
• At this point the object/collection must be carefully inventoried using the Collection Inventory Form. Lay each item on the table in front of you and be sure you have enough room to process. Please take the following steps while inventorying: Step 1: Work on one item at a time and use archival supplies to process the collection as you inventory. Consider what supplies you will need before you begin. Please follow the guidelines below when processing: ∗ If the collection is mostly paper records, you will need folders, at least one archival banker’s box, and a pencil. ∗ If there are objects in the collection, you will need acid free tissue, foam, twill tape, labels, and possibly an acid free banker’s box. ∗ If any item is too large for a banker’s box, please see the Museum Director or Archive Manager for assistance. ∗ Always use gloves when handling items. o Exceptions: Do not use gloves when handling china. o Always use nitrile gloves when handling Native American objects. ∗ The Museum Director or Archive Manager will help procure all necessary supplies before you begin processing the collection. ∗ If need be, the Museum Director or Archive Manager will also demonstrate how each item should be preserved while being processed, including affixing accession numbers for tracking. ∗ Note: If anything in the collection is potentially hazardous, please do not touch or handle at all. Potentially hazardous materials include anything with visible mold, poisonous liquids or powders, or anything that could potentially be explosive.
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Step 2: Add each item to the Collection Inventory Form as you process. The description should be clear enough for another person to identify the object by sight. When necessary please use descriptive notations such as color, material, measurements, shape, etc. ∗ Note: At this point, leave the “Location” column blank. Step 3: As you process each item, place it carefully in the archival banker’s box. Each box should have its own inventory, so when one box is full please begin another inventory before beginning another box.
Step 4: When beginning a new box, please do the following: ∗ Each box must have its own distinct number. To avoid duplication, please see Box # Distribution Log and go to the next available number. Fill in all information. ∗ Box labels are located in the front pocket of the Box # Distribution Log. Find your box number and cut it off the sheet. ∗ Highlight the accession status on the bottom of the box label using the corresponding color (see Section 4.1 Box Labels above). ∗ Affix the label to front center of the box using clear adhesive pockets. ∗ Be sure to notate the new box number on the Collection Inventory Form.
Step 5: When all items in the collection have been processed, work with the Museum Director to find shelf space adequate to store the entire collection. ∗ In the “Location” column in the Collection Inventory Form, record where the collection will be housed. ∗ Begin with what room, then notate Row # and Shelf #. -Example: Archive, 1.3 (Archive, Shelf 1, Row 3)
Step 6: When you are finished processing the collection, make one additional copy of each inventory sheet. ∗ Place the copy inside the box. ∗ Place the original in the New Box Inventories Binder. Be sure to follow chronological order when placing inventories in the binder.
4.4 Processing ‘Lost in Inventory’ Collections In many cases, accessions that arrived at the Museum together have since been separated. While the final goal is to put those collections back together, there are more pressing issues to be dealt with. Currently inventorying the entire collection
101 and safely housing everything are higher priorities. Once all items are safely stored and inventoried, then the process of putting collections back together can begin.
Note: Please follow Sections 4.2 and 4.3 when working with a group of items that have different accession numbers and different accession statuses.
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5. Loans Note: Corresponds to Section 5 of the Museum’s Collection Policy Manual.
5.1 Outgoing Loan Procedure The Museum does not loan any objects or collections except in the following circumstances: • Loans to institutions or organizations, for specified and documented purpose such as research or special events • For exhibition for a specified period, subject to proper amount of exposure time of objects.
All outgoing loans are subject to the approval of the Museum Director. In special circumstances, outgoing loans will be subject to the approval of the Board of Trustees.
Loans of Museum objects will not be made to individuals. Institutions or organizations desiring to borrow objects must follow these steps:
Step 1: Contact the Museum Director.
Step 2: Fill out an Outgoing Loan Agreement. Make sure the borrower reads and understands the terms of the loan, located on the back of the form, before signing.
Step 3: Create file for the loan. • Label: Outgoing Loan, Name of Institution • Be sure to file ALL documents pertaining to this loan in this file. • File in Loan File alphabetically under name of institution.
