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Conservation DistList
Instance: 22:35
Monday, December 8, 2008
Today's Subjects
------- --------
Administrivia
Polyvinyl acetate resin
Image permanence standards update
Stock solution for preparation of diphenylamine
reagent for cellulose nitrate identification
Gillian Boal moves to Wellcome Trust
New claims for optical media
Consolidants for dry archaeological organics
Milk tokens
Pigeon droppings
Distorted cellophane
Scrapbooks
Effects of X-rays on materials
AIC certification plan
New site--UK National Heritage Science Strategy
IPI Newsletters
Videos on collections care
IPM Working Group
London Rare Books School
Position at Walters Art Museum
Today's Queries
------- -------
Stuffed specimen and hygrometry
Objects covered diesel fuel
Textile swatch files
Plexigum PQ 611
Water mist fire suppression systems
Hostacor IT
C73 Krupp Field Guns
Glass audio discs
Cabinet for corrosive materials
Anoxia
Costumes with artificial blood
Sir John Gilbert
Skateboarding and public art
Today's Messages:
Date: 6 Dec 2008
From: Walter Henry <request [at] cool__stanford__edu>
Subject: Administrivia
This alert is a repeat of one issued in Conservation DistList
Instance:
22:33
Fair warning.
The DistList will go on hiatus
Fri Dec 18, 2008-Tues Jan 6, 2009.
I, and all of Stanford, will be on vacation and will not
respond to mail.
The last mailing before the hiatus will be Thursday Dec 18,
2008. If you want to post something, be sure to get it to
consdistlist [at] lists__stanford__edu by NOON WEDNESDAY Dec 17, 2008
During the hiatus, while it is ok for you send postings
(to consdistlist [at] LISTS__stanford__edu)
and administrative requests
(to request@COOL@stanford.edu)
If you can hold off until after the hiatus it would make it
easier for me to clear the message backlogs and get things back
to normal.
Instructions for time-critical postings:
If you have anything that is time-critical, you must get it to
me as soon as possible and you must follow the instructions
given in Conservation DistList Instructions
http://palimpsest.stanford.edu/
byform/mailing-lists/cdl/instruct.shtml
"... If you post an item that is time critical (e.g. a
job posting with a deadline), you *must* get it to
consdistlist [at] lists__stanford__edu with adequate lead time.
If you have an job or other announcement with a
deadline, you must submit it at least *three weeks* in
advance; items received after that cutoff will be
rejected without notice. In addition the words TIME
SENSITIVE in uppercase letters *MUST* be the first two
words in *both*
(a) The Subject: line and
(b) The body of your message
"This enables my software to pick out your message and call
it to my attention."
**** Moderator's comments: The above URL has been
wrapped for email. There should be no newline.
------------------------------
Date: 4 Dec 2008
From: Samantha Alderson <salderson [at] amnh__org>
Subject: Polyvinyl acetate resin
I recently learned from Dow, the parent company of Union Carbide,
that Union Carbide is no longer manufacturing PVAc resins (AYAA,
AYAC, AYAF and AYAT). This was confirmed by representatives at both
Talas and Conservation Support Systems who said Union Carbide
stopped supplying the resins about three years ago.
According to the representatives I spoke with at Dow and
Conservation Support Systems the division of Union Carbide that
manufactured the PVAc resins was spun-off to a company called
Ashland Chemicals. Conservation Support Systems informed me that
Ashland is continuing to make the AYAF but has abandoned the
manufacture of the other grades. Conservation Support Systems is
currently selling the Ashland Chemicals AYAF and Mowilith 20 (a PVAc
resin made in Germany). I am currently trying to reach someone at
Ashland to confirm that they are manufacturing the AYAF, and to
obtain technical data and an MSDS for it.
Talas is still selling a series of products they are calling AYAA,
AYAC, AYAF and AYAT but these are not made by Union Carbide. When
Union Carbide stopped supplying the resins, Talas found a new
supplier/manufacturer and asked for grades that would be equivalents
of the Union Carbide AYA_ series and this is what they are selling.
They were not willing to divulge the name of the manufacturer but
they do provide technical data for these new resins on their
website:
<URL:http://talasonline.com/photos/chemicals/ayaa.pdf>
When I compared this data to what is published for the Union Carbide
products, I noted several discrepancies. It appears that the resins
Talas is selling may not be direct equivalents, even though they are
using the same AYA_ designations. The reported molecular weights
and glass transition temperatures of these new Talas AYA_ resins are
significantly different from those reported by Union Carbide (1989
company lit) and Horie for the originals:
Molecular Weight of Talas Polyvinyl Acetate Resins
AYAC = 10,000-15,000
AYAA = 90 x 103 +/- 10 x 103
AYAF = 290 x 103 +/-20 x 103
AYAT = 130 x 103 +/-20 x 103
Glass Transition Temperature 0C of Talas Polyvinyl Acetate Resins
AYAC = 33
AYAA = 42
AYAF = 44
AYAT = 43
Molecular Weight of Union Carbide Polyvinyl Acetate Resins (Union
Carbide Product literature, 1989)
AYAC = 12,800
AYAA = 83,000
AYAF = 113,000
AYAT = 167,000
Glass Transition Temperature 0C of Union Carbide Polyvinyl Acetate
Resins (CV Horie)
AYAC = 16
AYAA = 21
AYAF = 24
AYAT = 26
A further problem is that the MSDS currently posted on the Talas
website is for the old Union Carbide materials. I spoke with the
representative from Talas who was very concerned about these issues.
He stated that they will talk to their manufacturer to discuss these
differences and see if they can get a better match for the Union
Carbide grades. He also has directed his staff to edit their
catalog and website to make it clearer that the resins they are
selling are not the AYA_ resins from Union Carbide. He also said he
would get an MSDS for the new material. I explained to him that
without knowing the manufacturer and seeing an MSDS most
conservators would not be comfortable using the new product.
In addition to trying to find out more about the Ashland Chemical
AYAF and the new PVAc supplied by Talas, I am also gathering
information about the Mowilith resins (20, 30, 40 and 50) as well as
McGean B-15 and B-25 (formally Vinac B-15 and B-25) to evaluate them
as possible replacements. I wanted to make sure the conservation
community was aware that the Union Carbide resins used in this field
since the 1940s may no longer be available (except perhaps for one
grade) and to present what I have learned thus far about possible
replacements. Any opinions and suggestions about replacements are
welcome.
Samantha Alderson
Conservator
Division of Anthropology
American Museum of Natural History
Central Park West at 79th Street
New York, NY 10024
212-769-5446
------------------------------
Date: 1 Dec 2008
From: Douglas W. Nishimura <dwnpph [at] rit__edu>
Subject: Image permanence standards update
Here is an update of the status of image permanence standards of
potential interest to the Cons DistList community. In general, I
don't expect that you're interested in most specification and test
method documents, but are interested mainly in recommended
practices.
