Bridgeport’s Barnum Museum Comes Back From The Brink

Posted on May 16, 2012 by University Products

In the spirit of their namesake, the Barnum Museum in Bridgport, Conn., has made the effort to ensure that the show will go on after sustaining heavy damage when an EF1 tornado ripped through the city on June 24, 2010. The museum, named after famed Ringling Brothers and Barnum and Bailey circus showman P.T. Barnum, has been a landmark in the Southern Connecticut city since 1893. The museum’s over 25,000 artifacts reflect both Barnum’s life and personal items in addition to artifacts focusing on the history of the Greater Bridgeport area.

The Barnum Museum, pre-tornado.

Last month, The Barnum Museum reopened on a two-day-a-week schedule. Upon re-opening, the museum started a new and unique exhibition called Recovery in Action. This exhibition is presented on Thursdays and Fridays from 11 a.m. to 3 p.m., and allows visitors an opportunity to see the challenges of disaster recovery. The museum will showcase a unique array of artifacts including Tom Thumb’s miniature carriages and very ornate furniture owned by Barnum. However, these items will not be displayed traditionally. Instead, these pieces will be shown in their “evacuation” spaces. They were transfered from the museum and housed temporarily in the People’s United Bank Gallery. The museum’s visitors will see conservators work on artifacts while the recovery is in process. “The historic building itself is a work of art and the collection it contains is part of the overall restoration process,” Barnum Museum Executive Director and Curator Kathy Maher said about what’s taking place at her museum. “It’s now time to let everyone witness this tremendous effort as it unfolds,” she added.

The 2010 tornado caused millions of dollars in damage to the museum. A portion of the repair costs will focus solely on the museum’s collections. The American Institute of Conservation Collections Emergency Response Team in concert with both FEMA and the Institute of Museums and Library Services assessed the damage to these artifacts. The museum’s biggest problem has been elevated moisture levels that threaten pieces housed on the museum’s first floor and in basement level archival storage area. Amazingly, just one artifact was completely lost from the museum’s collection, a Barnum autobiography from 1870′s. Maher explained to New England Cable News that the tome was completely saturated and quickly molded over in the wake of the tornado.

According to initial estimates, well over 800 items in the museum’s collection will be reviewed, and many from that number will require some sort of conservation treatment. Included in the items that underwent this process was one of the museum’s pair of carriages built for Tom Thumb. The paint on the carriage had been stripped away by tornadic winds and debris as if it were scraped off by sandpaper. In fact, many of the painted surfaces in the museum experienced hydrothermal shock due to the drastic humidity and temperature changes from the storm. Conservator Chris Augerson coated the carriage with a thin layer of varnish before applying infill painting. Keeping with the tenets of conservation, these measures were taken so that this process can easily be reversed in the future. The fabric elements of the carriage are currently awaiting treatment.

In addition to the damage incurred by the museum’s collections, many structural deficiencies were spotted even before the tornado hit the building in 2010, including faulty support structures that hoist the museum’s famous dome. Due to the high speed of the tornadic winds and the compromised support structures, the domed roof actually shifted counterclockwise. To repair this, the dome will have to be supported by load-bearing columns placed on the museum’s third floor.  After the tornado, a historic buildings engineer also inspected the building’s structural integrity. The repairs to the museum are expected to be completed in another two years.

Natural disasters, like the tornado that hit the Barnum Museum, are largely unexpected weather phenomena. The key for a quick recovery from any natural disaster is preparedness. Both the National Park Service and Kansas Cultural Emergency Resources Network can provide you with numerous resources to help you formulate a plan in the event of a natural disa?ter. Once your disaster plan is finalized, University Products carries the necessary tools and equipment to protect your collections, as well as products to restore them if damage should occur.

 

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A University Products How-To Tip: Display and Storage of Books

Posted on May 8, 2012 by University Products

Books present a variety of unique conservation concerns.  Numerous construction materials may include paper, leather, fabric, silk, thread, and adhesives, each of which have specific requirements in the area of conservation.  Unlike a photograph or simple sheet of paper, a book has moving parts (pages) and must be handled and manipulated to perform the function it was designed for.

Protection from temperature and humidity fluctuation, ultraviolet light, and damaging display or storage materials is necessary for the long-term survival of books.  Beyond that, books take on a whole new set of rules.