Step 4: At this point the authorized personnel of the borrowing institution must fill out a Standard Facility Report. This report asks very detailed questions about the borrowing institution and its practices. Not all the questions will apply to every institution, but the authorized staff member must do their best to answer all that do apply.
Step 5: Make arrangements with Museum Director for pick-up/transfer of desired object(s). Fill out the Release of Objects form. Please inventory each object that is included in the outgoing loan. Include short note on condition (e.g. good, poor, etc.). • If necessary, please use Collection Inventory Form. At the top notate “Outgoing Loan – Name of Institution” then create inventory.
5.2 Incoming Loan Procedure The Museum does not accept loans except in the following circumstances:
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• Loans from institutions or organizations, which will be used for specified and documented purpose, such as research, exhibit or special events • For exhibition for a specified period of time, in which a credit line will be given to the owner
Permanent or long-term loans will not be accepted, under any condition. When accepting an incoming loan, follow the steps below:
Step 1: Contact the Museum Director. All incoming loans are subject to the approval of the Museum Director. In special circumstances, incoming loans will be subject to the approval of the Board of Trustees.
Step 2: Fill out an Incoming Loan Agreement. Make sure the lender reads and understands the terms of the loan, located on the back of the form, before signing.
Step 3: Make arrangements with Museum Director for pick-up/transfer of desired objects.
Step 4: Before the loaned objects arrive, assign a temporary loan number to the group. Loan numbers are different from accession and FIC numbers. The entire loan is given one group number. • Numbers should include L, the group number, and the current year. Please be sure to keep all objects from the same lender together. Example: L1.2010 • To avoid duplicating numbers, please see Incoming Loan Tracking Number Log to assign the number. Be sure to log the tracking number you assign at the end of the list.
Step 5: When the objects arrive, please be sure to do two things: • Fill out Receipt of Objects form. Be sure to have the lender’s authorized individual sign before they leave the borrowed objects at the Museum. ∗ This form will be completed when a full inventory of each object is taken. For now just fill in the necessary information and be sure both Museum Director and lender’s authorized personnel signs the form. • Safely affix the temporary tracking number to each object.
Step 6: Create file for the loan. • Label: Name of Institution, Name of authorizing individual Loan Tracking Number
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• File in Loan File alphabetically by name of institution. • Be sure to file ALL paperwork related to this loan in this file.
Step 7: While numbering the loaned objects, please complete Receipt of Objects form. If there are multiple objects, use Collection Inventory Form (see Section 4). Notate at top “Incoming Loan – Name of lending institution.” • Cross out ‘New Box’ and input loan tracking number. • Describe each object. • Under ‘location’ notate where each object will be stored or displayed.
Step 7: Photograph each object in the loan from all sides. Print and include in loan file.
5.3 Resolving Unclaimed Loans Although the Museum no longer accepts loans, there are objects/collections that were originally accepted as loans prior to 2004. The Museum will hold and care for objects/collections of this status as long as reasonably possible. It is the goal of the Museum to hold legal title on all objects in its collection, therefore termination of these unclaimed loans is necessary. The definition of termination in this case simply means termination of the loan agreement; this would entail either return to the rightful owner or heir or accession into the Museum collection.
If a visitor requests return of loaned property and believes they have an interest in that property, please see the Museum’s Loan Repossession Procedure, Section 4.4 of this manual.
The procedure to resolve unclaimed loans is as follows:
Note: Fill out the Resolving Expired or Indefinite Loans form and attach all documentation while completing these steps.
Step 1: Review and copy all original accession paperwork, which is the loan paperwork. Look for the name, address, and telephone number of the original lender. The original accession paperwork can be found in the Donor Files under Loans.
Step 2: If accession paperwork cannot be found or the original lender is listed as deceased, ask Museum staff if they can help locate any heirs. Note: If the lender’s address is still unknown, skip to Step 5.
Step 3: If the lender or heir’s address is known, send termination letter to lender’s last known address. Please use Letter to Resolve Loan template found in the
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Museum Forms folder on the desktop of the archive computer. Send certified mail and request return receipt. Keep return receipt with lender’s file.