ISO 18901:2002
Imaging materials--Processed silver-gelatin type black-and-white
films--Specifications for stability.
This group is generally not concerned with specification
documents or test methods, but this particular standard
contains the limits for residual silver and residual hypo in
film. It is currently being updated and a new version should
be out by early 2011.
18902:2007
Imaging materials--Processed imaging materials--Albums, framing
and storage materials.
This standard has been recently revised and will be up for
review again in 2010.
ISO 18906:2000 (R2005)
Imaging materials--Photographic films--Specifications for safety
film.
This document was reaffirmed in 2005 and it will be up for
review again in 2010.
ISO 18911:2000 (R2005)
Imaging materials--Processed safety photographic films--Storage
practices.
This document is undergoing revision and is out for DIS
ballot. It is expected to be published in early 2009.
ISO 18913:2003
Imaging materials--Stability--Vocabulary
This document is undergoing revision and, with any luck, may
be approved for fast track.
ISO 18916:2007
Imaging materials--Processed imaging materials--Photographic
activity test for enclosure materials.
This is probably the only test method that may be of
interest. A technical corrigendum was submitted last Fall
and the standard will be up for review again in 2010.
ISO 18918:2000 (R2005)
Imaging materials--Processed photographic plates--Storage
practices.
This document was reaffirmed in 2005 and will be up for
review again in 2010.
ISO 18920:2000 (R2005)
This document is currently under revision. I recall that it
is going out for another DIS ballot and is expected to be
published late 2010.
ISO 18923:2000 (R2005)
Imaging materials--Polyester base magnetic tape--Storage
practices.
This document was reaffirmed in 2005 and will be up for
review again in 2010.
ISO 18925:2008
Imaging media--Optical disc media--Storage.
This is a revision of ISO 18925:2000 and was published
October 15, 2008.
ISO 18928:2002 (R2007)
Imaging materials--Unprocessed photographic films and
papers--Storage practices.
This document was reaffirmed in 2007 and will be up for
review again in 2012. (Does anyone still have any
unprocessed silver-halide-based photographic materials still
around?)
ISO 18929:2003
Imaging materials--Wet-processed silver-gelatine type
black-and-white photographic reflection prints--Specifications
for dark storage.
This specification document deals with silver-gelatin
photographic prints that will be stored in the dark. The
reason for this qualification is because of the problem with
RC prints exposed to light. After almost 20 years of trying
to produce a test method for this problem that was accurate
and reproducible, we finally had to accept defeat. Even the
simple method of simply framing samples and putting them
into sunny windows failed to produce the same deterioration
that is observed when real images are framed and illuminated
by sunny windows. For this group, this document contains
maximum residual silver and maximum residual hypo
(thiosulfate) levels and is therefore of potential interest
to this group. This document is due for review this year.
ISO TR18931:2001
Imaging materials--Humidity measurement and control.
This document is a technical report and does not require
review.
ISO 18932
Imaging materials--Adhesives--Specifications for use.
This document is undergoing a minor revision due to a
withdrawn standard in the references. The withdrawn document
was not an ISO standard. Corrected text has been sent to ISO
and the document will be up for review again in 2013.
ISO 18933:2006
Imaging materials--Magnetic tape--Care and handling for extended
usage.
This document will be up for review in 2009.
ISO 18934:2006
Imaging materials--Multiple media archives--Storage environment.
This document will be up for review in 2009.
ISO 18938:2008
Imaging materials--Optical discs--Care and handling for extended
storage.
This new document was published September 15, 2008 and will
be up for review in 2011.
We are apparently the most active standards group within ISO and
currently have standard numbers 18901 through 18948 either published
or in progress.
For titles of other standards not mentioned above, go to
<URL:http://www.iso.org/iso/store.htm>
and enter a 189XX number up to 18935.
Douglas Nishimura
Image Permanence Institute
Rochester Institute of Technology
Member ANSI committee IT9
Member ISO USA TAG
Member ISO TC42/WG5
------------------------------
Date: 2 Dec 2008
From: Scott Williams <scott_williams [at] pch__gc__ca>
Subject: Stock solution for preparation of diphenylamine reagent for
cellulose nitrate identification
Convenient stock solution for preparation of diphenylamine reagent
for cellulose nitrate identification
A ready-made stock solution of 1% Diphenylamine (DPA) in
concentrated Sulfuric Acid is available in Canada from Caledon
Laboratory Chemicals and in the US from LabChem Inc in 125 mL
(CAN$30.64, US$25.10) and 500 mL (CAN$54.81, US$44.90) bottles.
Although the acid concentration is too high to use this stock
solution directly as received, dilution of four volumes of the stock
solution with one volume of water produces a test solution of 0.8%
DPA in 80% sulfuric acid which is suitable for detecting cellulose
nitrate in objects and photographic materials. This is a much more
convenient and less expensive method of preparing the reagent than
currently recommended procedures using solid DPA (US$25.10/g from
Chem Services) and concentrated sulfuric acid (US$39-29-500mL from
Fisher Scientific) reagent chemicals.
Recommended reagents vary in concentrations from 5% DPA in 100%
sulfuric acid to 0.5% DPA in 90% sulfuric acid in the conservation
literature, to 0.02% DPA in 80% sulfuric acid in the analytical
chemistry literature. In 1994 I recommended 0.5% DPA in 90%
sulfuric in CCI Note 17/2 after testing various concentrations found
in the literature. After publication of this note I started to
receive queries about ambiguous results for tests on photographic
materials. Instead of the distinct and characteristic deep blue
colour of a positive test, dark brown and brown-black, or faint
green colours were being obtained. This test solution seems to be
unreliable for testing photographic materials.
While experimenting to find a suitable dilution of this commercial
stock solution of DPA, I tested cellulose nitrate and cellulose
acetate photograph films as well as cellulose nitrate objects, and
got the following results.
1. Test results for both objects and photographs are
independent of DPA concentration between the limits of 0.2
and 5% DPA. The same deep blue colour was always obtained
if cellulose nitrate was present.
2. Test reagents with sulfuric acid concentrations between 70
and 90% gave the same blue colour reaction for objects.
3. Test reagents with sulfuric acid concentrations of 90% or
greater gave ambiguous results for photographic materials,
commonly showing brown or black colours which mask the blue
colour of the positive test. The brown and black colours
seemed to be more common with more highly degraded material.
4. Test reagents with 70 to 80% sulfuric acid gave unambiguous
blue coloured positive tests for cellulose nitrate
photographic materials.
5. For concentrations of sulfuric acid less that 70% the test
gives no colour or very slow colour development.
6. Some cellulose acetate film bases gave faint blue-green or
greenish colour reactions. This is a negative result
indicating that the material is not made of cellulose
nitrate. Only deep blue indicates a positive test for
cellulose nitrate.