Open Books
Opening a book completely (180 degrees) can flatten the spine and cause considerable damage.  Collectors often wish to display the book opened. To do so safely, the book should not be opened more than 90 degrees, and both front and back covers should receive full support.This can be accomplished using commercially available book cradles, support wedges and book mounts. They should be manufactured of inert materials (usually Plexiglas) and provide smooth, strong support.

A sheet of polyester (Melinex) cut to the proper size is ideal for holding down “springy” pages of an open book on display.  Because it is crystal clear, the page can be viewed without obstruction.  In addition, it will protect the exposed page(s) from dirt, dust and fingerprints.  The polyester page protector should be fastened to the support, never to the book itself.

Closed Books Storage
Closed books are a little simpler to store.  Adequate circulation should be maintained within the storage area.  Books stored on shelves or in a book case should not be pushed against the back wall, but kept an inch or two away to allow circulation of air.  This is especially important if it is an exterior wall since changes in temperature and humidity are more likely to occur. They should be stored upright on the shelf rather than laid flat, but should not be allowed to lean since the strain could damage the spine.  Books with leather bindings should be stored away from those with cloth or paper bindings to prevent migration of naturally occurring acids and oils in leather from damaging paper or cloth bindings.  Like-size books should be stored together to provide proper support, but should not be so tight as to cause damage when removed or replaced.
The downside to storing your book collection closed and on shelves is that viewing the book requires handling the book.  Careless handling of books can cause irreparable damage, and a few common sense handling procedures can preserve a book in its pristine condition.  Instead of pulling a book out by the top of the spine, push in the books on either side and remove by gently grasping both sides (another good reason to leave a few inches of space behind the books).  Modern day books with dust jackets should be covered with a polyester book jacket cover. Book jacket covers are fairly inexpensive and provide increased protection from general wear and tear. They also prevent chemicals from body oils in the hands and fingers from damaging the book.  Use only polyester or other inert materials to cover books since some plastics or acidic papers can cause more harm than good.  Most libraries use polyester dust jacket covers.

Older/Damaged Books
Older books that are already exhibiting signs of weakness or damage must be treated differently.  These should be stored flat rather than upright to provide needed support, and never more than two or three books high.  Ideally, each damaged book should be stored individually in a box custom made to the book’s dimensions.  These boxes should be manufactured from archival quality materials only.

Some damaged books can and should be repaired. Repair work should only be attempted by a qualified  book conservator trained in using proper materials and techniques.  A book conservator can deacidify any books manufactured with acidic paper, repair tears in pages, tighten loose hinges, and create proper storage boxes, among other procedures.  Properly cared for, your book collection will last indefinitely.

 

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Time to Celebrate Preservation Week!

Posted on April 18, 2012 by University Products

 

 

Starting Sunday April 22, the American Library Association will kick off its third annual Preservation Week. The intention is to make connections between communities through events and activities that showcase what we can do to better preserve personal and shared collections. Preservation Week got its start in 2010 to bring awareness to the 630 million items in collecting institutions that require immediate care and attention. The American Library Association also points out that some 2.6 billion items are not protected by some form of an emergency plan. In 2011, more than 65 events were held nationwide during Preservation Week to bring awareness to this issue. This year, institutions across the country will be presenting webinars, workshops and lectures on how to better preserve your collections. In 2012, a diverse group of institutions will be participating in Preservation Week. You can find all of the scheduled Preservation Week events and locations on the official map.

Some of this year’s highlights include:

  • At New York University’s Michelson Theater, Activist Archivists have collaborated with the Occupy Wall Street movement to hold a presentation about the OWS Archives Working Group and the challenges they have already experienced and will face with regards to preserving and archiving materials directly related to the Occupy Wall Street movement. (Tuesday April 24, 6 PM).
  •  MIT Libraries will be presenting about caring for your family’s textiles. This session is available as a webinar. It will cover proper storage and display of your textiles, and when to call in professional conservators to handle a project. Earlier, we wrote about one such group of professionals, our friends at Museum Textiles Services. (Tuesday April 24, 2:00-3:00 PM)
  • The Library of Congress is hosting a pair of noontime events during Preservation Week. On Monday April 23, the Library of Congress will show a 35-minute, 1980′s photofilm, a movie made solely from still images, about library preservation events at the Library of Congress some three decades ago. On Wednesday April 25, conservation specialists from the Preservation Directorate will hold a seminar on the preservation of artifacts on paper. This workshop will focus on the basic conservation remedies that can be done at home.