Step 4: If the letter is received and there is no response from the lender, send a second termination letter, certified mail and request return receipt. If there is still no response, send a third termination letter after 45 days and alert the lender that the Museum is claiming title to the loaned property.
Step 5: If the letter is returned undelivered or the lender’s address is still unknown, research as much as possible to find the lender or heirs of the lender. Check the telephone directory, any social registers, probate records, register of wills, obituaries in local papers, Department of Vital Statistics (death records), and tax records.
Step 6: If the lender or heir of the lender still cannot be located, publish a notice in the newspaper in the county of the lender’s last known address and where the Museum is located. If the rightful owner or heirs of the rightful owner still cannot be located, publish the same notice twice more.
Step 7: If the above steps have been taken and the lender either does not respond or cannot be found, follow the Museum’s approved procedures in adding the object or objects to the collection. Some objects will already have accession numbers on them, but current accession paperwork must be drawn up.
Step 8: This step is very important. If at any time during the process of resolving an unclaimed loan an individual comes in claiming to be the owner or rightful heir to the owner of the property, they must show proof. Please see the next section for steps to take before returning any property to any individual.
*The above step is very important because returning the property to the wrong party may open the Museum up to liability for a claim brought by the rightful owner or the rightful heir.
5.4 Loan Repossession Procedure Although the Sacramento Valley Museum stopped accepting objects on loan in 2004, there are still many items that were taken before that date. The process for retrieving loans is complicated because many original donors have passed away. Therefore, the Museum follows California Civil Code Section 1899 – 1899.11 when dealing with any loan repossession procedures. We can facilitate a copy of the Code to any visitor expressing an interest in repossessing a loan. Below are the steps to be taken if a visitor requests that items be returned:
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Step 1: Find out the name of the original donor and try to locate the original accession sheet. These can be found in the Donor Files under Loans.
Step 2: If the original accession sheet cannot be found, ask the visitor if they have a copy of the original accession sheet (a copy was given at the time of the donation). If they do not, explain to the visitor that due to an antiquated filing system many original accession sheets have been misplaced over the years. Take a description of the items and an address or phone number and tell the visitor you will get back to them if you are able to locate their items.
Step 3: Look at the date the original loan was made. California Civil Code 1899.10 states that “no action shall be brought against a museum to recover property on loan when more than 25 years have passed from the date of the last written contact between the lender and the museum, as evidenced in the museum records.”
Step 4: If 25 years has passed, explain 1899.10 to the visitor. The law assumes that the loan becomes a donation if the lender fails to file an action to recover the property on loan to the museum within 25 years.
Step 5: If 25 years has not passed, make sure the visitor is the original donor. If they are not, they must file a Notice of Intent to Preserve an Interest in Property on Loan to a Museum. After filing, the Museum will decide if the claimant has an interest in the property. If they do, the Museum may return said property to them. If they do not, the Museum must decline to return property to them.
Step 6: After receiving completed Notice of Intent to Preserve Interest form from visitor, fill out Receipt for Notice of Intent to Preserve an Interest in Property (Form 10.10b). Retain copy and give original to visitor.
Step 7: Museum Director ONLY: If the objects will be returned to the owner or owner’s heir, fill out Release of Object form and make arrangements to safely transport the items to the owner.
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6. Access and Use Note: Corresponds with Section 7 of the Museum’s Collection Management Policy Manual.