7. Thin cellulose nitrate subbing layers in photographic
materials give the deep blue colour, but because this colour
is localized on the thin subbing layer only, it may be
difficult to see. For photographic materials this indicates
that the film base is not cellulose nitrate, otherwise there
would be a much stronger reaction.
Sulfuric acid is a dehydrating agent. It will absorb moisture from
air. It will extract water from organic compounds and cause
charring, with a concomitant development of brown and black charred
material (remember the sugar-sulfuric acid volcano we made as kids).
It seems that at sulfuric acid concentration above 80% the cellulose
nitrate and cellulose acetate photographic materials (especially
when degraded) are more susceptible than objects to dehydration and
charring to produce brown and black discoloured material that masks
the blue colour reaction. Perhaps the gelatin emulsion reacts with
the sulfuric acid. Dehydration, charring and brown or black colours
do not occur at sulfuric acid concentrations less than 80%.
The test depends on the release of nitrate ions from the plastic by
hydrolysis (not dehydration) in sulfuric acid solution. At sulfuric
acid concentrations below 70% nitrate ion production by the
hydrolysis reaction appears to be too slow to give a positive blue
colour reaction within a few seconds as required for a positive
test.
Recommended Test Reagent:
On the basis of these results and the availability of a prepared
stock solution of 1% DPA in concentrated sulfuric acid, the test
reagent for detection of cellulose nitrate that I now recommend is
0.8% DPA in 80% sulfuric acid. This reagent is prepared from the
stock solution as follows.
Add 125 mL of stock solution to 31 mL water in a large container
with stirring. Since only one drop is used per test, this will
provide sufficient test reagent for hundreds of tests. Or, add 500
mL of stock solution to 125 mL water in a large container with
stirring. This will provide sufficient reagent for a gazillion
tests.
Always add acid to water. Addition of sulfuric acid to water will
generate a lot of heat so stirring is required to prevent localized
boiling and spattering. Store the prepared reagent in the original
stock solution bottle. Polyethylene dropper bottles provide a
convenient method of dispensing a single drop of reagent to samples
in wells of spot plates or on microscope slides. Do not store in
bottles with cap liners or bulbs made of rubber, paper, or metal.
Suppliers of stock solution of Diphenylamine, 1% in Sulfuric Acid,
containing: Diphenylamine (CAS 122-39-4) - 1%, Sulfuric acid (CAS
7664-93-9) - 96% w/w Water (CAS 7732-18-5) - balance:
Caledon Laboratory Chemicals
40 Armstrong Ave, Georgetown, Ontario, L7G 4R9, Canada
877-225-3366 (1 877 CALEDON)
Fax: 905-877-6666
sales [at] caledonlabs__com
<URL:http://www.caledonlabs.com>
Cat. No. LC13650-7 (125 mL) $30.64
Cat. No. LC13650-1 (500 mL) $54.81
LabChem Inc.
200 William Pitt Way, Pittsburgh, PA 15238
412-826-5230
Fax: 412-826-5234
<URL:http://www.labchem.net/search.jsp>
Cat. No. LC13650-AG (125 mL) USD25.10
Cat. No. LC13650-51002 (500 mL) USD44.90
R. Scott Williams
Senior Conservation Scientist (Chemist)
Conservation Research Division
Canadian Conservation Institute
1030 Innes Road
Ottawa, Ontario K1A 0M5
Canada
613-998-3721
Fax: 613-998-4721
------------------------------
Date: 8 Dec 2008
From: Gillian Boal <gboal [at] library__berkeley__edu>
Subject: Gillian Boal moves to Wellcome Trust
I am retiring from the University of California at the end of this
year and moving back to England. I shall start a new job at the
Wellcome Trust in London, January 2009. Their History of Medicine
Library is exceptional. I shall continue to be involved in
conservation as I shall be working in their wonderful conservation
Laboratory. Thank you all in the US for being such great friends
and colleagues. I would very happy to host any of you who would like
to come and visit me there.
Gillian Boal
Hans Rausing Conservator
Head of Conservation Treatment Division
Preservation Department
9 Doe Library
University of California
Berkeley, CA 94720
510-643-7932
Fax: 510-642-4664
------------------------------
Date: 7 Dec 2008
From: Jim Lindner <jim [at] media-matters__net>
Subject: New claims for optical media
Re: Tim Vitale's excellent query (Conservation DistList Instance:
22:33 Saturday, December 6, 2008): It has been a long time coming,
but there finally is a *standard* for a test method for determining
the estimated lifetime of optical media. No Kidding.
Information technology
Digitally recorded media for information interchange and storage
Test method for the estimation of the archival lifetime of
optical media
It is an ISO/IEC Standard 10995 which was published on April 15,
2008.
It is a tribute to the tenacity of Dr. Peter Adelstein of the Image
Permanence Institute and a stalwart group of volunteers that this
exists at all. It is an excellent document that has been thoroughly
vetted, well thought out, and extremely informative. I can assure
you that the document is informative and will provide good
information with which to evaluate manufacturers claims. Even more
importantly there is now a standard by which to test them!
The document was prepared with the co-operation of a virtual
Alphabet Soup of organizations including JTC and ECMA and I will not
bore you with all of the Acronyms of those involved..... suffice it
to say that this has been a long time coming and a great deal of
time and expertise was involved in creating it.
So--you wanna know the performance of a manufacturer's media
relative to a real Standard as opposed to marketing claims? Well
call them and ask them how their media performs according to the ISO
10995 standard--and expect a stunned silence.
Yes, you have to buy it--from those nice people at ISO--well worth
the money.
<URL:http://www.iso.org/iso/catalogue_detail?csnumber=46554>
Jim Lindner
Media Matters LLC.
SAMMA Systems Inc.
450 West 31st Street 4th Floor
New York, NY 10001
Fax 646-349-4475
Mobile: 917-945-2662
212-268-5528
------------------------------
Date: 28 Nov 2008
From: Kim Travis <kim.travis [at] slm__admin__ch>
Subject: Consolidants for dry archaeological organics
Ainslie Harrison <5ah38 [at] queensu__ca> writes
>We are interested in advice regarding a consolidant for extremely
>brittle and desiccated organic remains. A bronze disk that was
>block lifted in Mongolia was brought back to our lab and micro
>excavated over several years to reveal a number of organic remains
>sitting on the surface of both sides including textile, horse hair,
>and desiccated leather. ...
My department at the Swiss National Museum works with dried as well
as waterlogged organics, these usually from the neolithic era. My
specialty is textiles (usually of flax) and basketry (usually of oak
or linden bast). Often, we come up against delicate pieces that have
been through a drying process using the alcohol-ether method, in
which case the fibres are usually extremely fragile and aqueous
consolidants are not an option. After much experimentation we've
narrowed our options as follows:
First, are your organic remains mineralized? If they have been in
contact with copper alloy they may very well be. If so, you can
proceed with Paraloid B-72 in toluene.
If your organic remains are not mineralized, then you must gauge
whether they are carbonized or uncarbonized.
