Conservation of Archives and Ephemera
By Chris Woods and Stephen Ball
Most museums hold a range of miscellaneous
documents and papers whose value lies
principally in their content. Journals,
genealogies, plans, inventories, diaries, deeds,
share certificates, bills of exchange, accounts
and other substantial records have obvious
archival importance. Yet there is also
historical value in newspapers, posters,
playbills, tickets, cuttings and many other
'ephemeral' objects that were not intended to
last.
Paper is the dominant material for these
objects, though some older deeds and manuscripts
are made of parchment. The quality of these
materials varies widely; the intentionally
transient nature of ephemera often meant that
poor-quality materials were used to produce
them.
All archival objects must be handled and stored
with care, whether they are from past centuries
or merely a few weeks old. In particular, seek
advice from a conservator or your Area Museum
Council before working with documents or records
made of poor-quality materials.
Materials
This fact sheet concentrates on paper and
parchment documents.
Paper
The raw material of all types of paper is
cellulose obtained from vegetable fibres. The
fibres are combined into a mat and bound with
adhesive additives, and may be further treated
to provide other desirable qualities such as
whiteness. In Western papermaking, the best
fibres come from linen, cotton or hemp, often
obtained from rags. Their simple cellulose
structure and long fibres lend great strength
and durability to the resulting paper. Rag-made
papers were unsuitable for the increasingly
industrialised publishing industries of the
nineteenth century, so their use is now
restricted to prestige or craft projects where
the high quality of handmade paper is important.
Esparto grass once enjoyed some popularity as a
source of reasonably good book papers, but most
twentieth century papers are made from another
compound cellulose or wood. Wood pulp is
relatively cheap and easy to process in large
quantities, and the resulting paper runs well
through high-speed modern presses and machinery.
Wood may be added to other paper to modify its
properties; some present-day papers, including
newsprints, have plastics added to the mix.
The long-fibres of simple cellulose rag papers
resist tearing and repeated folding more
effectively than the shorter fibres of compound
cellulose wood-based papers. And although no
paper is chemically inert, wood-pulp produces
far more reactive and thus shorter-lived paper
than rag. Chemical processing improves the
qualities of wood-based papers beyond those of
the untreated 'mechanical' forms. Poorer-quality
mechanical papers such as traditional newsprints
sometimes betray their origin with identifiable
chips of wood embedded in the paper. The quality
of papers therefore varies widely, but the care
and conservation requirements are broadly the
same for all types.
Parchment
Parchment is made from animal skins commonly
sheepskin. These are dried and limed to produce
a stiff and light-coloured surface suitable for
writing inks.
Higher-quality grades of parchment include
'virgin parchment', made from the skins of
new-born lambs or kids, and vellum, a burnished
parchment made from calf, kid or lamb skin.
(So-called 'vegetable parchment' is a paper
treated with sulphuric acid to give it a
parchment-like appearance.)
The Risks
Archival materials are at risk from four
principal sources: mechanical damage, heat,
moisture and light.
Mechanical Damage
By their very nature, archival documents are
likely to be accessed for their content.
Frequent use will result in creasing, tearing,
soiling and staining, and even casual or
malicious marking with pencil or ink.
Strategies to reduce mechanical damage must
combine the direct protection of the object -
for example, with a transparent sleeve - with a
rational and consistently applied system of
storage and access management.
Heat and moisture
These two characteristics act together and must
be managed together. Stability is as important
as the absolute value of these parameters.
Monitor and control your temperature and RH
levels, and avoid large or rapid variations.
Excess heat dries papers and parchments, making
them less pliable and more brittle. Both
materials have a natural moisture content that
must be maintained. Dried-out documents are
likely to crack and split in use, probably along
existing folds and weak spots.
Excess moisture creates a weaker, less coherent
material - the fragility of soggy paper is a
familiar example - and conditions that favour
mould growth and pest attack. Moisture also
draws more of the potentially harmful chemicals
already present in the material into solution,
accelerating chemical decomposition. Chemical
instability is a particular problem for
low-quality papers. When heat and moisture
combine, the effects of each can be increased:
for example, mould is almost certain to attack
paper and parchment under warm, moist
conditions.
Light
Everyone is familiar with the fate of a
newspaper left in bright sunlight for a few
days. The paper rapidly takes on a yellowish or
brownish cast and feels more brittle between the
fingers.
Cheap newsprints are extremely reactive and
particularly prone to such rapid changes, but
light affects all materials used to produce
archive and other documents. UV-rich daylight is
a potent source of damage, though artificial
light sources are capable of similar effects and
if close to a document may subject it to heat
too.
Yet light is necessary for access: people must
be able to see a document. The intensity and
duration of light falling on the document has to
be reduced to a minimum using UV filters on
windows and light sources - which need periodic
checking and replacement - and the restriction
of light exposure by curtains and time switches
where appropriate. Copies (see below) usually
represent the safest solution of all, and allow
the original document to remain in light-free
storage.
