Care of Objects on Tour: The Basics
Collections Management:
You need to know
What you’ve got
Who it belongs to
Where it is
What it’s doing
What to do if things go wrong
So you have
Catalogue
Labelling and Marking
Location records
Assessment – monitoring
Records – Loan Condition checks
Emergency Plan, procedures
Record the condition of the object before, during and after the exhibition
 Record ALL parts of the object
 Record everything that happens to the object
 Make sure you can prove when damage occurred or parts were lost.
Observe the object carefully throughout the exhibition.
 Be prepared to act quickly if conditions change
 Plan for accidents and emergencies
 Watch for changes afterwards
Labelling and Marking
 Guidelines on Collections Link website
 Use your museum code http://www.collectionstrust.org.uk/mda-codes
 Use fadeproof (lightproof) and waterproof pens
 Write VERY clearly
 Protect the surface with Paraloid B72 solution - If acetone will soften the surface
use 2B pencil or a label
 Use Tyvek or acid-free card for labels, tied on with cotton tape or soft, acid-free
twine
Risk Assessment
 Be aware of the hazards of the object, the materials and tools you are using
 Objects may contain toxic materials, have received treatments or have toxic dust
on them
 Dust or mould spores can affect people
 Consider tools and equipment, materials and methods (MSDS)
 Think about the work area
 Think about people who may be affected
HSE Health and Safety Executive website has helpful templates and guidance
www.hse.gov.uk/pubns/indg163.pdf
5 Steps to Risk Assessment
1. Identify the hazards
2. Decide who might be harmed and how
3. Evaluate the risks and decide on precautions
4. Record your findings and implement them
5. Review your assessment and update if necessary
IF IN DOUBT – STOP AND ASK A CONSERVATOR
ENVIRONMENTAL CONDITIONS
Think about
 Temperature
 Relative Humidity
 Light
 Airborne Pollutants
 Contamination
 Emergencies
Know what tenperature and relative humidity the object is
used to
Measure, don’t guess
 Use dataloggers if you can
 Electronic temp/RH meters
It may be necessary to create a microclimate in a smaller
box or case
Aim for stability, slow down changes
Be prepared to act quickly if things go wrong
Minimise exposure to light and UV
Avoid having items on open display
Keep items covered until the area is clean
Allow time for cases and displays to off-gas (paint and
adhesives may take weeks to dry thoroughly)
If you can smell something – check it out
What else will be put in the case?
How often will the case be opened?
www.galleryequipment.com
Simple packing plan
IF IN DOUBT – STOP AND ASK A CONSERVATOR
Common Airborne Pollutants and their effects on Materials
There are many others – e.g. Volatile Organic Compounds from paints, sprays
Name
Effects
Tarnishes metals
Damages prints and dyes
Sulphur dioxide Embrittles and discolours papers
SO2
Weakens textile fibres
Attacks photographic materials
Discolours pigments
Fades dyes, especially in textiles
Nitrogen dioxide
Weakens textile fibres
NO2
Damages photographic film
Cracks rubber
Ozone
Fades dyes
O3
Attacks photographic materials
Damages books
Tarnishes metal, especially silver
Attacks photographic materials
Hydrogen
Sulphide
H2S
Carbonyl
sulphide
OCS or COS
Formic Acid
HCOOH
Acetic Acid
CH3COOH
Tarnishes metals
Attacks photographic materials
Corrodes metals, especially lead,
zinc, copper allows with high lead
content
Attacks calcareous materials such
as limestone, marble, shell, bone
Attacks mineral specimens
Weakens paper, textiles
Corrodes metals, especially lead,
zinc, copper allows with high lead
content
Attacks calcareous materials such
as limestone, marble, shell, bone
Attacks mineral specimens
Weakens paper, textiles
May be oxidised to formic acid
Formaldehyde
HCHO
Particles
Soiling, discolouration
Scratches and abrasion
Retention of moisture at the
surface
Chemical reactions
Sources
External air
Burning fuels such as coal, oil or some gas
Deteriorating wool, wool felt, feathers or fur
Rubber latex
External air
Burning gas
Decomposing cellulose nitrate
External air
Photocopiers, laser printers
Electrostatic particle filters
Insect electrocutors
External air
Humans
Case and display materials
Deteriorating wool, wool felt, feathers or fur
Rubber latex
Waterlogged archaeological material
Poorly processed photographs
External air
Drying paint
Oxidation of formaldehyde (eg MDF)
Some woods, wood products
(Ants)
Wood, wood products
Adhesives
Sealants
Decomposition of cellulose acetate film
Wood products
Adhesives and resins
Flooring compounds
Some thermosetting plastics
External air
People
Pollen
Dust
Salt spray
Adapted from: P Brimblecombe in Norbert S. Baer & Paul N. Banks (1985): "Indoor Air Pollution:
Effects on Cultural and Historic Materials". The International Journal of Museum Management and
Curatorship. 4,1985, pp. 9-20.