If carbonized, we return to Paraloid B-72, a 2% solution in toluene
is often best but can go up to 5% if necessary. You might also try a
5% solution of methyl cellulose in 60% ethanol but only if necessary
for a strong bond.
If uncarbonized our non-aqueous solution is methyl cellulose in
ethanol as the consolidant. After trying many different cellulose
ethers, we came back to Dow's Methocel A4C. Two nebulizer quality
solutions would be 0.25% Methocel A4C in 60% ethanol or 0.4%
Methocel in 60% ethanol. For stronger applications that 5.0%
solution of Methocel in ethanol as described above for carbonized
pieces can work well but is too thick for the nebulizer. Use a
pipette but again, only if the fibres are robust enough to take it.
For preparing non-aqueous solutions of Methocel see Dow technical
handbook.
Leather is another thing altogether and would need advice from
someone other than myself. We are grappling with both waterlogged
and desiccated stuff at the moment and I could let you know how it
turns out. Good luck,
Kim Travis
Konservatorin/Restauratorin
Schweizerische Nationalmuseen
Zentrum fur Konservierung
Lindenmoosstrasse 1
CH-8910 Affoltern a. Albis
Switzerland
+41 44 762 1376
Fax: +41 44 762 1361
------------------------------
Date: 1 Dec 2008
From: Deb Rohan <deb.rohan [at] asgardpublishing__org__uk>
Subject: Milk tokens
Lisa Ann Bengston <lbengston [at] royalbcmuseum__bc__ca> writes
>We have a collection of plastic dairy tokens recently donated to the
>Royal B.C. Museum and Archives. ...
>...
>.. it was discovered that about one third of the
>collection was covered in a white bloom. There was also a
>distinctive sour milk odour present when the bags of the affected
>tokens were opened. I did a Beilstein test on a sample token and
>found it negative for cellulose nitrate. ...
Is it possible the tokens themselves were made of casein
(polymerised milk protein)?
D. Rohan
------------------------------
Date: 29 Nov 2008
From: Richard O. Byrne <robyrne [at] verizon__net>
Subject: Pigeon droppings
Melissa Heaver <mmheaver [at] firemuseummd__org> writes
>I am working on a project where the County is hiring a company to
>come in and remove all the pigeon droppings in a barn exhibit space
>we have. We had an influx of pigeons over the spring and summer, but
>the hole was found and all birds removed. However, there is a fair
>amount of "material" on the floors, beams, etc.
>
>However, the pigeons roosted on a beam over an 1870s carriage, and
>while the top of the vehicle and 2 of the seats were protected, the
>driver's seat and foot plate are now white with droppings. The
>contractors who are bidding on the project have done other work for
>the County, but have never had to deal with museum artifacts. Since
>the carriage has a leather seat, I am unsure what to advise them to
>use during clean-up. Can anyone advise me on this subject, or steer
>me in the right direction for written materials on this subject?
>I've had little luck online with my usual sources.
You are right, there is little out there on the problems of cleaning
up pigeon droppings. While working for the heritage branch of Parks
Canada 20 years ago I did a white paper study on the problems for
them; and then, wrote the specification, and supervised the removal
of four metric tons of the stuff from a 1840ish stone mill being
converted into a museum in Smith Falls, Ontario. In the dead of
summer we put 5 men to work with HEPA filtered airlines, white
suits, showers etc over a 5 week period of time to clean the
building and then sterilize it. In the process we went through $1000
worth of Gatorade. We did the job without a scratch and it was one
of the most hazardous projects you can imagine. If you are not
familiar with the hazards of Cryptococcus and Histoplasmosis I would
suggest a review of these mycotic diseases before moving forward.
They can be deadly. I doubt your "contractor" has any idea what they
might be getting into, the hazards and the associated costs.
Removing the poop from the leather seat and floor plate is the least
of your problems. I could dig in my files and pull some items if it
would help you get started.
Richard O. Byrne
Consultant Architectural Conservator
------------------------------
Date: 7 Dec 2008
From: Yvonne Shashoua <yvonne.shashoua [at] natmus__dk>
Subject: Distorted cellophane
Laura Wahl <lwahl [at] hagley__org> writes
>I am currently evaluating a collection of printed plastic packaging
>films, dating from approximately 1940-1970. The materials are a mix
>of cellophane, polyethylene, acetate, and possibly polyvinyl
>chloride. Many of the items are folded and cannot be safely opened
>without creating tears. ...
In contrast to another suggestion to humidify the plastic packaging
films, I would advise against contact between water and these
plastics. Cellophane and cellulose acetate degrade mainly by
hydrolysis and the polymer in polyvinyl chloride is plasticized by
water and becomes opaque and white. If it is necessary to unfold the
films, heat could be applied since they are all thermoplastic and
will reversibly soften. I suggest putting them in an oven at 35 deg.
C initially and increasing the temperature gradually if necessary.
Yvonne Shashoua
Senior Researcher
Dept. of Conservation
National Museum of Denmark
I.C. Modewegsvej-Brede
DK-2800 Kongens Lyngby
Denmark
------------------------------
Date: 27 Nov 2008
From: Dagmar Hinz <dhinzuk [at] aol__com>
Subject: Scrapbooks
Joseph Cottingham <vancott4686 [at] sbcglobal__net> writes
>The museum recently received two scrapbooks containing newspaper
>articles written by a prominent local waterfront writer from the
>1920s and 1930s. ...
Here is a list of publications on scrapbooks and albums that I
compiled in 2004, which may be of interest to you:
American Institute for Conservation (1999).
Postprints of the Book and Paper Group/Photographic Materials
Joint Session at the 27th AIC Annual Meeting. Washington, AIC.
Decandido, Robert (1985).
Scrapbooks.
In: Cohen-Stratyner, Barbara and Kueppers, Brigitte. Eds.
Preserving America's Performing Arts Collection, April 28- May
1, 1982, Washington D.C. New York, Theatre Library Association.
Pp. 68-69.
Decandido, Robert (1993).
Scrapbooks, the Smiling Villains. [Online]
Available at
<URL:http://www.well.com/user/bronxbob/resume/54_7-93.html>
(accessed 8 November 2004)
Fleisher Zucker, Barbara (1991).
Preservation of Scrapbooks and Albums.
Library of Congress Preservation Basics. A National Cooperative
Information Project. Leaflet Number 1, November 1991. [Online]
Available at
<URL:http://palimpsest.stanford.edu/byauth/zucker/zucker1.html>
(accessed 15 March 2004)
Jensen, Mary Ann (1985).
On dog tails, dog ears, and just plain going to the dogs.
In: Cohen-Stratyner, Barbara and Kueppers, Brigitte. Eds.
Preserving America's Performing Arts Collection, April 28-May
1, 1982, Washington D.C. New York, Theatre Library Association.
Pp. 70-72.
Ogden, Sherelyn (1995).