6.1 Conditions of Use ONE SIGNED COPY OF THESE CONDITIONS WILL BE GIVEN TO EACH RESEARCHER WHEN THEY ARRIVE FOR THEIR APPOINTMENT
• Research at the Museum is by appointment only. • No containers of any type are allowed in the reading room or archive. These include (but are not limited to) purses, handbags, backpacks, fanny packs, envelopes, and all notebooks containing pockets. These items and coats and umbrellas must be stored in a locker on the top floor entrance area. Museum staff will provide researchers with a key to a locker upon arrival. • Pens are not allowed. Only pencil, typewriters, or laptop computers may be used in reading room and archive. • Scanners and digital cameras are allowed in the reading room as long as the collection being researched is in good condition. Please apprise staff of what you will be bringing before your appointment. • Photocopies and reproductions of materials can be made by staff upon request (Please see Reproduction Order Form). • Cell phones are not permitted in the reading room. Please make cell phone calls outside the reading room or archive. • Pencils, paper, pencil sharpeners, rulers, magnifying glasses, and other tools to assist you with your research are available upon request. • Smoking, eating, and drinking are prohibited in the reading room and archive. • Museum collections are non-circulating; they may not be checked out or removed from the building for any reason. • Handle collection material with extreme care. Keep materials flat on the table. • No marks may be made in Museum materials. • Cotton gloves must be used when handling all photographic and manuscript material. Museum staff will provide researchers with gloves. • Museum staff will assist researchers in handling microfilm, artifacts, or other non-print material. • Use one box, folder, or item at a time. Use slips of paper provided by Museum staff as placeholder for folders removed from boxes. • Leave all items in boxes or folders in their original order. If an item is out of order, please bring it to the attention of Museum staff and DO NOT rearrange materials yourself. • All reading room activities are monitored by Museum staff.
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• All reproduction and use fees must be paid at time of service. • The Museum reserves the right to inspect any briefcase, typewriter case, handbag, parcel, notebook, book, or other personal property before they are removed from the premises, per Penal Code Section 490.5 (See Collection Management Policy, Addendum C). • It is the policy of the Sacramento Valley Museum to fully cooperate with the public and honor our obligation under law to provide public access to documents which are public records, while protecting individuals’ privacy rights.
6.2 Researcher Registration Step 1: Research in the Museum Reading Room is by appointment only. Researchers must call and make an appointment. When a researcher calls, please ask them what subject they would like to research. Many times researchers have specific collections or objects in mind, such as newspapers or yearbooks.
Step 2: When a visitor arrives to research in the Reading Room, have them fill out a Researcher Registration Form. This form allows the Museum to keep track of researchers and how they will potentially be using the collection.
Step 3: A staff member or volunteer must be present at all times while visitors or researchers are in the Reading Room or Archive. This is for security purposes and so any questions may be answered.
6.3 Photograph Reproduction Procedure Note: Corresponds with Section 7.6 of the Museum’s Collection Management Policy Manual.
The Museum holds over 200 photographic images in its collection. The Museum guarantees researchers access to its photograph collection, however there are some conditions to reproduction and image use.
Reproduction: Reproductions of the photograph collection for educational purposes and/or non-commercial use will be allowed if there are no donor or legal restrictions on the collection and/or if the reproduction will not harm the photograph. A current fee schedule for commercial reproduction can be provided upon request. The Museum Director will have authority for approvals. Detailed information on the Museum’s reproduction procedure and fees can be found on the Photograph Reproduction Order Form.
Image Use: Use of images under copyright of the Museum will be made on a case by case basis only. Any approved images may be used once only. Any
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additional use requires written permission and/or additional fees. Detailed information on the Museum’s image use procedures and fees can be found on the Image Use Information Form.
If a visitor or guest would like to have a copy or reproduction of any image owned by the Museum, the following procedures must be followed: Note: All forms can be found in the Museum Forms folder on the desktop of the Archive Computer.
Step 1: Make sure the photograph is either already scanned or is not too fragile to be scanned.
Step 2: Ask the requestor what the intended use will be for the image. If only the image is required, and not a reproduction, provide the requestor with the Image Use Information Form and the Image Use Permission Form. Make sure the requestor reads and understands both forms before completing any transaction.
Step 3: If the requestor would like a reproduction of the image, provide them with the Reproduction Order Form. Make sure the requestor reads and understands all forms before completing any transaction.
Step 4: Before any images or reproductions are made available the all forms must be signed and payment must be received. Make one copy for the requestor and file the original under Photograph Image and Reproduction Orders in the office filing cabinet.
Step 5: Regular copies can be made immediately upon request but photograph quality reproductions may take up to two weeks to process. The final product will be mailed to the address on the Reproduction Order Form.