University Products wants to help you get ready for your preservation week projects, so we are offering a sitewide 20% off sale through April 20, 2012. Use the coupon code PRESERVE12 at checkout, and the savings is yours!

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Visiting the Smithsonian’s Lunder Conservation Center

Posted on April 11, 2012 by University Products
The Lunder

The Lunder by sarahstierch, on Flickr

Many pieces within the the Smithsonian’s Museum of American Art have undergone conservation treatments throughout the years, but the ones that were treated by the Lunder Conservation Center, were done in front of the museum’s patrons. This state-of-the-art conservation lab and studio, housed in the museum’s fourth floor, gives visitors to the museum a unique perspective on the conservation treatment process. Patrons have the opportunity to see conservators at work in five different labs and studios behind floor-to-ceiling glass walls. Interactive kiosks and displays provide visitors with pertinent information about the process going on in front of them and the importance of museum conservation.

Conservation process on John Scott sculpture, Thornbush Blues Totem, photo courtesy of Smithsonian’s Museum of American Art

The Lunder conservators have been working on John Scott’s Thornbush Blues Totem, a sculpture constructed in 1990. In an effort to to prepare the piece for a new exhibition showcasing African-American art, the sculpture needed to have a layer of tape removed from its base. This layer of tape acts as padding for the bottom of the piece. The removal of the tape could result in paint being pulled along with it and sticky residues being left behind. However, the paint adorning the sculpture is highly sensitive to most solvents, including water. The conservation treatment of this sculpture is being documented as part of an on-going series for the museum’s blog, leading up to the April 27 opening of the African-American Art: Harlem Renaissance, Civil Rights Era, and Beyond exhibit.

"Flowers" by William H. Johnson

The Lunder Conservation Center routinely informs visitors about what they’ll be doing inside their labs and studios via their Twitter feed. Through this medium, the conservators at Lunder also share photos of ongoing projects. Earlier this month, it was the cleaning treatment of William H. Johnson‘s iconic “Flowers” painting from 1939-40.

If you have art that requires a special conservation treatment,  University Products has a wide variety of conservation materials to help you complete your project.

 

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A University Products How-To Tip: Conservation Framing

Posted on March 28, 2012 by University Products

You have just completed the framing of your photograph, print or document, and have it proudly displayed in your home or office. Already, certain chemical reactions have begun to occur which can result in yellowing, brittleness, and overall deterioration. Colors can fade, clarity will decrease, and eventually, the value of the image will diminish.
A framed item is usually exposed to direct or indirect sunlight, as well as interior lighting (both fluorescent and incandescent). All of these emit varying degrees of the damaging ultraviolet portion of the spectrum that causes paper to discolor and inks to fade. In addition, the paper, board, adhesives, glazing (glass) and even the frame itself, can accelerate the process of disintegration.
While it may seem that your only option is to lock up your collection somewhere, away from the perils of man and nature, it is no longer necessarily to resort to such extremes. Conservation framing techniques and materials available today allow you to exhibit your cherished photos and prints in relative safety. To insure they are properly framed you should consult either a qualified conservator or picture framer trained in conservation framing techniques. You may even wish to attempt the job yourself, although the time, patience and expertise required to do the job properly is considerable. Whether you decide to work with an expert or take on the task yourself, there are a few basic principles you should be aware of to make sure the job is done properly.

The Frame Package
Conservation framing starts from the back of the frame and works forward through the framing package. The sealing of the back of the frame provides protection from dust, moisture, atmospheric pollution and varying climatic changes. It should be acid free, and buffered to prevent the development of acids in the future. The frame backing should be secured using pH neutral adhesives or tapes. There are many available for just that purpose.

1. Frame Back
Beneath the frame backing paper (sometimes called the dust cover), is the backing board or filler. Sufficient backing provides additional strength and rigidity. Several types are used including corrugated paper board, corrugated plastic, and solid foam core boards. There are dangerous as well as safe varieties of each available. Any paper backing board should be acid free and preferably buffered. Plastic board should be inert and free of harmful plasticizers. Solid core foam boards should also be both acid free and inert.