Storage and Display
Small museums are unlikely to have enough space
to be able to set aside complete rooms for
archival storage, but the designated area must
be environmentally stable and free from damp,
excesses of heat, and undue 'traffic' from
visitors or staff.
Objects in book form can be stored on shelves,
but loose documents and other similar items are
best stored in boxes made of acid-free card or a
suitable plastic. The storage area, the boxes or
both must be capable of keeping light away from
the document. Within the boxes, store individual
items in acid-free envelopes (not the manila or
white envelopes of ordinary office stationery)
or clear plastic sleeves.
Choose conservation-grade sleeves of clear
polyester with only one open side and smooth
internal surfaces; avoid coloured or translucent
plastic, which may contain fillers or other
additives. A4 sleeves are readily available from
museum suppliers. Never use PVC, even as a
short-term solution (see the fact sheet on
plastics).
Plastic sleeves, and to a lesser extent paper
envelopes, help to shape a multiplicity of
different-sized objects into a more uniform
system of storage. Very small items such as
tickets or bills are far less likely to be lost
or overlooked when they are in a sleeve. Resist
the temptation to store more than one item in a
single sleeve: this carries the risk of abrasion
or ink set-off between the items, and makes it
far more likely that researchers will have to
remove the contents to use them, thus
squandering one of the great advantages of
storage in clear sleeves.
Archival materials are more likely to be
accessed on an individual basis than displayed
for general view, but where display is
worthwhile the light exposure and mounting of
the item are of paramount importance. One option
is a closed display cabinet with time-delayed
lighting or curtains.
Parchment presents special problems, and must
not be mounted or otherwise treated like paper.
It is probable that over the centuries a
parchment document will have acquired a
pronounced curve from rolling or deep creases
from folding; these must never be flattened out
for display. A copy or replica may be the best
approach here.
Handling
Effective access control and supervision and
good training and awareness among staff and
volunteers are the first defence against
mechanical damage.
Researchers and other visitors should only use
documents in a supervised area set aside for the
purpose. Wherever possible, leave items in their
plastic sleeves throughout the period of use - a
definite advantage of sleeves over opaque
envelopes. Wear white cotton gloves when
handling vulnerable items (and keep several
pairs available to make sure that visitors do
the same). Even when wearing gloves, keep your
fingers away from the text or other
information-bearing areas of the document.
Food, drink, cigarettes, and cleaning or
decorating materials should never be used or
stored in the vicinity of the items, and ideally
not in the same room. Never mark documents, not
even with a pencil; and do not attempt to remove
or rub out existing marks - you may damage the
item, and these marks are part of the document's
history. If you decide that a mark or stain
represents a long-term threat to a document -
because it may provide a medium for mould-growth
or a chemical reaction, say - then consult a
conservator.
Access
Documents in regular use are valued for their
contents, so copies will nearly always be
adequate and should be the preferred medium for
access. Where a bona fide researcher needs to
view the original document, either because some
detail of the copy is insufficiently distinct or
the object itself is also under study, then a
few simple procedures will keep the item safe:
-
Staff must bring items from the store to the
researcher;
-
Beware of damage to heavy or awkward items
when moving them from storage;
-
Adopt a booking and signing-in/out system
for users, and log all access to the item
too;
-
Check items before and after use, and return
them to store as soon as possible;
-
Allow access in a specially designated and
supervised area only;
-
Ensure smooth, level clean surfaces for
users, and control the light levels;
-
Match the environments of the access and
storage areas as far as possible;
-
Prohibit food and drink, smoking, and pens
or other indelible markers;
-
If you allow bags and cases in the reading
area, check them before the user leaves;
-
Only staff should be permitted to make
copies (e.g. by photocopying).
'Surrogates' and Copying
Copies of documents, often called 'surrogates',
are usually the best means of safeguarding
archive materials from damage and wear through
continued use. Methods and costs vary: fiche and
film copies require the services of
photographers and other outside agents, and
investment in suitable reading equipment;
photocopies are cheap and can be produced
in-house, but may be of low quality, especially
where the original lacks contrast or a clear
impression.
All copying processes are a form of use,
exposing documents to handling and light.
Photocopying
Research suggests that the light exposure
resulting from a single photocopying operation
is minimal. However, the risk of mechanical
damage is relatively high, especially where the
original is not flat or is in book form.
Before undertaking any photocopying project,
make sure that the copier is warmed up and in
good condition - a machine that is overdue for a
service and low on toner will produce bad
copies; these will probably need to be redone,
increasing the document's net exposure time. The
glass window should be scrupulously clean, and
free from traces of solvents and cleaning
fluids. Adjust optional settings such as
light/dark or contrast using scrap items of a
similar density, not originals. Your aim should
be to expose each item only once.