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7. Exhibits Exhibits are an imperative aspect of community access to the Museum’s collection. In order to display samples of the Museum’s large collection and relate the history of the region, exhibits must be carefully thought out and planned. Due to the highly interpretive nature of exhibits, there is no step by step instructions on how to create one. However, the Museum has specific guidelines in place to promote continuity and flow through all exhibits.
7.1 Item Tracking Directions on how to catalogue exhibits in PastPerfect immediately follow Section 7.
All items that are displayed in exhibits must be tracked using PastPerfect Museum Software. This program is on the Archive computer in the “Archive Databases” folder found on the desktop. Instructions on cataloging exhibits into PastPerfect can be found at the end of Section 11. In order to properly track items, follow the guidelines below:
• Keep a running list of items that will be used in the exhibit. Use the Exhibit Item Inventory. Many objects will not have numbers or identifying markers, so in those cases it is important to describe the item so they are identifiable by sight. • If there are additional items that need to be inventoried, make sure to notate that in the “Note” section of the Exhibit Catalog in PastPerfect.
7.2 Labels All labels in any exhibit must be kept as concise as possible while still conveying information pertinent to the display. Below are parameters that should be used when designing and writing exhibit labels.
• Label Font: Garamond • Font Size: ∗ Primary or Introductory Labels: Main headline, 78 point font. Body text, 48 point font. ∗ Secondary Labels: Headline, 48 point font. Body text, 34 point font. ∗ Object Labels: Text, 20 point font. Credit or Courtesy line, 12 point font. • Label Types: Align all labels to the left. ∗ Primary or Introductory Labels: Introduces visitors to the exhibit. States the main idea of the exhibit. Should include a headline to summarize key information and body text to prioritize the main ideas of the exhibit as a whole.
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• The headline of this label should be no more than 5-6 words and the body text should be no more than 150 words. • Break into paragraphs of no more than 50 words. ∗ Secondary Labels: These labels provide an aspect of the main theme described in the main label. This label acts as an transitional level of information between the main label and the object label, and gives historical background of a group of items or objects. • Any headline in this label should be no more than 10 words and the body text no more than 100 words. ∗ Object Labels: Provides information on specific objects, photographs or documents in the exhibit. Information includes description or title, maker, date, age, material, or user. • Text in this label should be no more than 25 words. • This is where a credit line or courtesy line for the donor, if appropriate. This credit line would also be used if the object or objects are on loan from another institution.
7.3 Travelling Exhibits The Museum Director or Archive Manager will supervise any travelling exhibits.
• Before any part of the collection is removed from the premises, please fill out Release of Objects form (see Section 5 forms). • If the collection on exhibit is large, please use Exhibit Item Inventory when listing what will be included. • Upon return of the property, please fill out Receipt of Objects form (below, immediately follows Exhibit Item Inventory form). • When filling out any form regarding release or receipt of objects, be sure to notate any condition changes.
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8. Volunteer Program Note: Corresponds with Section 9 of the Museum’s Collection Management Policy Manual.
The Museum is a non-profit that relies heavily on volunteers to carry out its mission and care for the collection it holds in trust for the public. There are many areas in the Museum that need attention, including but not limited to the collection. It is the Museum’s goal to match each volunteer with a task they will enjoy that meets their specific interests, abilities, and time.
• When a visitor expresses interest in volunteering at the Museum, let them know that this can be a fulfilling and rewarding experience for them. This is a relationship in which the Museum will provide the volunteer with the tools necessary to appreciate and enjoy the history of the region. • In order to give the volunteer a project that will suit their interests and abilities, have the visitor fill out the Volunteer Program – Personal Profile form. • Once the volunteer has filled out the Personal Profile, let them know you will forward the form to the Museum Director, who will review projects that need attention and will contact the volunteer in 3 – 5 business days. • The Museum Director will then meet with the volunteer to discuss possible projects. • Once the capacity the volunteer will be working in has been discussed and agreed upon, the volunteer MUST read and understand the Volunteer Contract. This contract explains what the Museum both provides for and expects from volunteers. This form must be read and signed before any volunteer may begin work at the Museum. • The volunteer must then read and understand the American Association of Museum’s Code of Ethics. The Code of Ethics explains that non-profit museums hold their collections in trust for the public, which means that there are certain ethical guidelines that Board of Trustee members, staff and volunteers must adhere to when working in or representing the Museum. This form MUST be read and signed before any volunteer may begin work at the Museum. • The Museum Director will then take the volunteer on a tour of the Museum and discuss possible projects with them.