2 . Back Mat
As you proceed toward the front of the frame package, the next layer would be the back mat. Museum board will provide the safest support for your artwork. Made of 100% rag, this board should be acid free and lignin free. Since the entire back of the autographed document will lie completely against this layer, it may very well be the most crucial layer of the frame package.

3. Attaching Art to the Back Mat
Proper hinging and mounting materials are a necessity when attaching the document or photo to the back mat. By museum standards, the only proper method involves attaching hinges made from acid free Japanese tissue. Wheat starch or rice starch paste are the only acceptable adhesives for this application since they are acid free and reversible. The first piece of hinging tissue is adhered to the back of the photo or document, leaving a portion of the hinge protruding above the item. The adhesive should face out when the document is laid face up on the back mat. The second piece of tissue lies over the first, without touching the document, securing the document to the backmat. The window mat can then be positioned over the document to completely hide the hinges. New products such as mounting strips and mounting corners are also available. These products allow you to mount without using any adhesive on the artwork, and are extremely efficient. However, Japanese hinging remains the time tested choice of most conservators.

4. Window Mat
The window mat is the next layer, offering strength and support in addition to providing sufficient air space between the glazing and the artwork. Ideally, the window mat should be 100% rag, acid free, buffered, and contain no alum or lignin. In addition, colored window mats should be bleed and fade resistant (conservators usually prefer white or cream white to be on the safe side).

5. Glazing
Finally, comes the glazing. Both glass and Plexiglas are now available with UV filtering layers to protect your print or photograph from dangerous light. You may find that the UV filter glazing materials have a minor tint that changes the appearance of your document. This is preferable to an actual change that will undoubtedly occur in its absence. Make sure whatever glazing material you choose, that it does not come in contact with the artwork.

Remember that framing is the creation of a storage container that allows you to view its contents, and that improper storage is a leading cause of deterioration of paper and photographs. When properly framed, your prints and photographs will be enjoyed not only today, but for generations to come.

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National Archives Unveil Newly Encased Magna Carta

Posted on March 20, 2012 by University Products

A newly-restored 1297 Magna Carta, complete with a brand-new encasement, is the prominent piece in a new exhibit at the National Archives in Washington, DC. The Magna Carta, originally issued in 1215, was the first document forced onto an English king in an attempt to limit his powers by law and protect the privileges of the feudal barons. The charter was an important part of the historical process that led to the rule of constitutional law in the English speaking world. This copy, owned by managing director of the Carlyle Group, David M. Rubenstein, was donated to the National Archives. The document underwent a 10-month conservation treatment before its unveiling on February 17.

Page one of the Magna Carta Manuscript.

The treatment process began with the National Archives’ team of conservators performing an intensive examination to identify the repairs that needed to be done to the 715-year-old document. Then the conservators applied moisture to aid in the removal of old fills, adhesive residues, and old repairs. Losses in the parchment were repaired using Japanese papers that were toned to match the hue of the document. The long fibers of these papers were applied to the fills by using a mixture of gelatin and wheat starch paste. National Archives conservator Terry Boone was able to accurately match these colors by using watercolor paints. Finally, the document was humidified, flattened, and dried over the course of several months.

In its new encasement, the Magna Carta rests on a sheet of unbleached, all-cotton paper that was custom-made by the University of Iowa’s Center for the Book. This sheet acts as an acid-free buffer between the document and a perforated metal platform as it rests in the new case constructed by the National Institute of Science and Technology (NIST). The paper also brightens the appearance of the translucent document and helps to keep the relative humidity inside of the encasement at a stable level. NIST scientists devised a system to measure oxygen and moisture content within the encasement which includes filling it with humidified inert argon gas. Also, the interior of the display is filled with an atmosphere of 99% high-purity argon, 1% helium and an initial oxygen content of 1 part per million.

University Products offers a variety of materials, tools, and equipment for document conservation including: 100% cotton rag papers, pre-shred cotton linters, Ex-Libris economical portable vacuum table, micro-spatulas, and white cotton gloves.