Rather than take several copies, make one master
copy and reuse that for secondary copies in
future. Use an acid-free archival quality paper
for the master and store it in the same way as
other archive items. Keep a record of the
operation. One person working alone can
comfortably copy single sheets from originals up
to A4, and normally up to A3 unless the original
is delicate. A second pair of hands is needed
for large or unwieldy items, books and anything
fragile. For example, the second person will
gently ease a book page open on the glass and at
the same time support the rest of the binding.
Never flatten a book or any other item onto the
glass, and never use an automatic feed
mechanism. Do not try to photocopy parchment
items; seek professional advice.
Photocopies made using resin-based toners on
archival papers - not office copier paper - are
relatively permanent. Avoid flexing the copy to
prevent the toner breaking away from the paper,
and store the copy in a polyester sleeve. Even
copies for frequent or everyday use are better
stored in a plastic sleeve - the longer the copy
lasts, the less often the original will have to
copied in the future.
A few present-day archival items may be on
thermal paper, as used by many fax machines
(though not plain-paper faxes), calculators and
some older computer printers. This paper is
inherently short-lived, and some kind of copying
process is essential to preserve the content in
the longer term.
Scanning
Scanning processes produce a copy in a digitised
form. This can be stored in a suitable graphics
format; some kinds of text may be suitable for
processing through an optical character
recognition (OCR) program to create digitised
text for subsequent manipulation in word
processors, DTP software and other means.
The ability to manipulate digitised surrogates
raises copyright and integrity issues, but from
the object's standpoint, flatbed scanning is
similar to photocopying. Make sure that the
scanner surfaces are scrupulously clean, do not
flex or distort the object, and keep exposure
time to a minimum.
Copyright
Copying operations can breach copyright. Under
the revised legislation of 1988, the copyright
term for most works under English law was
extended from 50 to 70 years after the author's
death. The absence of a copyright statement from
a document does not mean that it is in the
public domain. Transcripts of documents in the
public domain themselves become copyright items.
Consult a copyright lawyer or other specialist
before composing your copyright policy, and to
resolve any uncertainties or tricky issues.
National Legislation and Registration
You are strongly encouraged to submit details of
your archival holdings to the National Register
of Archives (see details below), which makes
your collection accessible to researchers
visiting the Register and on the Internet. By
law, some types of archive - principally public,
parish, tithe and manorial records - must be
deposited in county record offices. There are
other legislative restrictions that are designed
to preserve confidentiality in the case of
recent archive materials.
References and Sources of Information
BS 5454, Recommendations for Storage and
Exhibition of Archival Documents (2000), is the
latest version of the national standard that
most archives and libraries use as 'bible' of
best practice, even though many archives do not
reach this standard.
The National Register of Archives was initiated
in 1945 by the Royal Commission on Historical
Manuscripts. Their website is http://www.hmc.gov.uk/nra/nra2.htm
The Royal Commission on Historical Manuscripts
(also known as the 'Historic Manuscripts
Commission' or HMC)
Quality House, Quality Court
Chancery Lane
London WC2A 1HP
Tel: 020 7242 1198
Fax: 020 7831 3550
Advice on archive matters in Scotland is
available from:
The National Archives of Scotland, HM General
Register House
Edinburgh EH1 3YY
Tel: 0131 535 1314
Fax: 0131 535 1328
Or in Wales, from:
The Convenor, Cyngor Archifau Cymru: Archive
Council in Wales. Details of the current contact
can be obtained from the local record office or
from the RCHM.
Or, in Northern Ireland, from:
The Public Record Office of Northern Ireland,
66 Balmoral Avenue,
Belfast BT9 6NT.
Locally, advice is also available from the
appropriate local authority record office. Regional
Agencies will
be able to give guidance on other museums in
their region which have developed appropriate
archive policies, or tackled particular
problems, and whom it may be useful to consult.
Society of Archivists
(Executive Secretary: Pat Cleary)
40 Northampton Road
London
EC1R 0HB
Tel: 020 7278 8630
Fax: 020 7278 2107
E-mail: societyofarchivists@archives.org.uk
Website: http://www.archives.org.uk/index2.html
The Standing Conference on Archives and Museum
was set up jointly by the Museums Association,
Society of Archivists and the Historical
Manuscripts Commission. It can be contacted
through:
Louise Hampson
Secretary, SCAM
c/o York Minster Library and Archive
Deans Park
York, YO1 2JD
Tel: 01904 557 239
Fax: 01904 557 215
Email: jlhampson@lineone.net
Code of Practice on Archives and Museums (1996)
Free from the above address.
A series of SCAM Information Sheets is
available. Titles include:
1: Collections Policy and Management
2: Archival Listing and Arrangement
3: Archive Preservation and Conservation
4: Access to Archives
These are available on the SCAM website:
http://www.hmc.gov.uk/SCAM/home.htm
For more information about private conservation
work please contact:
Conservation Register
Tel: 020 7721 8246
Conservation Register (Scotland)
Tel: 0131 668 8668
Copies of this fact sheet can be provided in
alternative formats. Please contact Viola
Lewis, Information Officer at MLA for
further information. |