IF IN DOUBT – STOP AND ASK A CONSERVATOR
DISPLAY
Principles:
Present objects clearly and safely
Protect objects from
 Theft or damage
 Strain or stress
 Dust and airborne pollutants
 Inappropriate temperature and relative humidity
 Contaminants (especially chemical reactions)
Materials used must be stable, inert and appropriate, e.g.
 Acid-free tissue and card
 Unbleached, scoured cotton calico
 Plastazote and Ethafoam (polythene) foam
 Melinex polyester film
 Perspex acrylic sheet
 Glass
 Enamelled steel, aluminium
You can seal unstable materials (e.g. wood, mdf) with
3 coats of Dacrylate 103-1 acrylic varnish (from Clifton
Paints, Bristol) or a barrier film such as Moistop, aluminium
foil and aluminium tape.
Isolate objects from metal or painted surfaces.
Use scavengers to adsorb harmful substances
 Activated charcoal cloth
 Case filters
 Avoid ozone producing equipment
Lighting
 Minimise exposure to UV and light
 Minimise heat
 Think about safe access to lighting (e.g. to position
it or change bulbs)
Display Mounts
 Should provide as much support as possible and
avoid stress.
 Use padding to prevent abrasion or crushing
 Insulate the object from harmful materials and
metals
 Use failsafe methods
 Must be removable without damaging the object
 Ready made mounts may need padding, smoothing
or adaptation
 Provide instructions for custom mounts
IF IN DOUBT – STOP AND ASK A CONSERVATOR
HANDLING - try to minimise risk
Prepare the Area
 Have a clear, clean space with a smooth, strong
surface which will take the weight.
 Cover it with a protective layer so that you can keep it
clean, it is easy to see fragments, and you don’t
transfer substances between objects. Use padding
when appropriate.
 Have sufficient storage areas for materials (e.g.
packing).
 Keep the area secure.
 Minimise changes in the environment when the object
is moved
 Gather materials and tools before you start.
Prepare yourself
 Make sure clothes, jewellery and hair cannot get in
the way. Fasten up or remove loose, trailing items
including jackets and cardigans so you have a smooth
front. Shoes must stay on your feet and protect your
toes. In some areas you may need workshoes.
 Wear suitable Personal Protective Equipment. This
may be as little as gloves and an overall or apron, but
you may need a dust or vapour mask, and goggles.
Some areas may need a hard hat and a high visibility
vest.
 Make sure you have all the information you need.
What objects are you working with and why? What
are the museum’s procedures (e.g. Documentation,
First Aid, Accidents, Damage, Quarantine/Pests,
Theft/Security). If using materials or equipment, have
you read the manufacturer’s instructions? Have you
read any relevant Health and Safety documents?
 If you will be moving objects, walk the route first.
 If working in a team, make sure everyone agrees their
role.