Experience and Examples in the Preservation of Scrapbooks and
Albums.
Advances in Preservation and Access, vol. 2. New Jersey,
Learned Information Inc. Pp. 339-352.
Smith, Merrily (1985).
Scrapbooks in the Library of Congress.
In: Cohen-Stratyner, Barbara and Kueppers, Brigitte. Eds.
Preserving America's Performing Arts Collection, April 28-May 1,
1982, Washington D.C. New York, Theatre Library Association.
Pp. 73-77.
Zucker, Barbara (1985).
Scrapbooks and albums: their care and conservation.
Illinois Libraries, vol. 67, pp. 695-699.
Dagmar Hinz
Book/Archive Conservator
6/2 Whitson Way
Edinburgh EH11 3BJ
UK
------------------------------
Date: 8 Dec 2008
From: Sonia Alice O'Connor <s.oconnor [at] bradford__ac__uk>
Subject: Effects of X-rays on materials
Susan Braovac <susan.braovac [at] khm__uio__no> writes
>At the Museum of Cultural History, University of Oslo, we use x-rays
>to document both organic and inorganic finds. Over the years I have
>often wondered about the effects of x-rays (which are in fact a form
>of very high energy) on materials and whether this method of
>documentation is really as non-destructive as it is often claimed to
>be.
I looked into what facts and myths I could find on this topic when I
was developing the field of textile radiography with Mary M. Brooks
from the Textile Conservation Centre, University of Southampton. You
will find a paper on the topic by myself and Jason Maher (Assessing
the risks of X-radiography to textiles pages 91-94) in the book
O'Connor S and Brooks M. M., 2007.
X-radiography of Textiles, Dress and Related Objects. Oxford;
Elsevier.
Although this paper was prompted by the need to assess the risks for
textiles we also review the literature for a wide range of cultural
materials and consider evidence relating to colour, dating, and DNA.
This was followed by experimental work on silk textiles which was
published in the paper
Garside P. and O'Connor S. 2007.
Assessing the risks of radiographing culturally significant
textiles.
'E-Preservation Science' 4: 1-7
<URL:http://www.morana-rtd.com/
e-preservationscience/2007/Garside-20-03-07.pdf>
**** Moderator's comments: The above URL has been wrapped for
email. There should be no newline.
If you come across any other references on the topic or recorded but
unpublished evidence, I would be delighted to know.
Dr Sonia O'Connor FIIC ACR
Research Fellow in Conservation
Archaeological Sciences
Division of AGES
University of Bradford
Bradford
West Yorkshire BD7 1DP
+44 1274 236498 (office)
+44 1274 235210 (lab.)
Fax: +44 1274 235190
------------------------------
Date: 6 Dec 2008
From: Mark D. Gottsegen <mdgottsegen [at] earthlink__net>
Subject: AIC certification plan
I am not a conservator, but please allow me to comment to you on the
AIC Certification Plan. I am an ex-academic with 34 years
experience dealing with "certification" and "credentialism." The
whole thing sets what remains of my teeth on edge.
As they say in the southern US, it's "a dog that won't hunt." That
is, an individual acquiring credentials serves only the organization
granting the credentials; often, the organization actually makes an
income from the accrediting. Who benefits from this scheme?
Becoming accredited, or certified, or licensed, adds nothing to the
value of the work of the person or organization being certified or
accredited; it only means that person or the organization has passed
some sort of fake benchmark made up by a self-perpetuating
bureaucracy. This sort of stuff is endemic in academia, beginning
and ending with schools of education.
We all know this, if not explicitly then implicitly. What's more,
people tiptoe around telling it like it is, for some reason.
Mark D. Gottsegen
Materials Research Director
AMIEN Administrator
Intermuseum Conservation Association
2915 Detroit Avenue
Cleveland OH 44113
216-658-8700
330-977-0334
------------------------------
Date: 8 Dec 2008
From: Jim Williams <nhss [at] english-heritage__org__uk>
Subject: New site--UK National Heritage Science Strategy
The steering group for the National Heritage Science Strategy are
pleased to announce the launch of the strategy's website:
<URL:http://www.heritagesciencestrategy.org.uk>
Over the next few months, work will be taking place to produce three
reports which will provide the evidence base for drawing up the
strategy.
* The first report will detail the current use of science in
preserving and protecting cultural heritage (available April
2009).
* The second will assess the use of science in enhancing our
understanding of the past (available end of May 2009).
* The final report will address issues of sector skills and
consider practitioner and institutional capacity to deliver
improvements in the application of heritage science.
(available July 2009).
Each of these reports will be available on our website, with a one
month consultation period to ensure that the views of the heritage
sector are fully represented and integrated in the final strategy.
If you have any questions about the strategy please have a look at
the website, or get in touch with the strategy coordinator:
Dr Jim Williams
National Heritage Science Strategy Coordinator
PO Box 2075
Bristol BS35 9BF
+44 1454 419228
Mobile: +44 7801 213300
nhss [at] english-heritage__org__uk
------------------------------
Date: 1 Dec 2008
From: Douglas W. Nishimura <dwnpph [at] rit__edu>
Subject: IPI Newsletters
The Image Permanence Institute offers two *free* newsletters and one
pending dealing with preservation issues.
Archival Advisor
The goal of the Image Permanence Institute's Archival Advisor
Newsletter is to create a voice for IPI in the area of consumer
photo preservation.
<URL:http://rs6.net/
tn.jsp?t=yl595acab.0.ioiq84bab.ifz965bab.315&ts=S0254&
p=http%3A%2F%2Fwww.imagepermanenceinstitute.org%2F>
**** Moderator's comments: The above URL has been wrapped for
email. There should be no newline.
The primary audience includes the Family Photo Collector, the
Genealogist, and the Scrapbook Maker; however, we believe that
the newsletter will eventually find a larger audience to include
photo-hobbyists, photograph collectors, professional
photographers, photo-artists, retail store owners, educators,
and many more.
To sign up or to view previous issues, go to
<URL:http://www.archivaladvisor.org/>
Climate Notes - Managing the Storage Environment for Preservation
Climate Notes is a free e-newsletter published by the Image
Permanence Institute and designed for collection care staff in
cultural institutions. Climate Notes covers a wide range of
topics related to managing the environment for preservation. It
includes feature articles, current research and technology,
information about collection vulnerabilities, and preservation
myths. Published on a quarterly basis, Climate Notes will keep
readers informed about current environmental management and
preventive conservation projects. Articles will cover the
development of accessible, practical preservation technologies
to help libraries, archives and museums assess and manage
environments that promote long term collection preservation.
To sign up or to view previous issues, go to
<URL:http://www.imagepermanenceinstitute.org/>
Coming soon: Dp3 Newsletter
The purpose of the DP3 Newsletter is to provide an update of the
research currently in progress at IPI regarding digitally
printed images and graphic documents. Included will be advanced
notice regarding upcoming presentations and articles from the
DP3 project. This newsletter has not started publication yet,
but is intended to come out quarterly.