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Code of Ethics for Museums86 Introduction Ethical codes evolve in response to changing conditions, values, and ideas. A professional code of ethics must, therefore, be periodically updated. It must also rest upon widely shared values. Although the operating environment of museums grows more complex each year, the root value for museums, the tie that connects all of us together despite our diversity, is the commitment to serving people, both present and future generations. This value guided the creation of and remains the most fundamental principle in the following Code of Ethics for Museums.
Code of Ethics for Museums Museums make their unique contribution to the public by collecting, preserving, and interpreting the things of this world. Historically, they have owned and used natural objects, living and nonliving, and all manner of human artifacts to advance knowledge and nourish the human spirit. Today, the range of their special interests reflects the scope of human vision. Their missions include collecting and preserving, as well as exhibiting and educating with materials not only owned but also borrowed and fabricated for these ends. Their numbers include both governmental and private museums of anthropology, art history and natural history, aquariums, arboreta, art centers, botanical gardens, children's museums, historic sites, nature centers, planetariums, science and technology centers, and zoos. The museum universe in the United States includes both collecting and noncollecting institutions. Although diverse in their missions, they have in common their nonprofit form of organization and a commitment of service to the public. Their collections and/or the objects they borrow or fabricate are the basis for research, exhibits, and programs that invite public participation.
Taken as a whole, museum collections and exhibition materials represent the world's natural and cultural common wealth. As stewards of that wealth, museums are compelled to advance an understanding of all natural forms and of the human experience. It is incumbent on museums to be resources for humankind and in all their activities to foster an informed appreciation of the rich and diverse world we have inherited. It is also incumbent upon them to preserve that inheritance for posterity.
Museums in the United States are grounded in the tradition of public service. They are organized as public trusts, holding their collections and information as a benefit for those they were established to serve. Members of their governing authority, employees, and volunteers are committed to the interests of these beneficiaries. The law provides the basic framework for museum operations. As nonprofit institutions, museums comply with applicable local, state, and federal laws and international
86 From the American Association of Museums website, http://www.aam- us.org/museumresources/ethics/coe.cfm, accessed 08 January 2010.
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conventions, as well as with the specific legal standards governing trust responsibilities. This Code of Ethics for Museums takes that compliance as given. But legal standards are a minimum. Museums and those responsible for them must do more than avoid legal liability, they must take affirmative steps to maintain their integrity so as to warrant public confidence. They must act not only legally but also ethically. This Code of Ethics for Museums, therefore, outlines ethical standards that frequently exceed legal minimums.
Loyalty to the mission of the museum and to the public it serves is the essence of museum work, whether volunteer or paid. Where conflicts of interest arise — actual, potential, or perceived — the duty of loyalty must never be compromised. No individual may use his or her position in a museum for personal gain or to benefit another at the expense of the museum, its mission, its reputation, and the society it serves.
For museums, public service is paramount. To affirm that ethic and to elaborate its application to their governance, collections, and programs, the American Association of Museums promulgates this Code of Ethics for Museums. In subscribing to this code, museums assume responsibility for the actions of members of their governing authority, employees, and volunteers in the performance of museum- related duties. Museums, thereby, affirm their chartered purpose, ensure the prudent application of their resources, enhance their effectiveness, and maintain public confidence. This collective endeavor strengthens museum work and the contributions of museums to society — present and future.
Governance Museum governance in its various forms is a public trust responsible for the institution's service to society. The governing authority protects and enhances the museum's collections and programs and its physical, human, and financial resources. It ensures that all these resources support the museum's mission, respond to the pluralism of society, and respect the diversity of the natural and cultural common wealth.