Prepare the object
 Make sure you know what the object is, its identity,
what it is made of, its condition, how many parts it
has, the hazards involved and what you are going to
do with it.
 Minimise handling of objects. Carry items in boxes or
trays and unpack onto the work surface.
 Never carry more than one item in your hands.
 Have someone to open doors and keep the route
clear when moving objects.
IF IN DOUBT – STOP AND ASK A CONSERVATOR
GENERAL POINTS FOR HANDLING OBJECTS
1. Never eat, drink or smoke near objects.
2. Prepare yourself
 remove any jewellery or accessories which could scratch or entangle the object
 wear an overall or apron to protect the object and yourself
 wear impermeable gloves that fit well – nitrile, polythene or latex
3. Prepare the area
 a secure place
 a clean, padded surface for the object
 nothing nearby that could damage or stain the object, e.g. pens
4. Prepare your equipment and materials Make sure you have everything you
need and safe ways to dispose of used materials.
5. Treat all objects as if they are fragile. Ensure that the whole object is fully
supported from beneath when handling and moving. Do not lift by any protruding
parts, such as handles, in case they have been damaged or are loose.
6. Question: before working with an object, look at the materials and construction,
especially any damaged or weak areas.
 Is the surface secure? Is it powdery or flaking?
 Are there cracks or weak areas?
 Are there loose joints or parts which could detach?
 Does it need support in certain areas?
 Is there any evidence of decoration or marking?
7. Record the condition of the object before you begin and any observations while
working with the object. If you have any doubts, ask before you act.
8. Cleaning: If the surface is secure, loose dust can be removed with a clean, soft
brush. Do not brush weak or damaged surfaces. If the object is very dirty or
corroded, ask a conservator about cleaning it. Makre sure you know what you
are removing. If in doubt – DON’T
9. Observe the object carefully throughout the process – you may uncover weak
areas or unknown conditions. Different parts may react differently.
10. Document what has been done – it is part of the history of the object.
Be aware of the hazards of the object, the materials and tools you are using.
IF IN DOUBT – STOP AND ASK A CONSERVATOR
PACKING, STORAGE AND TRANSPORT
Time taken at the start to devise individual packing will be
worth it, especially when touring to multiple venues.
Packing Materials
 Use stable, inert materials
 Acid-free card, paper and tissue
 Polythene sheet, polyester film (Melinex), polyolefine
fabric (Tyvek)
 Polythene foams (Jiffy, Plastazote, Ethafoam)
 Seal unstable materials such as wood, MDF
Boxes
A box can protect objects from physical damage, pests,
dust, pollution and light and buffer them from changes in
temperature and humidity. It should have a one-piece
bottom and well fitting lid. Make sure labels are on the sides,
not just the lid. Keep a packing list inside.
 Acid-free card
 Polythene e.g. Stewart (lids have good seals)
 Clear, inert polystyrene e.g. Stewart Crystal.
 Polypropylene, e.g. Really Useful Boxes (tape lids for
good seal)
 Corrugated polypropylene e.g. Correx
 Number and identify boxes
Packing Methods
 Use acid-free or spider tissue next to the object.
 Make nests, don’t wrap objects.
 Keep the items in separated layers and make sure
they are easy to find.
 Small, sturdy items can be put in perforated ziplock
bags, padded with Jiffy foam, in boxes.
 Delicate items may need to be placed in Plastazote
lined boxes, in cavities cut to size.
 Make sure you can safely remove and replace the
object from the packaging.
 Silica gel can keep storage boxes dry.
Storage Areas
 Must be secure, stable (temperature and RH), clean
 Use for objects only (Don’t keep other things there)
 Boxes, cases and packing materials must be stored
in clean, appropriate areas when empty.
Transport
 Check the route.
 Have enough people to carry items safely
 Minimise shock and vibration – hand carrying may be
better than trolleys. Use air-ride vehicles when
possible.
 Minimise changes in temperature and humidity.