Subscription site to be announced. DP3 Survey participants who
asked to be updated are already subscribed.
Douglas Nishimura
Image Permanence Institute
Rochester Institute of Technology
------------------------------
Date: 8 Dec 2008
From: Jane Pimlott <jane.pimlott [at] bl__uk>
Subject: Videos on collections care
The Preservation Department at the British Library has produced a
series of 9 short videos aimed at readers but also of use to staff
on the best ways to use a variety of collection items. To reach as
many readers as possible, the videos are linked to pages on the BL
web site related to registration, conditions of use, collections and
catalogues and collection care. The videos are being played in the
Reader Registration Office and there is a direct link to them from
the opening screen on the Reading Room PCs.
Each short video shows material in a particular format with
demonstrations of how to handle the items. The videos can be viewed
at
<URL:http://www.bl.uk/
aboutus/stratpolprog/ccare/collectioncarevideos/index.html>
**** Moderator's comments: The above URL has been wrapped for
email. There should be no newline.
Jane Pimlott
Preservation Co-ordinator
Dept of Preservation
The British Library
96 Euston Road
London, NW1 2DB
+44 20 7412 7512
------------------------------
Date: 7 Dec 2008
From: Rachael Arenstein <rachaelarenstein [at] hotmail__com>
Subject: IPM Working Group
We are currently accepting requests for a spot at the 2009 IPM
Working Group Meeting to be hosted by the American Museum of Natural
History in New York City, February 23-24, 2009. The IPM Working
Group is a group of museum professionals from various disciplines
dedicated to the development of pest management resources for the
general museum community. The goal of the working group meeting is
not to teach IPM, but rather to focus on developing resources to
make IPM easier for museum staff.
We recognize that every museum has similar challenges with regards
to pest management. We hope that the working group can help solve
problems while alleviating the need for every museum to come up with
their own solutions. Some of the available resources include the
museumpests.net website; a free pest manager downloadable database,
the museum pest mailing list; templates for developing IPM policy
and procedure documents, case studies on pest control treatment,
PowerPoint training documents, IPM bibliographies and a list of IPM
web links. All of these are accessible from the website at
<URL:http://www.museumpests.net>
This year's meeting will allow for continued work on the long-term
goals of the various sub-committees including: Pest
Imaging/identification aids, data collection and visualization
tools, and pest treatment resources. Participants should expect to
take an active role in the work of at least two subgroups.
For more information on the working group please see the FAQ page on
<URL:http://www.museumpests.net>.
If you would like to attend the meeting please contact IPM Co-chair
Rachael Perkins Arenstein <rachael [at] arensteinconservation__com>.
Please put "IPM Working Group RSVP" in the subject line of the
e-mail as messages without this will not be opened.
------------------------------
Date: 3 Dec 2008
From: Zoe Holman <zoe.holman [at] sas__ac__uk>
Subject: London Rare Books School
The London Rare Books School (LRBS) is a series of five-day,
intensive courses on a variety of book-related subjects to be taught
in and around Senate House, which is the centre of the University of
London's federal system.
The courses will be taught by internationally renowned scholars
associated with the Institute's Centre for Manuscript and Print
Studies, using the unrivalled library and museum resources of
London, including the British Library, the British Museum, the
Victoria and Albert Museum, the University of London Research
Library Services, and many more. All courses will stress the
materiality of the book so you can expect to have close encounters
with remarkable books and other artefacts from some of the world's
greatest collections. Each class will be restricted to a maximum of
twelve students in order to ensure that everyone has plenty of
opportunity to talk to the teachers and to get very close to the
books.
In 2009, the LRBS will run for two weeks: 20 July to 24 July and 27
July to 31 July. The courses planned are:
Week One: 20-24 July
1. The Book in the Ancient World
Course Lecturers: Dr Irving Finkel, Dr Matthew Nicholls, Dr
Marigold Norbye and Alan Cole, Curator of the Museum of Writing.
2. The Medieval Book
Course Tutor: Professor Michelle Brown.
3. The Printed Book in Europe 1450-2000
Course Tutor: Professor John Feather.
4. A History of Maps and Mapping
Course Tutors: Dr Catherine Delano-Smith and Sarah Tyacke.
5. An Introduction to Bibliography
Course Tutor: Professor Tony Edwards.
6. Children's Books
Course Tutor: Jill Shefrin.
Week Two: 27-31 July
1. Type and its Uses 1455-1830
Course tutor: Professor James Mosley
2. A History of Bookbinding
Course tutor: Professor Nicholas Pickwoad
3. Modern First Editions
Course tutor: Laurence Worms
4. Maps and Mapping in the Nineteenth and Twentieth Centuries:
Society, Nation, Empire, War.
Course tutors: Dr Catherine Delano-Smith and Sarah Tyacke.
5. The Anglo-Saxon and Carolingian Book, c.600-1050
Course tutor: Professor Michelle Brown
6. Publishing Today
Course Tutor: Professor Iain Stevenson
Each course will consist of thirteen seminars amounting in all to
twenty hours of teaching time spread between Monday afternoon and
Friday afternoon. There will be timetabled 'library time' that will
allow students to explore the rich resources of the University's
Senate House Library, one of the UK's major research libraries.
There will also be a full evening programme with an opening
reception and talk, a book history lecture, and receptions hosted by
major London antiquarian booksellers.
The fee will be in the region of UKP500 which will include the
provision of lunch, and coffee and tea throughout the week.
Application forms will be available by early January but you are
invited to register your interest in a course or courses now (given
the likely demand you would be well-advised to list a second
choice). Those who register now will be the first to receive
application forms. You can register your interest in LRBS 2009 by
emailing your name and address (with an indication of preferred
courses) to cmps [at] sas__ac__uk.
Further details can be found at
<URL:http://ies.sas.ac.uk/>
Miss Zoe Holman
LRBS Administrator
Institute of English Studies
------------------------------
Date: 4 Dec 2008
From: Gerard Cobut <gerard.cobut [at] naturalsciences__be>
Subject: Stuffed specimen and hygrometry
In the Natural Sciences Museum (Brussels) I am currently facing a
conservation issue. Relative humidity is decreasing steadily in one
showcase; the conditions in it are now really too dry.
A historical stuffed animal (stuffed in 1871) is on display for 3
months in a new showcase (+/- 1.5 to 2 cubic meters; front = glass;
walls = laminated MDF).
The showcase has 2 Art Sorb cassettes in its right wall; the holes
through the wall (between the cassette container and the showcase)
were made according top the Art Sorb instructions manual.
The showcase includes only LED lighting; furthermore the LEDs are
switched off when no visitor is in the neighborhood.
The showcase is currently quite air-tight; hygrometry fluctuates
only by 3% in one day (35% min., 38% max.) Temperature is fairly
stable (18 - 20 deg. C).