Thus, the governing authority ensures that: • all those who work for or on behalf of a museum understand and support its mission and public trust responsibilities • its members understand and fulfill their trusteeship and act corporately, not as individuals • the museum's collections and programs and its physical, human, and financial resources are protected, maintained, and developed in support of the museum's mission • it is responsive to and represents the interests of society • it maintains the relationship with staff in which shared roles are recognized and separate responsibilities respected
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• working relationships among trustees, employees, and volunteers are based on equity and mutual respect • professional standards and practices inform and guide museum operations • policies are articulated and prudent oversight is practiced • governance promotes the public good rather than individual financial gain.
Collections The distinctive character of museum ethics derives from the ownership, care, and use of objects, specimens, and living collections representing the world's natural and cultural common wealth. This stewardship of collections entails the highest public trust and carries with it the presumption of rightful ownership, permanence, care, documentation, accessibility, and responsible disposal.
Thus, the museum ensures that: • collections in its custody support its mission and public trust responsibilities • collections in its custody are lawfully held, protected, secure, unencumbered, cared for, and preserved • collections in its custody are accounted for and documented • access to the collections and related information is permitted and regulated • acquisition, disposal, and loan activities are conducted in a manner that respects the protection and preservation of natural and cultural resources and discourages illicit trade in such materials • acquisition, disposal, and loan activities conform to its mission and public trust responsibilities • disposal of collections through sale, trade, or research activities is solely for the advancement of the museum's mission. Proceeds from the sale of nonliving collections are to be used consistent with the established standards of the museum's discipline, but in no event shall they be used for anything other than acquisition or direct care of collections. • the unique and special nature of human remains and funerary and sacred objects is recognized as the basis of all decisions concerning such collections • collections-related activities promote the public good rather than individual financial gain • competing claims of ownership that may be asserted in connection with objects in its custody should be handled openly, seriously, responsively and with respect for the dignity of all parties involved.
Programs Museums serve society by advancing an understanding and appreciation of the natural and cultural common wealth through exhibitions, research, scholarship, publications, and educational activities. These programs further the museum's mission and are responsive to the concerns, interests, and needs of society.
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Thus, the museum ensures that: • programs support its mission and public trust responsibilities • programs are founded on scholarship and marked by intellectual integrity • programs are accessible and encourage participation of the widest possible audience consistent with its mission and resources • programs respect pluralistic values, traditions, and concerns • revenue-producing activities and activities that involve relationships with external entities are compatible with the museum's mission and support its public trust responsibilities • programs promote the public good rather than individual financial gain.
By my signature I declare that I have read, understand, and agree with all parts of the Code of Ethics for Museums and will strive to fulfill all parts therein.
Volunteer Signature Date
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9. Facility Use Procedure Note: Corresponds with Section 8 of the Museum’s Collection Management Policy Manual.
The Museum is available for use by the public for parties, meetings, or events on a fee basis. In order to offer a clean, attractive environment for special occasions or meetings, there are terms and conditions that must be followed before, during and after the day of the event. Below are the steps that must be taken when a visitor wishes to use the facility.
*Note: The Gift Shop may be open during the event; however, due to resource constraints arrangements must be made in advance.
• If the visitor is present, they must fill out the Facility Use Information Form. If the visitor is requesting via telephone, the form can be mailed or information can be obtained verbally. This form will help the Museum Director obtain all necessary information about the event. • Once the Facility Use Information Form has been filled out, the visitor must read and understand the Facility Rental Terms and Conditions. These forms explain that the visitor is responsible for any damages that result from the event. The forms also lay out the terms and conditions the visitor must follow while using the Museum facility. • If a volunteer is taking the request for facility use, inform the visitor that the Facility Use Information Form will be forwarded to the Museum Director, who will contact them within 3 – 5 business days. Encourage the visitor to take the Facility Rental Terms and Conditions Form with them to read over completely. • Once the visitor has read, understood and agreed to the terms and conditions, obtain their signature on the form. • Make one copy for the visitor and retain the original. • If a file does not already exist, create a file using the name of the visitor, or name of the visitor’s business if applicable. • File in office in Facility Use File.
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