IF IN DOUBT – STOP AND ASK A CONSERVATOR
USING SILICA GEL
Silica gel is used as a desiccant, to remove moisture from the air when storing objects
which need to be kept at a low relative humidity (e.g. metals). It can also be
‘conditioned’ and used to maintain a specific humidity level. When dry silica gel is
placed in a storage box it will absorb moisture from its surroundings. It will eventually
become saturated with moisture and must be replaced with dry silica gel to keep the
container dry. The saturated silica gel can be dried out and used again.
The most commonly used silica gel in museums is made up of transparent crystals or
beads with an orange/ yellow colour which turn pale as they absorb moisture. An older
form used a blue colourant which turned pink: this contains cobalt which can be harmful
with prolonged contact or if ingested. It can be reused, but needs special disposal.
Make sure that the container has a good seal. Polythene boxes, especially those made
by Stewart, have been tested and found to be very efficient. Measure out enough silica
gel to fill about 1/5th - 1/10th of the volume of the box and place it in a polythene bag
which you can seal and label. Ziplock bags are very useful for this. Large quantities of
silica gel are more effective if placed in several smaller bags, rather than one large bag.
When you are ready to put the bag in the storage box and close it, prick the bag all over
with a needle or pin. The holes will enable the air to circulate through the bag, but
prevent the crystals from falling out. You can then close the box. Check it periodically
to make sure the silica gel is still orange/yellow. If you place the bag to one side of the
box you will be able to monitor the colour change without opening the box, and can
remove it without disturbing the objects in the box. Check the colour regularly.
When you can see that the silica gel has turned pale, take the bag out of the box, open
it and spread the silica gel in a clean, dry ovenproof tray or container. You can use
metal, ceramic or glass, but the most convenient container is a heatproof metal biscuit
or cake tin with a tight-fitting metal lid. Spread the silica gel in as thin a layer as
possible and place the tray in the oven, set at 100-110ºC (210-230ºF) to drive off the
moisture. If it gets any hotter the silica gel will turn brown and may be damaged. It is
better to leave the silica gel there for longer rather than risk overheating it. It may take
several hours to dry a big quantity of silica gel, and you may want to stir the crystals
occasionally with a heatproof spoon.
When all the crystals are orange/yellow again, bring the tray out of the oven, place it in
on a heat-proof surface and cover it with another heat-proof tray until it is cool. If you
have used a biscuit tin, you can place the lid on while it is still hot (mind your fingers).
This allows the silica gel to stay dry as it cools. Once the silica gel is cool you can place
it back in the polythene bag. You can store the bag in a sealed container until you need
it to use it.
The dust from silica gel can be irritating to skin, eyes or if inhaled, so wash any
containers or tools after use. If you are regularly working with large quantities of silica
gel you should use a suitable dust mask. It is a synthetic, amorphous form of silica and
will not cause silicosis. The beads create much less dust and cost only a little more.
The Material Safety Data Sheet for Silica Gel is available from the supplier, e.g.
GeeJay Chemicals Ltd. Tel: 01767 682774 http://www.geejaychemicals.co.uk
16 Gosforth Close, Middlefield Industrial Estate, Sandy, Beds. SG19 1 RB
IF IN DOUBT – STOP AND ASK A CONSERVATOR
TEMP / HUMIDITY:
LIGHT / UV:
SUPPLIERS
Perspex acrylic sheet local stockists e.g. www.abbeyplasticssouthwest.co.uk
Filter films (for u-v and visible light) www.sun-x.co.uk www.sureguard.co.uk
UV filters for fluorescent tubes www.preservationequipment.com
Unbleached calico - fabric shops or www.whaleys-bradford.ltd.uk
Blackout blinds - local suppliers or online
Control relative humidity with a dehumidifier or humidifier e.g. Mitsubishi MJE16VX-E1 from www.dry-it-out.com at £295 or www.meaco.com
Dataloggers approx £95 (e.g. TinyTag Ultra) www.preservationequipment.com
Small battery operated temperature/relative humidity meters E-bay or for approx
£15 from www.maplin.co.uk www1.conrad-uk.com
Wireless multipoint readout system www.thermometerspecialist.co.uk/wirelesstemperature-humdity-station
Silica gel beads www.geejaychemicals.co.uk www.conservation-by-design.co.uk
BOXE
S
Stewart polythene or Crystal styrene boxes www.stewart-solutions.co.uk
Really Useful (polypropylene) – office suppliers www.reallyusefulproducts.co.uk
MOUNTS:
MATERIALS:
Acid-free www.preservationequipment.com , www.ryderbox.co.uk
www.creationbaumann.com Expensive but good quality, tested for museum safety
INDIANA II, PONTE II, ULTRA IV, UMBRIA III, UNISONO III, USUS II, VELOS.