Hygrometry and temperature are recorded using a Hanwell ml-4106
instrument. Records are computer-read. Values displayed on the
instrument panel comply with recorded values. Mean hygrometry is
steadily decreasing (+/- 45% relative humidity on November 18, less
than 35% on December 4, 2008).
Has anyone experienced something similar? Is the instrument we use
known to be reliable? What is the Art Sorb's behavior? Is it
possible that it would absorb "avidly"? Can the stuffed specimen be
highly hygroscopic (absorbing humidity from the atmosphere)?
Gerard Cobut
Biologist, museum developer
Museum of Natural Sciences
Exhibition development
Rue Vautier 29
1000 Brussels
Belgium
+32 2 627 42 44
+32 476 74 64 45
Fax: +32 2 646 44 33
------------------------------
Date: 4 Dec 2008
From: Karin von Lerber <karin.vonlerber [at] prevart__ch>
Subject: Objects covered diesel fuel
I am working on general guidelines for disaster response for the
Swiss Government. We are a joint team with the firemen association,
the civil protection agency for cultural property of our government
and conservators with experience in disaster response.
At the moment we are discussing what should be done with
objects/artifacts when there is a fuel film present on water. We all
agree that--as long as the objects are submerged in the water, the
fuel is on the surface. So with some kind of "binder"--in a
practical context of collections e.g. towels or paper--the film
should be removed/reduced before rescuing the submerged objects. But
what should be done with objects having a fuel film on them as the
water was pumped off and the film was able to get "stuck" to
objects? Would such a fuel film be visible at all on the object? How
could it be removed on site? Should it be removed on site? What
happens if such an object dries with the fuel film in place? Will
the fuel evaporate with virtually no residues left in place? Can the
fuel residues be removed later?
As in many cases of larger disasters, there are fuel tanks leaking:
would we have to assume that all objects are affected? Or can this
problem be neglected all together because of the relatively high
evaporation rate of fuel? in general or only as long as there is
not a substantial fuel problem?
I welcome any comments, experiences (good and bad) as well as maybe
second thoughts you had (long) after something similar happened to
your collection and you now can observe (long term) behaviour of
affected objects.
If you prefer, you are welcome to send me your thought off-line. I
will summarize the offline comments for the list.
Karin von Lerber
Prev art GmbH - Atelier fur Textilkonservierung
CH - 8405 Winterthur
Oberseenerstrasse 93
+41 52 233 12 54
Fax: +41 52 233 12 57
------------------------------
Date: 29 Nov 2008
From: Samantha de van Geer <sam.vandegeer [at] oxfordshire__gov__uk>
Subject: Textile swatch files
At the Museums Resource Centre we are undertaking to produce a
reference collection of textile swatches for staff, volunteers and
visitors to help identify textiles within the collection this will
include historic and modern fabrics. We also hope that these
folders will also provide a reference of production techniques, i.e.
types of stitching, fastenings, embroidery, printing, dying and
weaving etc. Has anyone else created such a reference collection or
knows of any in use anywhere? It would be really useful to see how
others have done this or if you have any ideas of what you would
like to see in such a folder, this information will be greatly
received.
Thank You
Samantha van de Geer
Museum Object Conservator
Oxfordshire County Council
Museums Resource Centre
Cotswold Dene
Standlake
Witney
Oxon OX29 7QG
+44 1865 300937
------------------------------
Date: 29 Nov 2008
From: Robert Proctor <robert [at] whittenandproctor__com>
Subject: Plexigum PQ 611
Previously, there has been mention on this list of dissolving Rohm
Plexigum PQ 611 in Shellsol T . What little literature I could find
on this material indicates it is a butyl methacrylate which by my
understanding should require at least a small percentage of
aromatics or polar solvent to dissolve it. Can anyone steer me to
any technical data (preferably in English) on this resin? (e.g. is
it purely a butyl methacrylate or are there other things in it? if
so is it iso or n, Tg., Mw etc.) Has any reliable testing been done
on it? Also somewhere I have a table from 15 or so years ago,
before Rohm and Haas split, explaining the nomenclature of their
products, does anyone know if this is still applicable or does
anyone know of an updated version?
------------------------------
Date: 1 Dec 2008
From: Ellen Carrlee <ellen.carrlee [at] alaska__gov>
Subject: Water mist fire suppression systems
The Alaska State Museum is considering alternatives to our Halon
fire suppression system in collections storage. I am eager to hear
from institutions who have recently considered or installed a mist
fire suppression system. The space in question has some abandoned
wet pipes that we are looking into re-using for a wet pipe system,
but they have been unused for many years and may no longer be
functional. Unfortunately, the area above-ceiling where the pipes
are located contains asbestos, and pipe replacement would be
difficult. We might be able to install pipes below the ceiling
instead. Juneau, Alaska (population roughly 30,000) is not on the
road system and we're concerned about installing something that
isn't yet well established in the museum world.
Ellen Carrlee
Conservator
Alaska State Museum
395 Whittier Street
Juneau, AK 99801
907-465-2396
------------------------------
Date: 26 Nov 2008
From: Matthias Blana <matthias.blana [at] arcor__de>
Subject: Hostacor IT
Within a Roman well in Bavaria we found, beneath other parts of
waterlogged wood, a narrow barrel ring, maybe even the bow of a
crossbow, with a winding of iron wire.
Because of the iron wire we would like to preserve this composite
find with an approximately 15 Liter solution of PEG 200 and maximum
5V% Hostacor IT as a corrosion inhibitor, as investigated and
published in the Studies in Conservation, issued in 2000, with a
following freeze drying. Who has long term experiences with this
kind of solution? Is there a use-by date for the Hostacor IT? How
does it behave after the freeze drying on wood and iron or other
metals? How long does it keep its properties as corrosion inhibitor
especially after PEG, being long lasting hydrophilic? How dangerous
is the PEG and Hostacor IT solution for the environment; may I
dispose it into the sink for regular waste water treatment? Where
can I get Hostacor IT and a safety data sheet for it? Has anybody
used corrosion inhibitors other than Hostacor IT successfully?
Matthias Blana
Lagerhausstr. 9a
D - 87666 Pforzen
------------------------------
Date: 29 Nov 2008
From: Detlef Klein <detlef.klein [at] inspire__net__nz>
Subject: C73 Krupp Field Guns
I am the project conservator for the restoration of a C73 type field
gun made by the Krupp, Essen works, Germany, in 1892. This one is
the No. 4 marked gun of a batch of six delivered to the South
African Republic in 1892. Originally part of the Transvaal Artillery
Corps, it was assigned to Piet Cronje's Orange Free State commando
in 1899 and captured when Piet Cronje surrendered in February 1900
at Paardeberg Drift. The gun was gifted to New Zealand by Lord
Kitchener as a mark of respect for the volunteers of the 1st New
Zealand Mounted Rifles.