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Stereographs and the Stereogranimator

Posted on March 7, 2012 by University Products

stereo card viewerA current and popular trend in film-making is shooting films in eye-popping 3-D format. Throughout history, 3-D technology has evolved from the simple red-blue anaglyphs of the mid-20th century, to big-budget effects that are displayed on the cinema screens today. But the fascination with 3-D and special effects is certainly not a new phenomenon, and a new project from the New York Public Library has rekindled interest in stereographs, a precursor to 3-D, with their Stereogranimator. This new page puts the NYPL’s large collection of over 40,000 stereographs at your fingertips where they can be instantly converted, viewed and shared as either animated GIFs, or 3-D anaglyphs. This initiative was loosely based on the works of artist Joshua Heineman on his site, Cursive Buildings, that he created in 2008.

stereo card archival storage boxStereographs were a popular form of entertainment over a nine-decade period spanning from the 1850′s to the 1930′s. Queen Victoria praised stereographs and consequently popularized them after they were displayed at London’s famed Great Exhibition in 1851. Oliver Wendell popularized this medium in America with his invention of the hand-held stereoscope and promotion of stereograph libraries. The first of these types of images were printed on copper (daguerreotypes) or glass (ambrotypes). It wasn’t until the printing of stereographs on card stock that their popularity truly skyrocketed. Eventually, companies like the London Stereoscopic Company started to establish and sell millions of stereoscopes and stereographs in the mid-1800′s.

four flap stereo negative storage envelopeThese images gave viewers a glimpse of a very early variation of 3-D possibilities that we see in movies today. While peering through a stereoscope at two seemingly identical photos, the viewer’s brain tricked them into thinking that they were looking at one three-dimensional image. However, unlike the animated GIFs made through the Stereogranimator, original stereographs were motionless.

Do you own or care for a special collection of stereo cards? University Products offers products to both view your images and keep them archivally safe. Our stereo card viewer is an economical option for viewing your prized stereo cards. We also provide enclosures for your stereo cards and stereo card negatives as well as stereo storage boxes to house both.

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Happy Birthday Dr. Seuss!

Posted on March 2, 2012 by University Products

dr. seussToday is Dr. Seuss’s 108th birthday. The famed author and illustrator was born Theodor S. Geisel, in Springfield, Massachusetts in 1904 to parents who had emigrated to the U.S. from Bavaria, which is now a portion of modern-day Germany. The famous Seuss surname was both his mother’s maiden name and his middle name.

Seuss began his writing and illustrating career while in college as he served as a cartoonist at Dartmouth’s humor magazine, The Jack-O’-Lantern, in the mid-1920′s. After a very brief stint at Oxford, Seuss returned to the States and started working on a new profession, drawing cartoons for corporate advertisements. Included in these pieces are cartoons created for Flit, a popular bug spray at the time. Seuss came up with Flit’s famous tagline, “Quick, Henry, the Flit!” which became the catchiest advertising slogan of it’s day. Seuss also drew advertisement cartoons for NBC, General Electric, Standard Oil, Ford and many others. These pieces are housed in the Mandeville Special Collections Library within the University of California-San Diego’s Geisel Library in La Jolla and in an interactive online database on the library’s website.

Geisel Library Building

Geisel Library Building

As the international climate turned to war in the 1940′s, Dr. Seuss used his talents to make a statement about what was going on abroad. Seuss was an interventionist who believed strongly that America’s involvement in the war was necessary. Captain Geisel (as was his military title) served in the war with a unit alongside famed film director Frank Capra and even made military training films with Chuck Jones, who would later develop the Roadrunner and Wile E. Coyote cartoons. From 1941-1943, Seuss served as the editorial cartoonist for a liberal-leaning newspaper in New York City, PM. The Geisel Library website contains hundreds of these cartoons. According to Seuss scholars, Seuss’s political views formed during WWII later influenced his famed children’s books, Yertle the Turtle and The Sneetches.

Dr. Seuss died in 1991 at the age of 87. However, his legacy lives on today with a reading celebration Read Across America and other events across the country. The Geisel Library is also home to close to 8,500 Dr. Seuss items ranging from books, to speeches, to films and fan mail. Due to the fragility of some of the pieces in this collection, it is available to researchers by appointment only at the library.

dr. seuss national memorial sculpturesUniversity Products is fortunate to be located near Theodor S. Geisel’s birthplace. The whole Greater Springfield area has ties with the famous author and his characters. For example, it is said, that “The Lorax”, on which the new movie coming out today is based, has direct references to some local landmarks (where Seuss grew up). To get a feeling for the place that inspired the iconic children’s author, please visit  Dr. Seuss National Memorial, at the Quadrangle in Springfield, Mass.