Cheaper safe option - unbleached calico cloth that has been scoured (boil-washed
with no detergent) fabric shops or www.whaleys-bradford.ltd.uk
Polyester felt, Tyvek www.preservationequipment.com
Polyester wadding (not flameproofed) fabric shops or www.whaleysbradford.ltd.uk
Acid-free board - art stores and good picture-framers (who may let you have offcuts) www.atlantisart.co.uk or www.conservation-resources.co.uk
Acid-free tissue - packaging suppliers or www.conservation-by-design.co.uk
Polythene foam (Plastazote or Jiffy foam) www.preservationequipment.com
www.polyformes.co.uk www.ramfoam.co.uk
Polyester (Melinex) film www.secol.co.uk www.preservationequipment.com
Seal wood and MDF fixtures with 3 coats of Dacrylate acrylic glaze 103-1 from
Clifton Paints Tel: 0117 966 0321, or cover with Moistop or Marvelseal barrier film
heat-sealed onto the surface with a domestic iron. MOISTOP PP004 builders’
merchants or www.conservation-by-design.co.uk
Perspex mounts www.dauphin.co.uk
Wet and dry sandpaper to smooth edges 600 - 1200 grades – hardware stores
Heat shrink polyolefin (polythene) tubing for coating metal pins
http://stores.ebay.co.uk/Mister-Shrink
Archival quality double-sided tape www.preservationequipment.com (NOT to be
used on objects)
Mannequins www.proportionlondon.com Bustforms – Workroom range.
GLOVES: Polythene, latex or nitrile gloves - chemists, hardware stores, cleaning
suppliers www.justgloves.co.uk
PESTS: Traps www.preservationequipment.com Traps and Constrain pesticide
www.historyonics.com
TROLLEYS, TAPES etc - local stores or http://www.galleryequipment.com
IF IN DOUBT – STOP AND ASK A CONSERVATOR
OBJECT CONDITION REPORT
Accession Number: …………….
Accession. No.
Object
Materials
Description
Examined By
Examination Date
Structural
(e.g. missing parts,
breaks, cracks, chips)
Surface
(e.g. wear, scratches,
abrasion)
Stains, marks, paint
splashes
Chemical (corrosion,
salt growths)
Biological (pest
damage, mould)
Previous treatments,
repairs
Special Needs:
Temperature, Relative
Humidity, Light,
Handling, Packing,
Mounts
Continued on reverse
IF IN DOUBT – STOP AND ASK A CONSERVATOR

Accession Number: …………….
Photographs
Please add notes to the photographs
IF IN DOUBT – STOP AND ASK A CONSERVATOR
Condition Check at Loan Venue
Please notify the museum of any changes in condition. No treatment should be
undertaken by the loan venue without the express permission of the museum.
Venue
On Arrival
On Departure
Checked By
Checked By
Position
Position
Date
Date
Please attach photographs
Host Museum: Please check thoroughly on return
Condition:
Checked By
Position
Date
Please attach photographs
IF IN DOUBT – STOP AND ASK A CONSERVATOR