We have received extensive help from museums and organisations in
the past three years, and the project is almost complete. This
includes the accurate replication of a C73 breechblock which had
been lost. Information we still need and which has so far proved
impossible to get are the following:
What is the factory paint colour that Krupp used for their field
guns in that period? (there was no paint remnant left on the
gun)
We have no design details of the brake bar
What was the purpose of the lidded steel box in the middle of
the trail
Does anybody know where to get a design or photographs of an
1880's or 1890's limber that was with this gun but was lost
around 1940 and which we hope to be able to replicate?
Our documentation with CAD drawings of all components and
photographs so far is extensive and we would be pleased to make this
available to colleagues interested.
Detlef Klein
Manawatu Museum Services Ltd
301 Kahuterawa Road
R.D.4
Palmerston North 4474
------------------------------
Date: 5 Dec 2008
From: Linda Kent <linda.kent [at] dcr__nh__gov>
Subject: Glass audio discs
I am processing and cataloging several glass-based audio discs of
interviews from the 1930's and 1940's. The records have recording
material only on one side--the non-recorded side is glass. The
records are large--about 14 inches in diameter and are very
fragile--two are already broken.
Any thoughts or experience in working with these records? I am
unable to play them so cataloging will be a challenge but I am most
concerned that they receive the processing and preservation they
need to avoid further breakage, at least until we can find a way to
copy them onto more current media.
Linda Kent
Cataloging Librarian
New Hampshire State Library
Concord, NH
------------------------------
Date: 2 Dec 2008
From: Caitlin O'Grady <caitlin.o'grady [at] dhr__virginia__gov>
Subject: Cabinet for corrosive materials
I will be purchasing a cabinet for corrosive liquids including
nitric and sulfuric acids for my conservation lab. In an effort to
avoid steel cabinets and any future corrosion, brief research on the
subject indicates that there are two options including wood laminate
or polyethylene cabinets. Does anyone have any advice/comments
regarding purchasing one type or the other?
Caitlin O'Grady
Conservator
Virginia Department of Historic Resources
2801 Kensington Avenue
Richmond, VA 23221
------------------------------
Date: 2 Dec 2008
From: Caitlin O'Grady <caitlin.o'grady [at] dhr__virginia__gov>
Subject: Anoxia
I am writing on behalf of my colleague at the Virginia Department of
Historic Resources, Dee DeRoche, curator, who has been charged with
planning and implementing facilities for anoxic treatment of organic
materials. The space will be shared by the Virginia Department of
Historic Resources and the Virginia Historical Society. We would
like to be able to treat small archaeological finds, incoming boxes
with packed archaeological materials and records, archival
materials, as well as furniture in the proposed space for anoxic
treatment. Presumably, given the range in material, two different
chambers will be necessary. Any advice or help would be very much
appreciated regarding experience working with anoxic treatment of
these materials, implementation of such spaces, as well as size and
approximate costs for chambers. Furthermore, if anyone has worked
with specific companies, we would like to hear more about your
experience. I will forward any comments to Dee.
Caitlin O'Grady
Conservator
Virginia Department of Historic Resources
2801 Kensington Ave.
Richmond, VA 23221
804-367-2323 ext. 130
Fax: 804-367-2391
------------------------------
Date: 3 Dec 2008
From: Olivia Primanis <primanis [at] mail__utexas__edu>
Subject: Costumes with artificial blood
The followingis posted on behalf of Apryl Sullivan
<apryls [at] mail__utexas__edu>
I am in the process of housing costumes in a film collection
that have fake blood on them. The fake blood is still tacky and
sticks to the housing materials that touch it. I have tried
polyester film, Tyvek, and also a teflon coated material. I
would appreciate any ideas and suggestions that you might have.
Apryl Sullivan
Manager, Preservation Housings
Harry Ransom Center
The University of Texas at Austin
PO Box 7219
Austin, Texas 78713-7219
512-471-8128
apryls [at] mail__utexas__edu
------------------------------
Date: 1 Dec 2008
From: Caroline Tragett <caroline.tragett [at] cityoflondon__gov__uk>
Subject: Sir John Gilbert
The Guildhall Art Gallery in London is preparing an exhibition of
works by Sir John Gilbert (1817-1897). Gilbert was a prolific
Victorian artist who worked both in oils and watercolours, and was
also an illustrator. A large number of his later works, painted
mainly between the late 1870s and the early 1890s, were donated to
the gallery by the artist himself, and there was a later bequest by
his brother George Gilbert. However the gallery does not have
examples of his earlier paintings and would be grateful for
information on this period of his work.
Caroline Tragett
Lead Conservator (Frames)
Guildhall Art Gallery
+44 20 7332 3632
Fax: +44 20 7332 3341
------------------------------
Date: 7 Dec 2008
From: Vanessa Wiggin <vanessa [at] artworksconservation__com>
Subject: Skateboarding and public art
I am currently writing a conference paper and would like to
communicate with others who have dealt with the issue of the use of
public art by skateboarders, BMX riders etc. I am interested in
both attempts to stop this use and situations where it was
tolerated or even encouraged. Any pointers to relevant papers would
also be greatly appreciated.
Vanessa Wiggin
Director of Conservation
ArtWorks Conservation (Australia)
+61 8 9594 2420
------------------------------
Date: 8 Dec 2008
From: Abigail Quandt <aquandt [at] thewalters__org>
Subject: Position at Walters Art Museum
Assistant/Associate Book or Paper Conservator
The Walters Art Museum, Baltimore, MD
Temporary position
2-3 year appointment
The Conservation Division of the Walters Art Museum is accepting
applications for an Assistant/Associate Book or Paper Conservator in
the Book and Paper Laboratory. This is a 2 to 3 year appointment,
funded by an outside source, which will be renewed on an annual
basis for the projected time period.
The incumbent will be largely responsible for the examination and
treatment of Islamic manuscripts for a two-year in-house
digitization project. Other duties include the examination and
treatment of rare books and manuscripts for in-house exhibits, loans
and traveling exhibitions, acting as courier for loans; supervising
the fabrication of book supports, matting and framing for exhibits
and loans, assisting with rotating installations of rare books and
manuscripts; tracking budgets, and some supervision of interns and
volunteers.
Must be a graduate of a recognized conservation training program
with a specialization in rare book or paper conservation or have
equivalent training, with an additional 1-2 years of post-graduate
work experience. Previous experience in the conservation of Islamic
manuscripts is preferred. Candidates must have good writing/verbal
communication skills; experience in digital photography for
conservation and knowledge of basic computer programs.
The salary will be commensurate with experience; excellent benefits
package.
The position is available as of January 5, 2009 and will remain open
until it is filled. Please send a cover letter and resume with
references to
The Walters Art Museum
Human Resources Department
600 North Charles St.
Baltimore, MD, 20201
or by email to jobs [at] thewalters__org
EEO/AA Employer.
An alcohol and drug-free workplace.
------------------------------
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