For more information on Dr. Seuss, his works, Seuss related-events, and much more visit Seussville.com.

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There’s No Place Like Conservation Lab: The Wizard of Oz Ruby Slippers Scheduled for Maintenance

Posted on February 28, 2012 by University Products
Smithsonian Institution Ruby Slippers

Photo courtesy of the Smithsonian Institution

American popular culture’s most recognizable pair of shoes were removed from display and went into the Smithsonian’s conservation lab for some much-needed repairs on February 23. The famed ruby slippers, worn by Judy Garland in the 1939 classic film The Wizard of Oz, will return to the Smithsonian Museum of American History display cases on April 5, where they have been featured on a nearly continuous basis since being anonymously donated to the museum in 1979. The shoes will be a part of a new exhibition entitled, “American Stories.”

Originally, the shoes were not supposed to be kept for posterity nor be the iridescent red color for which they are famous. In fact, the shoes designed by the film’s costume designer Gilbert Adrian, were intended to be used solely for the movie. Most film fashion props are just used for the short duration of a shoot, and not showcased for several decades afterward. During an earlier conservation treatment, it was discovered through tests that the shoes’ famous red sequins were made of gelatin, an organic material that would be damaged if cleaned with most cleaning solvents. Smithsonian conservators decided that their best course of action would be to use cotton dipped in ice water to complete the tedious process of cleaning each sequin individually.

PortaScope Digital Microscope In both L. Frank Baum’s 1900 novel, from which the film was adapted, and early variations of Noel Langley’s screenplay, the shoes were originally intended to be silver. However, with the advent of technicolor film, the shoes’ hue was changed prior to filming in an effort to catch the eyes of moviegoers. During the conservation treatment, the original silver color of the shoes was discovered after being examined with a hand-held microscope. Conservators also found a netting underneath the bright red sequins that originally allowed the film’s costume designers to stitch those sequins to the silver slippers. This netting was added to the shoes in an effort to make the process of stitching the sequins to the shoes easier.

Similar conservation projects could be accomplished with the following tools and equipment from University Products: precision miniature fiber-tipped applicators, stainless steel conservation work trays, and PortaScope digital microscopes.

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Archival Photo Storage: Choosing The Best Enclosure

Posted on February 16, 2012 by University Products

Your valuable photo collection is vulnerable to dangerous threats including environmental contaminants, water, fingerprint oils and PVC plastics. archival quality photo storage box drop front blackWe have products and solutions to protect and preserve your photos for many years to come. University Products offers a wide variety of archival photo products that will help you with your photo restoration and preservation projects.

Included in these products is our line of custom archival boxes that have passed the Image Permanence Institute’s Photo Activity Test. The Photo Activity Test (PAT) evaluates photo-storage and display materials and how they interact with photographic materials. This test can determine the archival quality of materials including, but not limited to, paper, boards, and plastics. The components of such materials are also tested. These may include inks, tapes, paints, and labels.

 

archival quality photographic plastic enclosure sleeveOver 8,000 samples have undergone the PAT test in more than the two decades of the test. This test is administered by stacking materials in contact with image interaction and stain detectors. These stacks are then placed in a humidity and temperature-controlled chamber to simulate aging. This climate-altered chamber stays at a temperature of 70 degrees centigrade and 80% relative humidity. The incubation process of each sample takes place over the course of a 15-day period. Test results are sent to clients and manufacturers within 4-6 weeks after the test is administered.

archival quality photo negative slide storage pagesIn addition to our line of custom archival boxes, University Products offers photo pages and sleeves that have passed the PAT. Per the recommendation of the National Archives, polyester, polyethylene, and polypropylene enclosures provide the most stable and non-damaging storage environment for archiving your photos. Unlike PVC plastics, these materials are inert and do not stick to your photographs.

photo tex archival quality interleaving tissueAt one time, it was believed that photographs stored in buffered enclosures might be adversely affected by buffering. This is no longer believed to be true except for a couple of specific types of photographs. With dye transfer prints and cyanotypes, unbuffered enclosures should be used. The image of both print types can be harmed by alkalinity. University Products’ new Photo-Tex tissue was mentioned on our blog earlier this year as a suitable solution for interleaving between photographs when buffering is not desired.

 

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